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Vancouver artist who subverts Barbie and Ken claims antisemitism is
behind her removal from a group exhibition
(HTM) Source
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Dina Goldstein had her work pulled from a Vancouver exhibition just
days before it was set to open—in what she has described as "a blatant
act of antisemitism."
But the gallery is claiming its decision to cut the Israeli-Canadian
artist from the show was purely based on financial considerations,
despite a recent news report and documentation from Goldstein that
suggest there may have been other reasons.
An internationally acclaimed artist, Goldstein was scheduled to have
her works shown at the Vancouver Centre of International Contemporary
Art (CICA) from May 9 to June 29 as part of a group exhibition titled
_Toy Story_ , a look at the world of toys as seen through the eyes of
artists from around the world.
Goldstein, who received widespread attention for her "Fallen
Princesses" and "In the Dollhouse" series of tableaux, had been listed
on the CICA website among the artists whose works would appear in the
exhibition as recently as late April.
According to a report on _Stir_ , a Vancouver website covering art
news, Goldstein was notified by the gallery's curator, Viahsta Yuan,
on April 30 that her works, three pieces from the 10-image "In the
Dollhouse" series, would not be shown during the exhibition.
(Goldstein earlier arranged for the gallery to pick them up on May 2.)
Regarding her agreement with CICA after a studio visit by the curator
on April 26, Goldstein said, two large pieces and two medium pieces
were confirmed, available at the studio, framed and ready to be
installed.
"One medium piece had to be produced because it is a diptych with a
missing partner. This she requested I get going on. The other
selections would be printed in small format. I was waiting to hear
about the production of the small version. (The curator) wanted to
show all 10 images if possible," Goldstein said.
But then, in Goldstein's account, which was sent to The CJN, Yuan
disclosed to her that the gallery had received an email from a small
group of Vancouver artists who wanted her excluded from the exhibition
because she supported Israel.
The unnamed artists, in Goldstein's words, felt that she did not
deserve to exhibit her work during this time of war. Goldstein was
offered an alternate solo exhibition within a year or two, or when the
situation in Israel and Gaza might subside.
Yuan had, as Goldstein recalled, agreed that punishing an artist
because of their Jewish identity was unjustifiable. Goldstein asked
the curator to relay this message to the gallery committee as well as
the importance of standing up to discrimination.
When she reached out to Yuan for an update on her meeting with the
gallery committee, Goldstein received an email which cited, as she
says, "a sudden budgetary issue as the reason for her removal. This
explanation contradicted the previous acknowledgment of
discrimination, with the decision now framed as a last-minute
'creative choice.'"
"This experience takes me back to the times we may have had in our
youth and being bullied. This is part of what antisemitism feels
like," Goldstein told The CJN, noting that the works in question have
nothing to do with Gaza or Israel.
Goldstein, too, recounted that, unlike most people associated with the
exhibition, she had been to Gaza and the West Bank while on an
assignment in 1999, photographing Palestinians alongside her pictures
from Jerusalem and Tel Aviv, and shared those memories on Instagram in
recent months.
A selection of photos shared on Instagram by Dina Goldstein from her
1999 photojournalism in Gaza and the West Bank.
"In the Dollhouse," created by Goldstein in 2012, features a pink,
adult-size dollhouse in which Barbie and Ken reside. The series offers
satirical situations around the house, sometimes with a risqué
approach to social commentary.
Notes about the images on Goldstein's website say that in them Barbie
represents the notion that beauty is the ultimate trait and is
necessary "to attain power and happiness." Meanwhile, Ken discovers
and expresses his true self after four decades of being "trapped in an
imposed marriage."
In their invitation to participate in the exhibition, CICA wrote that
Goldstein's dollhouse series "offers an intricate exploration of
identity, conventional values, gender equality, and beauty. The
inclusion will not only enrich the depth of the exhibition but also
provide viewers with a fresh and unique reflection on the toy that has
influenced a generation of people.
"We believe that the inclusion of 'In the Dollhouse' will offer a
unique perspective and contribute significantly to the exhibition's
dialogue on the transformative power of toys as symbols within our
lives."
In Yuan's version of events, as reported by _Stir_ , after
consultation with others at the gallery, CICA, which had originally
selected five pieces from the series because of space considerations.
After visiting Goldstein's studio, she said only three of the pieces
were ready.
Yuan then had another discussion with the gallery committee, and it
was decided that CICA did not have the budget for production costs.
Further, another artist was showing a piece about a dollhouse, and the
gallery believed showing two works in dollhouses would be excessive.
CICA released a statement on May 4 in which it denied its decision to
pull Goldstein's work from the exhibition was based on "religious and
cultural affiliation" but rather was related to financial
considerations. Works by two other artists, Roby Dwi Antono and Aya
Takano, CICA said, were also removed from the lineup. The organization
emphasized its desire "to cultivate artistic dialogue and community
engagement while emphasizing inclusivity and representation."
"As a woman and BIPOC-led organization, prioritizing diversity is not
just a goal but a guiding principle that informs every aspect of our
work," the statement from CICA read. "Since our inception, we have
been dedicated to showcase a pluralistic range of contemporary art and
ideas through our multidisciplinary exhibitions and programming.
"We are grateful to have collaborated with a distinguished group of
over 35 local and international artists, with more than two-thirds
from visible minority backgrounds. These cross-cultural collaborations
are a testament to our commitment to platforming diversity while
fostering a safe and accessible environment for all."
CICA stressed that, like many non-profit arts organizations, it faced
budgetary constraints and, with limited resources, it needed to make
difficult decisions. As a result, three artists were not shown because
of limited finances, a short time frame and "curatorial direction."
The cultural and religious background of an artist would never warrant
exclusion from the gallery, CICA went on to say, and that decisions
were made only on artistic merit and how a work would fit into an
exhibition.
"Discrimination of any kind has no place within our organization, and
we remain steadfast in our commitment to platforming diversity and
ensuring equitable representation in everything we do. Looking ahead,
we will continue to embed the values of equity, inclusion, and
diversity into every facet of our operations," CICA said.
Established in 2021, CICA is a non-profit, multidisciplinary arts
organization. According to its website, it provides "a forum for
everyone to step into the art and learn while having fun" and aims "to
enhance public engagement in the arts and bridge local and
international artists for idea exchange, knowledge sharing, and
collaboration."
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