- October 28, 2016 to December 10, 2016
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CALL To support the work of Indigenous North American women and artists through local art commissions that incite dialogue and catalyze action between individuals, communities, territories, and institutions. To stand together across sovereign territories as accomplices in awakened solidarity with all our relations both human and non. RESPONSE To ground art in responsible action, value lived experience, and demonstrate ongoing commitment to accountability and community building. To respond to re/concilliation as a present day negotiation and reconstruction of communities in the aftermath of colonial trauma. callresponseart.ca
By Cheryl L'hirondelle, Christi Belcourt, Esther Neff, Isaac Murdoch, IV Castellanos, Laakkuluk Williamson-Bathory, Marcia Crosby, Maria Hupfield, Tania Willard, Tanya Tagaq, Ursula Johnson - Curated by Maria Hupfield, Tania Willard, Tarah Hogue
medium | 42 Programs
Medium Film & VideoWork including film or video elements either digital or analogue, not to be applied to work that has been documented with film or video but is otherwise not film or video-based.
- November 1, 2019 to December 14, 2019
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“How do you remember the past the most?”
Equal parts family recollection, historical research and spectral diary, Coco Means Ghost forms the moving image focal point of Gabi Dao’s new installation. Rooted in Dao’s research along the Mekong Delta and her own family’s history between cultures, a sentimental dissidence employs sculpture, video and sound to put imagined contemporary and historical diasporic voices in conversation. At the centre of the exhibition is a haunting: the eponymous narrator (a ghost in the form of a coconut) resists a singular place and time, moving freely, if not lightly, through personal photographs, contemporary commentary and archival material. Other characters appear– Lan, Ong Nam, Mr.Le, Quang, An, Nguyen and Dung–and together they tell the fragmented story of Ong Dao Dua ( ‘Mr.Coconut’), a monk who founded a small, self-sustaining, anti-war community in the late 1960s-70’s on Con Phung, an island colloquially known to westerners as the “Coconut Kingdom.” Through the lens of Ong Dao Dua’s oft-mythologized character, the work becomes an avenue to explore and enmesh broader notions of memory, nationhood, belief, belonging and dreams for the future.
Dao combines the single-channel video with sonically activated sculptures that transmit her family’s narrative in another form: excerpts from “Foreign Accent Improvement” cassettes used by the artist’s parents in the 1980s. a sentimental dissidence points to texture and poetics rather than conclusive fact, and creates a landscape that at once immerses, entangles and pushes back.
1. coco means ghost: Screen & Video, 25m24s, followed by a short pause. HD video, 2.1 sound, LED lights, cans of coconut water, photograph, bench & pillows.
2. you and i, i and you: Sculptures & Audio, 6m30s, followed by a short pause. Beaded curtains, UV reducing window vinyl, transducers, tempered glass, aluminum.
Accessibility: Hearing Access: Un-captioned English audio, some subtitled Vietnamese (written in English). Sight Access: Low light conditions
By Gabi Dao - Curated by Vanessa Kwan
a sentimental dissidence
- March 7, 2003 to March 29, 2003
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Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
By Sue Camm
Anatomica Nervosa
- April 4, 2003 to April 26, 2003
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Marlene Madison's new works Audition Tapes and Open Call explore notions of "Celebrity". Audition Tapes, a single screen video installation, consists of three "cold" readings of a prepared text in a format that closely resembles a screen test. Open Call is the reading by 15 actors and non-actors of texts they receive when they arrive at the event.
By Marlene Madison - Curated by Glenn Alteen
Audition Tapes
- April 4, 2008 to May 10, 2009
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"The photographs of Greg Staatsare concerned with what motivates thee act of viewing as it moves into the time and space of the real, in search of an encounter. The image becomes the 'freezing' of this gesture: a small moment in a continuum, a brief ending barely captured in the image." -Francois Dion
By Greg Staats
auto-mnemonic six nations
- May 10, 2013 to June 8, 2013
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A retrospective and collaborative project based on Background/Vancouver, a photo-mapping expedition of Vancouver by Michael de Courcy with Taki Bluesinger, Gerry Gilbert, and Glenn Lewis on October, 30 1972. The project consists of the four artists walking three separate paths documenting their experiences in photographs. On October 30, 2012, Vancouver artists, Emilio Rojas, Guadelupe Martinez, and Igor Santizo, revisited this conceptual project. 40 years to the day, these three artists came together to forge a new, fourth path that intersects with the original paths which revisits ideas about Vancouver's identity and history. The retrospective project is entitled, ThisPlace/Vancouver
By Emilio Rojas, Gerry Gilbert, Glenn Lewis, Guadelupe Martinez, Igor Santizo, Michael de Courcy, Taki Bluesinger
Background/ ThisPlace
- December 8, 1986
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"The Chilean government is a military regime that seized power in the coup of 1973, murdering Salvador Allende the democratically elected president, along with a conservatively estimated 15,000 civilians." The film chronicles the emergence of mass opposition to the military dictatorships in 1983.
By Clandestinley made by Chileans
Chile: I Do Not Take Your Name in Vain
- January 15, 2015 to February 21, 2015
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grunt gallery presents Crossed, an exhibition by artist Ahmad Tabrizi and curated by Makiko Hara. This multi-media exhibition creates a sense of portraiture compiled of Farsi script, piles of dressmaking pins, and glimpses of the artist himself – both visually and through audio.
By Ahmad Tabrizi - Curated by Makiko Hara
Crossed
- January 17, 2002 to February 8, 2002
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Different/Diverse brings together European video artists from the UK, Finland, Estonia and Italy in a program that explores notions of normalcy and the abnormal. Different/Diverse is a production of Nuova Icona & Vortice and in Vancouver it will be co-hosted by grunt and Western Front. The screening and exhibitions give a strong look at current European video practice. The show consisted of a screening, on January 17, and a simultaneous opening hosted by grunt and Western Front, and a January 18 performance by Paolo Ravalico Scerri.
By Douglas Gordon, Giovanni Rizzoli, Graham Fagen, Gun Holmstrom, Kai Kaljo, Paolo Ravalco Scerri, Roi Vaara, Terry Smith - Curated by Terry Smith, Vitto Urbani
Different/ Diverse
- September 5, 2013 to October 12, 2013
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A multimedia exhibition with work by artists Bracken Hanuse Corlette and Csetkwe Fortier. The artists turn our attention toward the stcuwin (salmon) as a traditional food source via process and connection. The decline of cultural harvest due to disease, climate change and overfishing has left both animal and human in a struggle to survive; the exhibition investigates this topic with new works in painting, drawing, sculpture and digital media. The artists acknowledge an active and ongoing mentorship with artist, Lawrence Paul Yuxweluptun, throughout the creation of this exhibition. Bracken describes the relationship as multifaceted. “He has given us invaluable tips and tricks that have helped our technical process in painting and we have had good talks about concept, form, Indian politics and life, art world dealings, and the history of Indigenous art on the coast and in the Interior [of British Columbia].
By Bracken Hanuse Corlett, Csetkwe Fortier