- August 28, 2014 to December 31, 2014
Grunt’s 30th anniversary is in many ways about finding surprising things in familiar spaces. As we witness internationally the proliferation of artists’ practices that seek or are influenced by “the social”, and as we consider also our own hyper-local connections here in the Mount Pleasant community, ideas of engagement have been top of mind. In some aspects, it’s a question of support: how can we as curators or institutions support practices that no longer adhere to the traditional expectations of the exhibition? How might forms of engagement be broad, rigorous, unexpected, productive—as well as charismatic? How might we promote spaces of common connection while maintaining challenging content, unique collaborations, and productive friction? No clear answers of course, but in this, as in most things, we turn to artists. Our program of 30th anniversary artist projects is designed to engage on diverse levels. Focussing on projects that take place outside the gallery walls in public or shared spaces, our intent has been around finding productive intersections between art practices and community concerns—be they spatial, discursive or social. Our first project is a 3-month long residency with artist Julia Feyrer within our archive, Media Gallery and Main Gallery spaces. Beginning with the idea of “The Kitchen”—at times the creative and social heart of the grunt gallery—Feyrer will create a new installation and media commission that incorporates elements of grunt’s rich archive of performance and exhibition documentation, as well as the lesser known and harder-to-trace narratives of social connection and creative foment that have informed this institution. Process-based and meticulously—if playfully—constructed, Feyrer’s work is both densely material and intellectually airy; that is, her work challenges the viewer to engage both a tactile experience in this present moment, while simultaneously considering the transformative potential of perception, over time and through space. Feyrer’s use of film and sound acts as a conduit for seeing and, importantly, for experiencing an archival document. As part of a program we’re calling “Brew”, artists Sonny Assu and Lorna Brown have created “social objects”– artist editions that are designed to circulate in the social spaces such as bars or restaurants in Mount Pleasant. Here, engagement is potentially fleeting, but the objects themselves act as small moments of contact—an aesthetic and poetic complement to the fabric of life in this neighbourhood. Brown’s work—a refillable beer growler—specifically calls for a consideration of time and place, and considers the question of cyclical return. Calling to mind questions of history, of habit, of paths built and repeated. Other Brew projects will be announced later in the season, but each piece places artists into specific conversations with spaces and community members. From embedded residencies within community groups, to artist-designed objects, to intervention practices and artist-led discussions, this series opens a sociable consideration of this neighbourhood, and—we hope—proposes a kind of tenderness for the spaces we share. These porous, attentive practices encourage us to connect, to see differently, to return each time with a new perspective.
By Alistair MacLennan, David Khang, Julia Feyrer, Lorna Brown, Marcus Bowcott, Sonny Assu
- Curated by Glenn Alteen, Vanessa Kwan
artist | 5 ProgramsArtists David Khang
- September 6, 2012 to September 22, 2012
Co-presented with CSA Space, Amelogenesis Imperfecta (How Deep is the Skin of Teeth) and Beautoxification, two related bodies of work that will merge David Khang's dual vocations - in art and dentistry. A project that combines disciplines from art and dental science to produce microscopic laser-drawings onto epithelial cells. This work is based on research conducted at SymbioticA Centre for Biological Arts at the University of Western Australia. Khang experimented with growing enamel producing cells into shapes referred to as "enamel sculptures". While the project did not reach its original objective to grow enamel, the cells produced during this experiment were cultivated onto glass slides providing an area in which the cells could be drawn on with a precise cutting laser.
By David Khang
- October 1, 2005 to December 31, 2016
Showcasing the artists exhibiting at grunt gallery, brunt magazine is a complement to the exhibitions and a closer look at the artists, their processes and the ideas that inspire their work. This collection contains administrative and other documents related to the publication. Full issues can be viewed and downloaded at bruntmag.com
By Adrian Stimson, Al Neil, Andrea Cooper, ATSA, Carole Itter, Cheryl L'hirondelle, Chrystal Kruszelnicki, Claude Perreault, Dana Claxton, Darren O'Donnell, David Khang, David Neel, Dimitry Strakovsky, Dina Gonzales Mascaro, Edgar Heap of Birds, Enpaauk Andrew Dexel, Felicia Gay, Geoff Carter, Greg Statts, Hans Winkler, Harold Coego, Heloise Audy, Infrasense, Irene Loughlin, Jackson 2Bears, Jake Hill, Jason Fitzpatrick, Jeff Thomas, Johannes Zits, Joi Arcand, Joseph Kohnke, Jude Norris, July Faubert, Karen Kazmer, Keith Langergraber, Kevin Mackenzie, Kuh Del Rosario, Laurie Anderson, Lawrence Paul Yuxweluptun, Margaret Dragu, Martin Beauregard, Maurice Spira, Mirificus, Nathalie Ball, Naufus Figueroa Ramirez, Pam Hall, Rebecca Belmore, Roger Crait, Rolande Soulierre, Sadko Hadzihasanovic, Skeena Reece, Terrance Houle, Trevor Freeman, Victoria Singh, Wally Dion
- August 30, 2018
For March of the Monarch, David Khang creates a new public performance from recurring tropes in his art – monarch butterflies that camouflage a military soldier and his bicycle-powered tank. The public will be invited to form a “migration” of cyclists, and participate in a butterfly-themed bicycle ride through the city, accompanying the tank along False Creek, to Granville Island. Accompanied by the Korean music troupe Tazza, and with projected visual imagery as a backdrop, the audience will be invited to help release live butterflies. This multimedia project looks to engage the audience towards a social metamorphosis as part of Khang’s ongoing work of being open to change.
By David Khang
- Curated by Glenn Alteen