- 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 Arcand
artist | 5 ProgramsArtists Warren Arcand
Warren Arcand currently resides on Galiano Island, BC. He’s primarily known for his work in performance art. The bulk of his work has been presented in Vancouver, with occasional forays to Victoria, Toronto, and Saskatchewan communities. His family comes from Muskeg Lake and Big River First Nations in Saskatchewan. His current interests include making images, text-based work and short film and video. He’s the past artistic director for the Centre of Indigenous Theatre, Toronto. An important formative influence on his life and work has been and continues to be his association with the artistic communities surrounding the Western Front and grunt gallery.