An assemblage of Douglas Coupland’s artistic works, the everywhere is anywhere is anything is everything exhibition has just recently opened up at both the R.O.M. (Royal Ontario Museum) and M.O.C.C.A. (Museum of Contemporary Canadian Art). Having recently finished Coupland’s 2007 novel The Gum Thief, I was excited to see Coupland’s artistic works and how it compares to his literary work. The fact that this single exhibition was split into two parts, one occupying the 4th floor at the R.O.M. and the other currently at M.O.C.C.A. was certainly an unconventional aspect.
Tucked in a corner on the very top of the R.O.M. right next to the currently closed textiles exhibit, everywhere is anywhere is anything is everything presents itself as a sort of playground of pop art pieces and Coupland’s projects over the years. Entering the exhibit through what resembles a pass of some sort was akin to the feeling of being transported to inside a fun Coupland-inspired wonderland. Many of the pieces were what we collegiates would retort in a casual conversation as being “on point” with even today’s youth. It’s clear that Coupland as an artist is very much in-touch with the now, and the way that communicative technology as well as contemporary world events has shaped our present being. As the exhibition blurb states,
“[Coupland] explores issues which affect us all: the 21st-century condition, Canadian cultural identity, the power of language and the pervasive presence of technology in modern life. With incisiveness and humour…”
The most inviting attribute I find in Coupland’s artwork is the fact that it’s relatable. Installed on one area of the exhibition, two walls converging in a corner and covered in plaques of witty one liners was easily one of the most memorable part of the exhibit. With sayings like “UNFOLLOW UNFRIEND UNFAVORITE” and “I AGREE TO THE ABOVE TERMS AND CONDITIONS” illustrates the passing thoughts we all share in what Coupland would call our “ 21st century brain”, vastly different from the “20th century brain” from which our world is drastically different from. But aside from the obvious relatability of the exhibit, I personally find Coupland’s work to be less intimidating than most contemporary artists. Yes, since Coupland is working the in discipline of Pop Art, a high-level of recognisability is inherent within the genre, see Jeff Koons for example. But even with contemporary Pop artists there is a certain lost in translation that occurs between the average person and the art itself; a feeling of an inside joke lost on someone who wasn’t there.
In terms of Canadian cultural identity, I felt that the exhibit at the R.O.M. did not communicate what seperated Canadian culural identity from others. Many of the other pieces within the exhibit referenced back to many prominent art pieces, as well as major American news stories such as 9/11. Coupland has almost condensed the influences of what is 60 years of art history, (give or take) with pieces such as the heavily Lichtenstein-influenced work titled Better Living Through Windows (2013). As well, it seems that Coupland has also been heavily influenced by his peers such as Ian Baxter with his conceptual piece entitled Tokyo Harbour (2000). But maybe the point Coupland seeks to drive home is not the fact that Canada has a distinct, or unique cultural identity in North America, but rather, that our national identity is ambiguous, mixed in with American and other diaspora influences. Esepicially in our modern age with ease of access to communicative devices and globalization, it has become easier than ever now to explore other culture and to blur the lines of distinction. However, I hold my breathe at this analysis, since part two of the exhibit at M.O.C.C.A. provides a sneak peek of Coupland-ed Group of Seven works.
Lastly, one of the quirkiest aspects of the experience was through the use of technology that was promoted by the exhibition. Coupland has several QR paintings that are scannable, as well as paintings that only makes sense when scanned with a smartphone. Perhaps another unintentional or witty moment was also present in the miniature architectural piece set-up next to the nearest window that demonstrated, with clarity of the 21st century condition; of wariness of industrialization expressed through the monotony of the glass condo constructions out on Bloor St.
The #modernliving – ness of the exhibit cannot be summed up in words, except maybe through a 140 charactered tweet. I encourage all to see this exhibit as it will be at the R.O.M. until April 29, personally I am more than excited to catch the second part of the exhibition at M.O.C.C.A.