- July 5, 2012 to August 4, 2012
BLIZZARD: Emerging Northern Artists looks at indigenous artists working in the North who are using their traditions to forge new ideas around contemporary art. The exhibition and publication, in development for over two years, looks at the influence of Inuit and Northern traditional art forms and how these are translated by a younger generation of artists whose roots are in the North. How does the landscape and context of the North influence the visions of its young artists and how do our interpretations of that dreaming - our preconceptions about the North - influence our understanding? Curated by Artist/Curator Tania Willard, BLIZZARD looks at a younger generation of Northern Artists breaking barriers by questioning relationships that tie North and South.
By Geronimo Inutiq, Jamasie Pitseolak, Nicholas Galanin, Tanya Lukin Linklater
- Curated by Tanya Willard
medium | 50 ProgramsMedium Sculpture
A work of art carried out (caved, cast, modeled, or otherwise) in three dimensions.
- September 5, 2013 to October 12, 2013
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
- February 20, 2014 to March 22, 2014
one man's junk questions what happens when an object shifts from a prized possession to a nonentity, and asks you to find value amongst junk, waste and the discarded. Laura Moore hand-carves blocks of limestone into outdated electronic devices. Contradicting the indispensability that most discarded electronics face, these tributes monument how once-valuable objects become undesired commodities.
By Laura Moore
- July 21, 2016 to August 20, 2016
Four Faces of the Moon is multi-media installation that provides a behind-the-scenes glimpse into the elaborate sets, puppets, and props created for the new stop motion animated film by the same name. The story is told in four chapters, which explore the reclamation of language and Nationhood, and peel back the layers of Canada’s colonial history. A personal story told through the eyes of director and writer Amanda Strong, as she connects the oral and written history of her family as well as the history of the Michif (Métis), Cree and Anishinaabe people and their cultural ties to the buffalo. Canada’s extermination agenda of the buffalo isn’t recorded as fervently as it was in the United States, yet the same tactics were used north of the border to control the original inhabitants of the land. This story seeks to uncover some of that history and establish the importance of cultural practice, resistance and language revival from a personal perspective. Artistic collaborators include: Bracken Hanuse Corlett, Raven John, Femke van Delft, Chloe Bluebird, Dora Cepic, Dusty Hagerud, William Weird, Daniel Guay, Lydia Brown, Terrance Azzuolo, Callum Paterson, Tim Daniel, Joce Weird, Ian Nakamoto, Lynn Dana Wilton, Zed Alexander, Danielle Wilson, Damien Buddy Eaglebear, Colour Sound Lab Studio, Boldly Creative, Outpost Media and Menalon Music, along with the support of many others.
By Amanda Strong
- Curated by Glenn Alteen
- June 15, 2018 to July 28, 2018
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
- September 7, 2018 to October 20, 2018
In conjunction with the Textile Society of America conference being held this September in Vancouver, grunt gallery presents Woven Work From Near Here, curated by Emily Hermant and T’ai Smith. Inspired by traditional weaving practices—including Indigenous methods for weaving blankets and baskets alongside structures and patterns that have come from elsewhere—the exhibition presents recent experiments by artists who live and work near here. Juxtaposing materials and methods, the works in the show stretch what it means to be a woven textile. The curators understand being “near here” as a spatial and temporal condition that defines the region currently known as the Pacific Northwest—a mesh of overlapping Indigenous and Settler cultures, legal-political systems, and territories. To live, work, and weave near here is to contend daily with the legacy of colonial settlement and expropriation. Marked by the dislocation of Indigenous weaving traditions between the early decades of the 20th century and the 1980s—decades after the Potlatch ban in Canada was lifted in 1951—the region has seen the re-emergence of this conceptual, functional, aesthetic and spiritual form. At once capacious and precise, new developments in weaving signal the potential of this practice to realign protocols and values.
By Debora Sparrow, Gabrielle L’Hirondelle Hill, Hank Bull, Jovencio de la Paz, Kerri Reid, Matt Browning, Melvin Williams, Merritt Johnson
- Curated by Emily Hermant, T'ai Smith