Shetty’s cast models of 42 (now 40) ‘crashed’ Volkswagen Beetles draw attention to the environmental damage caused by the combustion engine -  It is not without irony that attention is now fixed on the damage caused to the sculpture itself.

As reported on Novemeber 25th, a car from Indian artist, Sudarshan Shetty’s ‘A History of Loss’ sculpture has again, been stolen. The young contemporary artist is one of India’s rising stars and the theft is a mark of deep disrespect to the artist who made his Canadian debut with the Vancouver Biennale. The loss of the car affects the value of the work and the experience of this unique piece has been compromised.

The original stolen car was found

Last time a car was stolen, an anonymous tip to Crime Stoppers led to its discovery in someone’s living room. Someone knows where it is. It would be great of the public acted in the same way they did before and advised The Vancouver Biennale of its whereabouts. Whilst one missing car provided a comment on the title of the sculpture, the second theft has archived the story of A History of Loss as one of damage and vandalism.

Vancouverites have stood up to cases of graffiti vandalism in the past and their positive actions are recognized by all the staff members and friends of the Vancouver Biennale. We urge the community to respond to this incident in the same, valiant way that they have done before and thank you for your help.

Stolen VW Beetle, November 2010

Stolen VW Beetle, part of a sculpture located at Cambie and King Ed Canada Line station. When you steal public art, you steal from your community. Anonymous tips call 1-800-222-8477 or email www.solvecrime.ca.

That’s how we solved the first theft, please help us solve this one. 

One of Shetty's cars

The theft took place on  Wednesday November 24 behind the Canada Line’s King Edward station and it has left dangerous shards of glass on the ground where people walk.

The sculpture at large

Any assistance that you can offer in terms of helping us to locate and return the car to the sculpture is greatly appreciated. This is not the first time this has happened!

The vacant space where the original stolen car was housed

 Anonymous tips call 1-800-222-8477 or email www.solvecrime.ca.

New Vancouver Biennale installation in Richmond by Javier Marin. Photo by Dan Fairchild.

Just what the City of Richmond needs now: More Giant Heads!

In the afterglow of the excellent public debate surrounding the Gao Brothers’ amazing public sculpture entitled ‘Miss Mao Trying to Poise Herself Atop Lenin’s Head’ the Vancouver Biennale has installed a new piece at the Lansdowne Canada Line Station.

New Vancouver Biennale installation in Richmond by Javier Marin. Photo by Dan Fairchild.

These photos – by Dan fairchild – were taken during the installation process as the pieces were off-loaded from a flatbed truck in pine boxes, unpacked, places a re-assembled on site.

Amazing shots as usual, Dan!

Here’s a brief breakdown on the sculpture itself from the official press release:

“The Vancouver Biennale announces the installation of “Cabeza Vainilla, Cabeza ordoba, Cabeza Chiapas” by internationally renown Mexican artist Javier Marin, located at No. 3 Road, Landsdown Station in Richmond.

The three sculptures, depicting three giant heads in Spanish Baroque style, present a powerful and unexpected statement in the hub of the city as if they were left there from an ancient time.”

New Vancouver Biennale installation in Richmond by Javier Marin. Photo by Dan Fairchild.

ABOUT THE ARTIST

Javier Marín was born in Uruapan, in the Michoacin region of Mexico.

He is one of the foremost Mexican figurative sculptors. Since 1983 he has presented more than 50 solo exhibitions and has participated in more than 200 collective exhibitions in Mexico, the US, Canada, Central America, South America and in Europe.

Marin also represented Mexico at the 2005 Venice Biennale.

New Vancouver Biennale installation in Richmond by Javier Marin. Photo by Dan Fairchild.

Artificial Rock #143, Stainless steel, Zhan Wang (China) Photo by Dan Fairchild

This amazing piece has just been installed on the corner of Granville and Georgia Streets in downtown Vancouver.  Just outside of the entrance to the new Canada Line Skytrain station and kitty-corner to the classic Hudson’s Bay store.

This reflective steel rock literally and metaphorically represents the past and the future; tradition and transition of a nation and people into Modernity.

Zhan Wang’s Rock #143 represents the new China:  the growth and expansion of ideas, aesthetics, economics and internationalism.

Read more…

Photo by Sean Cranbury.

The Vancouver Biennale is expanding its focus from the picturesque waterways of Coal Harbour and English Bay to other locations within the city.

A major theme of the Vancouver Biennale is In-Transit-Ion as we embrace the public transportation systems and the public space around them.  These are the hubs that connect our neighborhoods and communities to each other just as the Canada Line connects Vancouver to the rest of the world via the Vancouver International Airport.

The first installation along Vancouver Skytrain’s brand new Canada Line is entitled History of Loss by Indian artist Sudarshan Shetty.  You can find this piece in the parking lot behind the new Canada Line station at Cambie Street and King Edward.

Photo by Sean Cranbury.

More about Sudarshan Shetty‘s ‘History of Loss’.

Plexiglass, aluminum, steel, Sudarshan Shetty, India.

Although inspired by VW Beetle childhood toy cars, the reference here is multitudinous; iconic combustion engine vehicles entombed and dated as artifacts, reflecting the consciousness and worldliness of young Contemporary Indian artists.  Shetty makes his Canadian debut in the 2009-2011 Vancouver Biennale.

The casts of model aluminum Volkswagen Beetle cars are displayed in clear plexiglass boxes stacked in repeated rows, each marked with a date.  The replicas are miniature, mimicking children’s toy cars, a reference to a childlike desire, and nostalgic memory.   Shetty diligently cast each individual car, identical, perfect and pristine, and then deliberately dropped them one by one from around 300 feet with the sole purpose to damage each one, thereby making each one individualistic.

Photo by Sean Cranbury.

Shetty describes his process: “The cars were manually smashed by me after being cast from a single mould, thereby representing the notion of their possible crash as an event. The dates on the vestibules represent the dates of possible crashes, but they really represent the dates to the deadline that I had in which to complete the work, which was completed in 42 days.” Shetty’s piece draws attention to the environment damage caused by the combustion engine by placing each vehicle into a coffin-like box, on display as a museum relic or artifact.

Sudarshan Shetty is part of a growing number of young contemporary Indian artists who are garnering international attention for work that breaks with traditional religious iconography, or uses it in new ways.  Shetty makes his Canadian debut in the 2009-2011 Vancouver Biennale.

For more information visit www.galleryske.com