“The boat is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea… (it is a) great instrument of economic development, but has been simultaneously the greatest reserve of the imagination…” – Michel Foucault
In December 2014, Access Gallery—in partnership with Burrard Arts Foundation—issued a call for submissions for a highly unconventional artist residency, offering selected emergent and experimental artists passage aboard cargo ships sailing from Vancouver to Shanghai. Crossing the Pacific Ocean takes approximately twenty-three days, during which time artists will be considered “in residence” aboard the vessel. As stated on the residency announcement, our intention was to select two candidates who would inaugurate this multi-year project by setting sail in late summer 2015. The response to this call was overwhelming. By deadline we had received over 800 proposals submitted by artists hailing from sites as far afield as Sevastopol, Lahore, Sao Paolo, and St. Petersburg. The calibre and strength of the submissions was striking, their ingenuity breathtaking. It was immediately clear that what we had initiated was not simply an artist residency, but a powerful framework through which to address the complexity of our contemporary condition. The cargo ship—sailing across a vast and “empty” space of the sea, nearly always invisible to those on shore and yet inextricably threaded through all our lives—seemed to offer a near bottomless container for the imagination, for narrative and for cultural critique.
The sheer diversity in artists’ proposals, and the breadth of creative queries, concerns and materials that might be brought to this sea voyage, compelled us to expand our initial parameters. In 2015, a jury of established art professionals in Vancouver selected four outstanding emergent artists to embark on Twenty-Three Days at Sea to mark its inaugural year. Diverse in their treatment of both media and subject matter, they are linked by the suppleness and strength of their past work and—of particular importance in this context—by practices defined by a perceptible and sustained state of “seeking.” The new bodies of work produced in response to their voyages, along with published reproductions of their logbooks kept while at sea, were presented at Access Gallery in two parts: Chapter One (May 28—July 16, 2017) and Chapter Two (September 9—October 28, 2017).
Twenty-Three Days at Sea has captured imaginations worldwide. To follow updates and announcements, please visit the Twenty-Three Days at Sea facebook page.
Read select coverage of Twenty-three Days at Sea by local and international press:
Chapter 1: 2015-2016
Listen to Director/Curator Kimberly Phillips, as well as resident artists Christopher Boyne, Elisa Ferrari, and Nour Bishouty speak about Twenty-three Days at Sea on Vancouver Co-op Radio:
Chapter 2: 2016-2017
Listen to artists Michael Drebert, Lili-Huston Herterich, Rebecca Moss and Sikarnt Skoolisaryaporn speak with Access Gallery’s Projects Coordinator Catherine de Montreuil about Twenty-Three Days at Sea on CiTR 101.9 FM: