- December 8, 2004 to December 24, 2004
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No description available
By Osmar Yero Montero
Category | 313 Programs
Exhibition- May 9, 1989 to May 20, 1989
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The Synthetic Monolith is Robin Peck's translation of the structural language of architecture and engineering into the plastic, representational or synthetic language of sculpture. Peck refers to this work as Anti- Proun, that is, anti-utopian or anti-constructivist. He uses materials of architecture, of the contemporary built environment and the recycled detritus from the culture of consumerism in a different, synthetic, sculptural way.
By Robin Peck
Synthetic Monolith, The
- July 9, 2011 to August 6, 2011
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“Taking Care of Business” is a performance/installation that lasts the run of the exhibition. The performance involves the artist creating a multi-wall, floor-to-ceiling mural of an office space out of post-it-notes. The artist, Immony Men, will spend each day of the exhibition working 9-5 printing out a 360° view of an office one post it note at a time until the main walls of grunt gallery are filled.
By Immony Men
Taking Care of Business
- November 28, 2001
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Talking to Strangers is a show that explores, through use of oral history, physical theatre, and projected images the similarities and connections between the people of Newfoundland and Quebec, With text taken verbatim from conversations, this show plays with senses of humour and place and looks at how language - each uniquely distinctive - reveals the identity of both. Growing up a Newfoundlander of Cockney parentage and later moving to Quebec, Louise Moyes developed a fascination for accents, stories, and personal as well as contrasting world views. Louise has presented her work across Canada and in Europe.
By Louise Moyes
Talking to Strangers
- April 7, 2006 to April 29, 2006
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No description available
By Geoffrey Carter, Sadko Hadzihasanovic
TBA
- September 7, 2017 to October 14, 2017
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Technical Problem is an exhibition of mixed media drawings by Vancouver-based, Iranian-born artist Aileen Bahmanipour that explores cyclical political power and cultural identity. Bahmanipour’s work draws from Iran’s mythic history such as the story of King Zahak contained in the national epic poem Shahnameh written by the Persian poet Ferdowsi between c. 977 and 1010 CE. Zahak was cursed by the kiss of the devil with two snakes that grew out of his shoulders. According to the legend, he began beheading the youth of Iran to feed their brains to his snakes. Fearful of being bitten by the snakes, Zahak sacrificed the future intellectual life of an entire nation. The works in the exhibition reference Persian miniature painting, creating an allegorical language that shifts between the political reality of Bahmanipour’s home country, narrative construction, and personal symbolism. She elicits the contradictions between Iran’s mythic past and relationship to modernity as a utopic ideal in contrast with the state’s ongoing repressive control of its people. Medical illustrations and cross sections of limbs combined with animal and abstract forms mimic the border between the interior and exterior, and dissect the past as a reflection of the present. Bahmanipour’s work is both fantastical and meticulous, expressing a process of transformation unfolding and in tension.
By Aileen Bahmanipour - Curated by Glenn Alteen
Technical Problem
- June 15, 1993 to July 10, 1993
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No description available
By Anne Jew, Deanne Achong, Kathleen Dick, Shani Mootoo, Sulih Williams, Sur Mehat - Curated by Larissa Lai
Telling Relations: Sexuality And The Family
- June 21, 2013 to July 27, 2013
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"The Big Foldy Painting of Death is a kind of west coast Canadian visual journey through its creator's mind in large scale. It's not an illustration of death or an entirely allegorical painting, but more a meditation on environment and social structures of Western Canada" Noah Becker
By Ian Forbes
The Big Foldy Painting of Death
- June 15, 2018 to July 28, 2018
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When Jeremy Borsos and his wife, Sus, took on the remediation of the Blue Cabin, we at grunt never expected what would eventually come out of it! Using historical materials, they took the structure apart, methodically cleaned every inch, and replaced the rotted out bits. They insulated the walls and fixed the floor. Essentially, they treated it as an archaeological site, collecting its history in scraps of newspapers and mouse nests and, in an archival process, painstakingly saved what remained. The humble structure revealed itself slowly over the six-month period of the restoration and culminated – when they took up the floor – in the discovery of almost 40 posters that had been put there in 1927 to prevent the floor from squeaking. In this exhibition, the Borsos’ present a body of work that documents this journey, while providing us a history of the cabin before Al Neil and Carole Itter’s tenancy, and offering us new insights into the earlier inhabitants— squatters, and marine workers on the foreshore.
By Jeremy Borsos, Sus Borsos - Curated by Glenn Alteen