medium | 10 ProgramsMedium Time Based
- June 24, 2004
"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 Arcan
- April 9, 2004 to May 8, 2004
Ciona constructed a 'nest' or 'web' out of rope and string, both constructing and inhabiting it during the gallery's open hours. The 'unseen interval' refers to the sense of wonder that a viewer must experience upon witnessing a project or construction in progress, leaving for a period of time, and returning to find the creation has progressed into something new or more complete.
By Joelle Ciona
- May 9, 2003 to May 31, 2003
German painter Jochen Twelker will travel from Berlin to work on what he calls "an anthology of pattern and ornament". Short Cuts will be painted directly on the walls of the gallery, transforming it into an ephemeral canvas whose images must be painted over when the exhibition ends. At first glance his painted installations appear as pure abstraction, but closer examination reveals multi-coloured fabrics and clothes - fashions of countless times, cultures, and tastes. Languages of painting, image, and associative meaning are spoken in a riot of colour and shape, a feast for the senses.
By Jochen Twelker
- April 4, 2003 to April 26, 2003
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
- May 10, 2013 to June 8, 2013
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
- July 5, 2013
On July 5th, 2013, artist Lisa Simpson transforms grunt gallery during a full-day performance involving sewing, music and sound, and social interaction. The project, Agente Costura, questions clothing consumption habits, bringing forth a discussion around the sustainability of the fashion industry.
By Lisa Simpson
- June 4, 2004
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
- January 10, 2014 to February 8, 2014
Beirut artist, Rabih Mroué, returns to Vancouver with a video installation exhibition entitled, Nothing To Lose. This exhibition questions what we know and what we have read, the tumultuous relationship between fact, fiction and construed narratives. Mroué’s practice explores the media’s ability to reinterpret and misinterpret, and the subjective impact this has on the public. His performances are both conceptually and politically bold, using the backdrop of Lebanon to construct works that speak to everyone. His practice emerges from a generation of artists in Beirut that came of age during the civil war (1977-1990); works often address the aftermath, using photography and video to deconstruct and reconstruct its devastating consequences.
By Rabih Mroué