- October 17, 2002
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Depicting visual and emotional vignettes, Looking for Love In the Hall of Mirrors is Daniel's third graphic-performance. This live illustration traces and develops the internal dialogue of a common (sub)cultural archetype - the acerbic old queen. The character leaves the farm and moves to the city looking for love and artistic success; many of the protagonist's sermons address the politics of a sexually-charged landscape, and so the piece also obliquely addresses conformity in the queer community. This exhibition has a recorded electronic score by audio artist Jeffrey Cressman which accompanies the live monologue.
By Daniel Burrows
Category | 145 Programs
Performance- January 8, 2015 to March 15, 2015
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Mainstreeters: Taking Advantage, 1972-1982 is an exhibition, website and publication that takes a close look at a self-identified collective of socially and artistically motivated men and women who came of age on Vancouver’s Main Street—once the dividing line between a predominantly Anglo middle-class west side and a multicultural working-class east side. The exhibition at Satellite Gallery contributes to the larger project of bringing to light an under-recognized chapter of Vancouver art history. The Mainstreeters—Kenneth Fletcher, Deborah Fong, Carol Hackett, Marlene MacGregor, Annastacia McDonald, Charles Rea, Jeanette Reinhardt and Paul Wong—were an “art gang” who took advantage of the times, a new medium (video), and each other. Emerging from the end-stage hippie era, the gang drew from glam, punk and a thriving gay scene to become an important node in the local art scene. Their activities connect the influential interdisciplinary salon of Roy Kiyooka in the early 1960s with the collective-oriented social practices that emerged worldwide in the early years of the 21st century. Like the current “digital natives” generation, the Mainstreeters were the first generation to grow up with video cameras. The resulting documents bring into focus a decade of their lives, including forays into sex, love, drugs and art.
By Annastasia McDonald, Carol Hackett, Charles Rea, Deborah Fong, Jeanette Reinhardt, Kenneth Fletcher, Marlene MacGregor, Mary Janeway, Paul Wong - Curated by Allison Collins, Michael Turner
Mainstreeters: Taking Advantage, 1972-1982
- August 30, 2018
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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
March of the Monarch (How to Fly a Tank)
- November 3, 2005 to November 6, 2005
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No description available
By Margaret Dragu, Pam Hall
Marginalia – Getting Out Of The House
- October 30, 1991 to November 30, 1991
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No description available
Masque Of The Red Death
- January 5, 2007 to February 10, 2007
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The performance iwll be about 30 to 40 minutes, part of the opening night and includes the video screening of The Fish Film, centered between the silver cloth panels. An important part are two slide projectors mounted at a 45 degree angle to the 'screen', containing specific slides (stills0 from the moving image. The video is projected not onto a screen, per se, but into wide sheets of quality drawing paper. My own actions consist of entering into the freeze-framed image of the film at which point the two projectors replicate the same image.
By Carole Itter
Metallic: A Fish Film
- June 4, 2004
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In museums, adventure is linked to the value of discovery, and the idea of improvement. Museums tend to promote designs rather than accidents, planned events rather than phenomena that simply occur. In the performance museum, we consider the slippage between conquests, the inability to complete, the illusion of permanence/stability. The title suggests not only a Miss-Adventure performing the museum, but a Museum of miss-adventures. The work re-collects this reality of limited control, placing composition in relation to breakdown.
By Julie Bacon
Miss-Adventures: Museum
- September 14, 1990
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No description available
By Elizabeth Fischer
Murder Museum
- November 28, 2002 to November 30, 2002
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A performance by Cheli Nighttraveler that will be presented as the closing event for Nadia Myre's Indian Act.
By Cheli Nighttraveller
My Mother’s Smile
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No description available
By W. Allen Deleary