\ anthdahieteinn ane Minds SS ee SE Re cern a LP CN as CAE Tae aS TTT Me Bras eal eens HS et a een re eS PAGE 12 March 1, 1985 The World’s eyes on B A glass of wine and cheese is all that the artistic community 1s going to get out of Expo, according to Province art critic Max Wyman. by CHARLIE FIDELMAN reprinted from the Ubyssey ““Expo is a big machine rolling over the locals’’ says Wyman, speaking in I the cultural panel of last Saturday’s seminar on the impact of Vancouver’s 1986 world’s fair. Wyman tells the audience of 900 Expo dgesn’t think about its art community — the Playhouse Theatre, The Firehall Theatre, the Vancouver East Cultural Centre, and the dance community. ‘‘Two films are being made for B.C. Pavilion—in the United States’’ he says. Wyman says ignoring the local scene means a lot of lost dollars for locals in the short run. And in the long run people will develop a taste for the expensive glitter, ‘People will say, without Expo approval the show isn’t good enough. People are being trained to admire the imported and the glitzy,’’ he charges. What is missing is a commitment to develop indigenous artists, says Wyman. ‘Opening ceremonies the first night is an all Canada shut out.’’ Architect lan Davidson echoes Wyman’s dissatisfaction with Expo’s direction. He says Expo’s theme should be excellence but instead False "Creek is turning into the Nile. Davidson is referring to the Expo acquisition of the Ramses II exposi- tion which has left Cairo only once previously. The Ramses I! costs Expo five million dollars. “Native art is as important as the Egyptian Pyramids in European eyes but not in Canadians,’’ says Davidson. Expo has commissioned a large canoe from the genius of native carver Bill Reid. ‘‘Now if that isn’t banal | don’t know what is’’ says Davidson. Bill Reid should be in charge of a pavilion and the Ramses I! should be placed in the Vancouver Art Gallery and shown at no extra cost to Expo goers, he suggests. Davidson speaks with the passion of someone dedicated to excellence. ‘‘It should be titled Mediocrity ’86 and not Exposition ’86’’ he says without a hint of sarcasm. Wondering at the dissolution of the Chinese gate which would have led into Expo from Chinatown he asks: ‘’Five million for Ramses I! and not a penny for the Gate? Going past Chinatown and Japantown would really give people an idea about our diverse culture rather than taking them past cement things.”’ According to writer Clive Barnes, says Davidson, Canadians suffer from an inferiority simplex. Davidson calls attention to the fake geodesic dome, a new round building with flashing lights, as the Canadian Expo theme building partly being built by Czechoslovakians. ‘‘The geodesic dome is like every’ other geodesic dome and it can be found all over; we should have a symbol of our own. The people in charge don’t want to utilize the creative energy that is the best of Canadian talent.’’ “‘The brilliant industrial designer, Francois Delleret from Montreal, can- not get his foot in the door. Neither can Jean Andre, another well known designer,’’ says Davidson. Both are Canadian. An exception is Expo's artist-in-residence, Evelyn Roth, who is simply amazing, Davidson adds. Christopher Wootten, Expo pro- gramming director, agrees with Davidson’s quest for excellence in Expo. ‘‘But I’m irked about Bill Reid’s canoe being called banal. Why don’t you ask Bill Reid?’’ he says. “| have,’’ replied Davidson. And Wootten says the Northwest Indian exhibit planned for the Van- couver Art Gallery was cancelled. But there is a commitment to the commu- nity, Wootten claimed. He quickly rattled off the forthcoming attractions: The Ramses II, Bill Reid’s canoe, World Festival by Anne Darling, commissioned works by 12 B.C. art- ists, avant-garde artist Michael Snow, Evelyn Roth, and more. ‘‘At least one third of the Expo fine arts program will come from Canadian works,’’ Wootten promises. There are also special events in- cluding national events, tall ships, a DC-3 plane that will take 15 minutes to pass by, and more, says Wootten. In the open question period follow- ing the panel, Wooten was asked why only $35,000 1s available to commis- sion dance works from the entire Canadian dance community. Wootten did not reply to the man, who claimed the dance comissions are only a tokenism. But he did say Ramses II falls into a special category “which doesn’t mean we’ re taking the theme less seriously,’” when someone asked what Ramses and Expo’s trans- portation theme had in common other than slaves dragging stones. Another unsatisfied customer ask- ed, ‘‘Is it true we have to satisfy the locals but what we want is something we can advertise in California?’ to which Wootten replied Expo is a world event. Vancouver will host the World Exposition in 1986 (commonly known as Expo 86). The government of British Columbia initiated the idea of a by CYNTHIA KILT World Exposition in late 1978 to co- incide with Vancouver’s centennial and the 100th anniversary of the trans- continental railroad’s arrival to the West Coast. Expo 86 will run from May 2 to October 13, 1986. The dual theme is “World in Motion—World in Touch’’, in celebration of the achievements, past and present, in the fields of trans- portation and communications, and looking to see what the future will bring. It will be the largest special category World Exposition ever held in North America. Theme pavilions will feature a- chievements on land, the sea, and through the air, from tall ships to monorails. Expo 86 is being planned and carried out by the Government of British Columbia. It is sponsored by the Government of Canada and sanct- ioned by the International Bureau of Exposition. Vancouver’s presentation to the International Bureau of Expositions (BIE) was the most well- -developed and advanced of those countries vying for the BIE’s blue and white flag. With it, the country also has the right to host the World Exposition. The Executive Committee of the ‘International Bureau of Exposition voted unanimously on November 26, 1980, in Paris to give Canada the priviledge of hosting the World Exposition in 1986. Ramses II and his Times Priceless treasures from the tomb of Ramses II was the 19th Dynasty of Egypt’s third king. Reig- ning from 1290-1224 B.C., Ramses was crowne in 1290, approximately 45 years afte King Tutankhamen was entombed The pavilion, created by Vancouve designer David Fischer, reflects Ram ses’ great architectural ability. The exhibit will feature over objects, approximately eight mor than the King Tut exhibit which pr viously toured North America. Th exhibit is thought applicable to th “World in Motion—World in Touch’ themes because of ancient Egypt’ great advances in transportation an communications. In transportation, ancient Egyptian revolutionized shipbuilding, develop ed their chariots and created a advanced network of roads, causeway and canals. In communication, the ancient E -gyptians were known for their hier glyphic system of language. They wer: also known for their work with the development of ink and paper. The exhibition — will include many objects which reflect many forms of early com- munication and transportation associated with ancient Egypt’s 19th Dynasty. The exhibit has left Egypt only once before. It will also tour Mon- treal and an