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Sound installation in an empty warehouse with 40 speakers surrounding a central seating area
Sound installation in an empty warehouse with 40 speakers surrounding a central seating area

Janet Cardiff and George Bures Miller's Forty Part Motet (2001) on view at the Cardiff Miller Art Warehouse

The wife-and-husband artist duo Janet Cardiff and George Bures Miller, who represented Canada at the 2001 Venice Biennale, have created a permanent home for their celebrated immersive multimedia installations. The pair’s work—which has been celebrated in Venice, Kassel, New York, Madrid and other cultural destinations—is now being showcased in a converted furniture showroom in the rural farming community of Enderby, British Columbia, population 3,000.

The couple moved to the Northern Okanagan area in 2006 from Berlin and had been looking for years for a suitable venue, Cardiff tells The Art Newspaper. “We’ve always wanted a permanent home to showcase our largest installations and when we discovered this huge space so close to where we live, we knew it was perfect.”

Boasting 20ft-high ceilings and over 9,000 sq. ft of space, the building had great bones, but needed substantial renovations. After five years of work, the Cardiff Miller Art Warehouse opened on 29 July to a crowd of 300. Those who attended were a mix of locals from both Enderby and the adjacent Splatsin reserve, as well as some dedicated art fans—including a gallerist who drove five hours from Vancouver.

“Rural roots are close to both our hearts,” says Cardiff, noting that both she and Miller grew up in small towns in Canada. They relish the “freedom to think and walk” provided by their rural lifestyle, as well as the ample studio and living space it allows. They still travel extensively throughout Europe and North America, with an exhibition on now at the Museum Tinguely in Basel, Switzerland, and an upcoming show at Fraenkel Gallery in San Francisco in January. “But coming home now feels like a kind of vacation,” says Cardiff, who relishes the clean air and open spaces, reminiscent of her upbringing on an Ontario farm.

Read the full article at theartnewspaper.com

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