Eva Respini On Vancouver, Her New Role and How Curation Is Changing

Observer recently caught up with Respini to chat about her new job. 

Late last month, news broke that curator Eva Respini would join the Vancouver Art Gallery as its new deputy director and director of curatorial programmes.

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A portrait of a woman shot in black and white
Respini is the new deputy director of Vancouver Art Gallery. Photo by Ian Lefebvre, Vancouver Art Gallery

Prior to this, Respini held the title of Barbara Lee Chief Curator at the Institute of Contemporary Art Boston (ICA/Boston). She served as the curator and co-commissioner for the 2022 U.S. Pavilion’s presentation of Simone Leigh at last year’s 59th International Art Exhibition of La Biennale di Venezia, where Leigh won a Golden Lion for her contribution to the Biennale’s international exhibition, The Milk of Dreams.

The Art Newspaper has called her a “closely-watched curator,” adding that, “Among her many notable exhibitions are surveys of Lebanese artist Walid Raad (in 2015) and iconic American photographer Cindy Sherman (in 2012), as well as the major thematic show When Home Won’t Let You Stay: Migration through Contemporary Art (in 2019).”

The Vancouver Art Gallery is already the largest museum in Western Canada and will move to a cool new wood and copper home in 2028. Observer recently caught up with Respini to chat about her new job.

What interested you about working in Vancouver? 

The Vancouver Art Gallery has a history of forward-thinking programming, and the city has a robust art ecosystem of galleries, alternative spaces, artists, collectors and universities.  The Gallery is poised to enter an exciting new chapter with the new building on the horizon—the opportunity to be part of building something new with impact locally and internationally is really appealing to me.

What are the standouts for you in the Vancouver Art Gallery’s collection? 

The permanent collection belongs to everyone and, while it’s rooted in history, it also looks to the future. The Gallery’s collection’s strengths are the museum’s DNA and provide the backbone to the artistic program and its guiding values.

There are many highlights for me, among the ones that speak most to me is the important repository of Emily Carr, a woman overlooked in her time; the stellar collection of contemporary photography, arguably the most ubiquitous medium of our era; the unparalleled collection of modern and contemporary art from British Columbia, the only place this breadth could be found; the collection of International Pop Art and Conceptual Art, the contemporary Asian art collection; and the historic and contemporary First Nations art from the region.

These strengths paint a picture of an institution with continued relevance, attuned to history and its region, and with a track record of championing and capturing new artistic dialogues as they developed.  I can’t wait to delve deep to learn this collection intimately.

You curated Simone Leigh’s pavilion at the Venice Biennale, which drew heavily from African and American influences to the point that some viewers might have forgotten they were in Italy. To what extent does geographical location influence your curation? Can any artwork work anywhere? 

Geography and local context inform artists as well as curators and museums.  However, I think a strong work of art resonates in many different contexts and geographies, as well as over time.  I am interested in artists and artworks that speak to a variety of contexts and geographies.

The new VAG building designed by Herzog & de Meuron doesn’t open until 2028. Do you have any shows planned for it yet? How are you thinking about the building at this point?

It’s a very exciting time as the curatorial team is thinking about and working towards envisioning the program in the new building.  While not yet built, the building is already a powerful symbol of what a museum can be—bold, porous and accessible. The building’s signature woven façade broadcasts collaboration, fusing traditions of Coast Salish weaving and Swiss architectural innovation. This synthesis is emblematic of the program—attentive to the local context and historical traditions while also bringing in global perspectives.  We will be able to show more of the Gallery’s permanent collection in the new building while also having plenty of space to exhibit historical and emerging artists on both intimate and monumental scales.

Curating has changed a lot in the past few years. What’s a piece of advice that you wish more curators kept in mind these days? 

The pandemic reinforced the power of seeing art in person for me. It also underscored that art and connection are vital to society’s well-being.  While Instagram and online sources are great for research, I would encourage young curators to see as much work in person as they can and to use art as a vehicle for connection. Organizing exhibitions, events, performances, screenings, talks and gatherings where people can meet, be inspired or be challenged is central to a healthy civic culture.

Eva Respini On Vancouver, Her New Role and How Curation Is Changing