*Walk like an Etruscan* is an artist book published in 2013 on occasion of Shannon Bool’s exhibition at Daniel Faria Gallery in Toronto.

*Michelangelo’s Place* (2013), Bool’s bench sculpture, was installed outside the Contemporary Art Gallery from May 1 – June 28, 2015. This publication features an essay in English and German by Jonathan Shaughessy, an excerpt from D.H. Lawrence’s *Etruscan Places* (1932), a conversation between Shannon Bool and Alberto Bonalevi in Florence in both English and Italian, along with plenty of stunning images of Bool’s work.

Bool’s body of work shown in this publication consists of a combination of sculpture, painting and video developed over the course of her artist residency at the Villa Romana in Florence, Italy. She is interested in visual codes linked to ancient civilizations, art history, pop culture, and their shifting meaning.


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Walk like an Etruscan

Shannon Bool

The Contemporary Art Gallery presents the second part of a new commission in 2015 with Canadian artist Shannon Bool. Bool typically references a wide variety of art historical objects in her work, commenting on the role of decorative arts within art history, as well as on the change in meaning that occurs through the replication and alteration of significant cultural forms. Central to her practice is the paradoxical examination of the depth and psychological weight that surfaces carry, which she underlines in unorthodox material processes.

Located near to the gallery entrance is *Michelangelo’s Place*, the final version in a series of carrara marble benches Bool has recently produced.  The sculpture references the benches found circling the elevated Piazzale Michelangelo in Florence, built in 1869 to showcase copies of Michelangelo’s most famous works and to provide a panoramic view of the city.

At the Contemporary Art Gallery, Bool’s sculpture references the benches’ scale and appropriates the graffiti that covers them. The graffiti, some of which is over 100 years old and ranges from tourist scribbles, love declarations and Italy’s first Labour Party, is mirrored to emphasize its materialization and the artist’s handwork. These energetic gestures of incision, gouging and defacing subvert the benches’ functionality by drawing attention to the individual experiences of the Piazzale’s visitors who chose to leave their own marks instead of consuming the magnificent views of the renaissance. The carrara marble, signifying wealth and high renaissance material values is subjected instead to the everyday banality of Florentine life and tourism, where the public turns away from its master narrative and carves its own signature.

### Biography

Shannon Bool lives and works in Berlin. Solo exhibitions include: *The Fourth Wall Through the Third Eye*, Galerie Kadel Willborn, Düsseldorf; *Walk Like an Etruscan*, Daniel Faria Gallery, Toronto (2013); *The Inverted Harem II*, Bonner Kunstverein, Germany (2011);  CRAC Alsace, Altkirch, France; *The Inverted Harem*, GAK-Gesellschaft für Aktuelle Kunst, Bremen , Germany (2010); RMIT Project Space, Melbourne (2008). Group exhibitions include *MMK2 Boom She Boom*, Works from the MMK Collection, Frankfurt (2015); The Klöntal Triennale, Kunsthaus Glarus, Switzerland (2014); *Soft Pictures*, Fondazione Sandretto Re Rebaugengo, Turin, Italy (2013); *Painting Forever!*, KW, Berlin (2013); Justina M. Barnicke Gallery, Toronto (2013); the Sprengel Museum, Hannover (2012); *7×14*, Kunsthalle Baden-Baden, Germany; Rock Opera, CACP Museum of Contemporary Art, Bordeaux (2009); *Drawing on Sculpture: Graphic Interventions on the Photographic Surface*, Henry Moore Institute, Leeds (2007); *Make Your Move*, Projects Arts Centre, Dublin; *Spiralen der Erinnerung*, Kunstverein in Hamburg; *Carbonic Anhydride*, Galerie Max Hetzler, Berlin (2006). Work is held in the collections of The National Gallery of Canada, Berlinische Galerie, Berlin; Fondazione Sandretto, Turin, MMK Museum fur Moderne Kunst, Frankfurt am Main; Lenbachhaus, Munich, and the Saatchi Collection, London. She is represented by Kadel Willborn Gallery in Düsseldorf and Daniel Faria Gallery, Toronto.



ProgramGuideSummer2015.pdf

Detail image of the surface of a white marble bench sculpture. Various carved graffiti marks, Roman alphabet characters, Arabic numbers, a heart, squares, and other marks, cover the surface.

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A white marble bench sculpture installed outside the CAG entrance. It is supported by four, thick quadrangular legs. The surface of the long, rectangular seat is covered with carved graffiti. 

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Michelangelo’s Place

The Contemporary Art Gallery presents an ambitious new commission at Yaletown-Roundhouse Station by Canadian artist Shannon Bool. Originally from Vancouver Island, she attended Emily Carr University before studying in New York, Frankfurt and moving to Berlin.

Bool typically references a wide variety of historical and monumental decorative objects in her work, from Michelangelo’s David to the ornamentation on Etruscan tombs. While the Tuscan themes in recent projects specifically developed during her 2013 residency at the Villa Romana in Florence, her reinterpretation of these objects is characteristic of her practice in commenting on the role of decorative arts within art history, as well as on the change in meaning that occurs through the replication and alteration of significant and well known items.

