- October 22, 2004
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"If you're lucky enough not to succumb to a childhood illness, you'll live long enough to watch your pets die." - Caitlin Cary Heartache, suicide, apocalypse...and all the big questions. Through a lens of song and story. With able assistance from Glen Watts
By Lizard Jones
date | 14 Programs
Dates 2004- June 18, 2004 to July 30, 2004
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This series of recent drawings, mostly completed within the last year, show Yuxweluptun's continuing engagement with the medium. His drawings are labour intensive, showing the extreme, rich detail achieved with a crosshatch technique. They provide an interesting counterpoint to his larger paintings and often serve as studies for later works, where the images are developed and refined. Here we see Yuxweluptun at his loosest, most playful, and most experimental. The subject matter in these drawings runs the gamut of Yuxweluptun's interests: satirical and biting but also spiritual and aesthetic.
By Lawrence Paul Yuxweluptun
Drawings
- January 9, 2004 to January 31, 2004
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Marianne Corless has produced a series of portraits and flags, constructed out of recycled animal pelts, recycled blankets and human hair, that symbolize the historical origins of Canada.
By Marianne Cortess - Curated by Daina Warren
Further
- February 6, 2004 to March 5, 2004
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The three artists work with the wearable costume as a means to represent the indigenous body, while dealing with the stereotypes and realities of aboriginal communities. They reconnect with history through the language of ceremonial clothing, the use of traditional family crests and the incorporation of organic materials.
By Daina Warren, Peter Morin, Sonny Assu - Curated by Daina Warren
Futuristic Regalia
- October 8, 2004 to October 30, 2004
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Skai Fowler and Jose Ramon Gonzalez both employ multiple exposures in a series of photographic self portraits. By superimposing body upon body, a dialogue iscreated between light and dark, shadow self and public persona, and the presence of the moment in an extended period of time. Voyeurism and exhibitionism join hands in this expression of human complexity as the line between subject and object is lost in layers of visual suggestion.
By Jose Ramon Gonzalez, Skai Fowler
Radiant Flesh
- November 5, 2004 to November 27, 2004
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Long-time friend of grunt, Tom Wren, presents a series of works in collaboration with a one-legged doll who he has come to know as 'Hoppy'.
By Tom Wren
Revelations
- May 14, 2004 to June 5, 2004
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The installation consists of numerous porcelain castings, all stemming from the departure point of a remarkably lifelike Japanese-made baby doll. The context of this work is crucial to approaching it; the exhibition has been assembled in an urban gallery in a busy postmodern metropolis. As cars rush through this industrial area, and fast-paced city life occurs outside, the artist has composed a subtle arena for contemplation that quietly asks us to reevaluate our individual ideals and values. At first glance Buddhism seems to be the dominating discipline driving the installation, but gradually one discovers a sensibility that encompasses a range of ideas that span several religious philosophies, those diverse as Christianity, Krishna and Hinduism.
By Diana Ambida
Sanctuary
- December 8, 2004 to December 24, 2004
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No description available
By Osmar Yero Montero
Summer’s Eyes
- June 24, 2004
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"Although scheduled for the grunt's adjacent space, the piece began in the gallery proper, where audience members lined up to deposit identification in exchange for a seven-channel headset...After the first twenty headsets had been distributed, audience members were lead to a room where Arcan, dressed in t-shirt and jeans, paced back-and-forth within a taped-off rectangle approximately ten feet long and four feet wide. In one hand, what looked like a car reflector; in the other, a tea towel, with a calendar printed on it, which the artist carried with him at all times...he would transport the reflector from one end of the rectangle to the other, leaving it on a small (Modernist) table before retreating, then returning for it, repeating the action. He did this five or six times before the audio tracks kicked in, at which point Arcan stopped his relay. As he moved slowly around (within) the rectangle, staring out (leering?), lips quivering, I familliarized myself with the audio tracks: a cross-cultural selection of songs, guy talk, birdcalls, women's voices engaged in what sounded like sexual acts, a spiritual recitation, a father and son dialogue, what sounded like an audio palimpsest of all seven tracks at once..." - Michael Turner, Love Claims, July 2004
By Warren Arcand
Superchannel
- November 14, 2004
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No description available
By Laurie Anderson