- July 23, 1985 to August 3, 1985
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Haunting images, startling juxtapositions, the stuff dreams are made of... Headscapes is the work of two stylistically different, yet complimentary approaches to an intriguing medium. Both artists recycle media-bourne images in order to create a new meaning. The result is often humorous, always moving; giving us an abstracted vision of ourselves and the world we live in.
By Don Thompson
Category | 313 Programs
Exhibition- April 6, 2012 to May 12, 2012
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This exhibition is comprised of multiple series of black and white photographs and a video that address the personal and sociopolitical context of working as an artist in contemporary Iranian-middle eastern culture. The sequencing of the photos fosters a subtle narrative effect in each series. The subjects addressed in the photos include embodied cultural and social confusion; alienation in a “wired” world; and loss of beauty in a socially restricted life. In these series, which are strongly affected by the political situation of Iran, after the wane of the recent social movement, Ahadi strives to represent the sociopolitical truth of his country through a number of personal spaces dominated by a profound sense of confusion and uncertainty; the truth, which is shining in the absence of those commotions.
By Ali Ahadi
Here There Nowhere, Flaccid Means Without End
- April 30, 1996 to May 18, 1996
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The concept for the "hibernacula" project has evolved from issues raised in my most recent series, "romantic notions" (see slides 1-17). The "romantic notions" series examines and interferes with the construction and results of gender based roles and stereotypes and delves into how these ideas are perpetuated in our society and within ourselves. This work was conceived from a feminist perspective and from a position of not conforming entirely to feminine models inherent in our sociall structures. In researching and examining aspects of gender and other social stereotypes in relation to the construction of identity I have begun to focus on memory in both a cultural/social and personal context.
By Leah Decter - Curated by Glenn Alteen
Hibernacula
- May 27, 2016 to June 25, 2016
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High Kicks Into the Light Forever and Ever and Ever is a new video installation by Vancouver-based artist Elizabeth Milton. Composed of a series of immersive projections that explore performative ritual and material play, the work revolves around a procession of participants meditating under the hot glow of a spotlight. Drenched in identical heavy make-up and lacquered in artificial sweat and tears, a series of ‘women’—disembodied faces displaying exaggerated markers of high femininity—form a fevered chorus-line for the camera. Melting under the heat, the performers’ make-up is a tenuous composition, eventually smeared away in a gesture of (choreographed) self-effacement. What is constructed fades, or rather, is obliterated. The make-up, so recognizable as an overstatement of gendered subjectivity, becomes a kaleidoscopic abstraction on white linen, acting as both colour field and performance document. Alongside sequences of props, costumes, and the garish refuse of novelty-store glamour, the images disarm assumptions of a composed subject, and point to the possibility of transcendence, an ecstasy in glitter.
By Elizabeth Milton - Curated by Vanessa Kwan
High Kicks Into the Light Forever and Ever and Ever
- January 4, 2013 to February 9, 2013
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“Holding Our Breath” by Adrian Stimson, is a large-scale installation based on the artist’s first hand experiences and observations at a military base in Kandahar, Afghanistan. The work is informed by conversations Stimson had with soldiers, some of which were First Nations, and his impression with daily life occurring at the military base situated in the vast Middle Eastern landscape. The work includes the Stimson’s own personal perspective of serving in the military as well as his family’s history serving in the Canadian military as soldiers and historically as Blackfoot warriors. These experiences, in addition to Stimson’s time spent in Kandahar, allows the artist to approach these topics from a perspective that questions the essence of conflict and how this links between personal, cultural, and military identity."
By Adrian A. Stimson
Holding Our Breath
- April 6, 2001 to April 28, 2001
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The exhibition featured a selection of small drawings, some framed, and making use of unconventional materials such as correction fluid and felt-tipped markers. Also exhibited were one or two large charcoal drawings, inspired by commonplace natural material such as sticks and twigs, and two large wire sculptures. Arranged on an eye level shelf were twenty-eight bottles of teeth.
By Sachi Yamabe
Holding Pattern
- September 4, 1985 to September 7, 1985
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The show consists of photographs by Oraf, of the Pitt, Brian Lynch of Available Light Studios, Juan Rey whose work appears in Angles, Daniel Collins and Bob Jemison. Because the work is so diverse we have titled the show "Homo Erratica" and hope it mirrors the complexities and ambiguities of being gay in a world that constantly flashes back images that don't reflect our realities or concerns. Guest performance by Billy Gene, "Mr Alternator Vancouver".
By Bob Jemison, Juan Rey, Oraf
Homo Erratica
- April 2, 2020 to September 1, 2020
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For grunt gallery’s curatorial contribution to Capture’s public works series, we have selected an image from Impatiently Inclined’s series, Human Nature–Last Supper. The collective, comprised of Theo Pelmus, Kris Snowbird, and Daina Warren, have been building a series of work that connects these three artists from vastly different backgrounds by finding points of commonality through process.
By Daina Warren, Impatiently Inclined, Kris Snowbird, Theo Pelmus - Curated by Whess Harman
Human Nature – Last Supper
- August 26, 1986 to September 6, 1986
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".. You can expect to see : a saxophone, an xylophone, Colonel Sanders, Spiderman, pink fluorescent eggs, a whirling dervish, a devil dancer, a pair of ears, black enamel paint, a basketball hoop, Billy Graham, ET, a zeliva, a mirror, Dr X, acetate, text, pieces of a hair dryer, 1/2 of a frisbee, watercolours, a lizard, a purple bag and much more."
By Roy Green
Hyper-Modern !?
- September 23, 1986 to October 4, 1986
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No description available
By Gallery Members