For Yaletown-Roundhouse Station, Bool has worked with a photographer to document the sixteenth-century Egyptian Medici Mamluk carpet, recently rediscovered stored in the Palazzo Pitti in Florence, Italy.  Mamluk style carpets figured significantly in Mediterranean commerce, appearing in Venetian paintings of this time, and are characterized by a central medallion surrounded by a variety of smaller geometric motifs, forming a kaleidoscopic appearance, the palette limited to red, blue, green and yellow tones. In many such carpets the vast and complex patterns suggest notions of eternity and evoke cosmic associations with Buddhist thought. While undoubtedly they should not be read as some form of direct mapping of philosophical intent, the designs themselves may be influenced by such ideas from central Asia and also reflect patterns in Moorish architecture which connect to similar philosophical readings of mathematical logic and infinity.

By combining patterns from and with historical vernacular objects, Bool’s interventions play with the mechanical reproduction of geometric sources and iconography. In previous work taking impetus from floor surfaces, Bool made *Casino Runner (Aztec Inn)* by blowing up a segment of a cheap wall-to-wall carpet encountered at a Las Vegas casino hotel. The original carpet was laden with random appropriations from ancient Aztec culture and Anatolian ornaments, which the artist underlined in having her version handwoven by Turkish weavers. The casino itself is a throwback to the iconic Art Deco monument, the Aztec Hotel that still operates in Monrovia, California. American Art Deco used the powerful geometry of ancient Mexican civilizations to break from European aesthetic traditions. Bool’s carpet, exquisitely hand-knotted by traditional village weavers in Anatolia, Turkey, heightens – even fetishizes – the production values combining the sublime and hysterical experience of entering a casino with the distinctly Eastern reading of a Western sensibility.

Here, Bool has painstakingly pieced together images of the Mamluk carpet for Yaletown-Roundhouse Station, itself unusual due to its gigantic size and pristine condition, to reproduce the whole carpet at almost exact scale across the glass façade of the building. Amazing in its detail, intricacy and partial signs of use, the image records literally and metaphorically both the patterns and passages of time, in much the same way as the busy station is itself an embodiment of a space of people passing through. Suspended in the everyday space of the station and tilted as if afloat, the work shows some of the mathematical and geometrical sensibilities that are seldom acknowledged but directly influenced renaissance thought.

This will be the first new commission by Bool with the Contemporary Art Gallery during 2015, a second project to evolve for late spring.

Presented in partnership with the Canada Line Public Art Program – InTransit BC.

### Biography

Shannon Bool lives and works in Berlin. Solo exhibitions include: *The Fourth Wall Through the Third Eye*, Galerie Kadel Willborn, Düsseldorf; *Walk Like an Etruscan*, Daniel Faria Gallery, Toronto (2013); *The Inverted Harem II*, Bonner Kunstverein (2011);  CRAC Alsace, Altkirch, France; *The Inverted Harem*, GAK-Gesellschaft für Aktuelle Kunst, Bremen (2010); RMIT Project Space, Melbourne, Australia (2008). Group exhibitions include *MMK2 Boom She Boom*, Works from the MMK Collection, Frankfurt; The Klöntal Triennale, Kunsthaus Glarus, Switzerland (2014); *Soft Pictures*, Fondazione Sandretto Re Rebaugengo, Turin; *Painting Forever!*, KW, Berlin; Justina M. Barnicke Gallery, Toronto (2013); the Sprengel Museum, Hannover (2012); *7×14*, Kunsthalle Baden-Baden; Tactical Support, Gallery Tracy Williams, New York; *Rock Opera*, CACP Museum of Contemporary Art, Bordeaux (2009); *Drawing on Sculpture: Graphic Interventions on the Photographic Surface*, Henry Moore Institute, Leeds (2007); *Make Your Move*, Projects Arts Centre, Dublin; Spiralen der Erinnerung, Kunstverein in Hamburg; *Carbonic Anhydride*, Galerie Max Hetzler, Berlin (2006). Work is held in the collections of Berlinische Galerie Landesmuseum Für Moderne Kunst, Fotografie und Architektur, Berlin; MMK Museum für Moderne Kunst, Frankfurt am Main; Lenbachhaus, Munich, and the Saatchi Collection, London. She is represented by Kadel Willborn Gallery in Düsseldorf and Daniel Faria Gallery, Toronto.

ProgramGuideWinter2015.pdf

Detail image of a photograph in vinyl of a rectangular carpet installed on the facade of Yaletown-Roundhouse Station. Geometric forms and stylized plant motifs in white, green and red are visible.

Installed on the facade of Yaletown-Roundhouse Station is a photograph in vinyl of a large rectangular carpet. The image is reproduced at a slanted angle, making the carpet look like it is flying.

Shannon Bool

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