- August 28, 2014 to December 31, 2014
Grunt’s 30th anniversary is in many ways about finding surprising things in familiar spaces. As we witness internationally the proliferation of artists’ practices that seek or are influenced by “the social”, and as we consider also our own hyper-local connections here in the Mount Pleasant community, ideas of engagement have been top of mind. In some aspects, it’s a question of support: how can we as curators or institutions support practices that no longer adhere to the traditional expectations of the exhibition? How might forms of engagement be broad, rigorous, unexpected, productive—as well as charismatic? How might we promote spaces of common connection while maintaining challenging content, unique collaborations, and productive friction? No clear answers of course, but in this, as in most things, we turn to artists. Our program of 30th anniversary artist projects is designed to engage on diverse levels. Focussing on projects that take place outside the gallery walls in public or shared spaces, our intent has been around finding productive intersections between art practices and community concerns—be they spatial, discursive or social. Our first project is a 3-month long residency with artist Julia Feyrer within our archive, Media Gallery and Main Gallery spaces. Beginning with the idea of “The Kitchen”—at times the creative and social heart of the grunt gallery—Feyrer will create a new installation and media commission that incorporates elements of grunt’s rich archive of performance and exhibition documentation, as well as the lesser known and harder-to-trace narratives of social connection and creative foment that have informed this institution. Process-based and meticulously—if playfully—constructed, Feyrer’s work is both densely material and intellectually airy; that is, her work challenges the viewer to engage both a tactile experience in this present moment, while simultaneously considering the transformative potential of perception, over time and through space. Feyrer’s use of film and sound acts as a conduit for seeing and, importantly, for experiencing an archival document. As part of a program we’re calling “Brew”, artists Sonny Assu and Lorna Brown have created “social objects”– artist editions that are designed to circulate in the social spaces such as bars or restaurants in Mount Pleasant. Here, engagement is potentially fleeting, but the objects themselves act as small moments of contact—an aesthetic and poetic complement to the fabric of life in this neighbourhood. Brown’s work—a refillable beer growler—specifically calls for a consideration of time and place, and considers the question of cyclical return. Calling to mind questions of history, of habit, of paths built and repeated. Other Brew projects will be announced later in the season, but each piece places artists into specific conversations with spaces and community members. From embedded residencies within community groups, to artist-designed objects, to intervention practices and artist-led discussions, this series opens a sociable consideration of this neighbourhood, and—we hope—proposes a kind of tenderness for the spaces we share. These porous, attentive practices encourage us to connect, to see differently, to return each time with a new perspective.
By Alistair MacLennan, David Khang, Julia Feyrer, Lorna Brown, Marcus Bowcott, Sonny Assu
- Curated by Glenn Alteen, Vanessa Kwan
Category | 19 ProgramsPublication
- May 10, 2019 to June 22, 2019
dot.dot.dot. brings together Seoul-based artists Sejin Kim and InYoung Yeo for their first presentations in Canada. Working at the intersection of media and installation, Kim and Yeo’s practices explore the omnipresence of interactive technologies and their varying effects on human experience.
By InYoung Yeo, Sejin Kim
- Curated by InYoung Yeo, Vanessa Kwan
- April 19, 2019 to April 21, 2019
Together Apart has been envisioned as a way of making and holding space for 2SQ/Indigiqueer folks to come together and to be in dialogue with one another so that we might centre the conversations we’d like to hear or that we feel have been absent in our communities. However, our intentions are also simple: to celebrate and enjoy one another’s creativity and dedication to our practices, and to recognize one another in such a way that speaks across the distances we experience in our living and movement through our worlds.
By Afuwa, Anne Riley, Arielle Twist, Bo Dyp, Cease Wyss, Chandra Melting Tallow, Demian DinéYazhi’, Edzi'u, Evan Ducharme, fabian romero, Kali Spitzer, KERUB, La Tisha Rico, Lacie Burning, Lindsay Nixon, Mourning Coup, Niilas Helander, Ostoro Petahtegoose, Riley Kucheran, Storme Webber, Vi Levitt, Whess Harman, With War
- Curated by Kali Spitzer, Whess Harman
- 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 21, 2018
The Making of an Archive (2014–ongoing) is a project initiated by Canadian artist Jacqueline Hoàng Nguyễn. The project composed of digitizing workshops, which aims to record the everyday life and civic engagements by immigrants and amateur photographers. The photographs are digitized and their accompanying narratives are recorded, thereby preserving records of personal histories in order to address the absent representation of multiculturalism in official archives. Focusing on digitizing printed matter, e.g. 35mm or 120mm photographs, slides or Polaroids, Nguyễn believes that immigrants who documented their daily life when they came to their new country are in danger of becoming forgotten or lost, thus losing complex and complicated histories of migration. By building this alternative structure of personal images, the artist aims to create a new archive that seeks to represent the fractured ideology of multiculturalism from the bottom up where forms of civic engagement within a structure of kinship or even in solidarity with other communities can be observed. The Making of an Archive questions existing frameworks for archival history-making, and chooses instead a trajectory of collective exploration. Drawing again from the artists’ reference to ‘space fiction’, speculation here leads to a kind of cultural star-gazing: seeing fragments of this nascent archive reminds us of vast possibilities—reflections of lives already lived, and new frameworks for a future we have yet to see. Priority is given to histories of migration from people who identify as people of color (POC).
By Jacqueline Hoàng Nguyễn
- Curated by Dan Pon, Maiko Tanaka, Vanessa Kwan
- September 25, 2020 to December 12, 2020
Vancouver-based printmaker Marlene Yuen’s explorations of Chinese Canadian labour histories have through the years taken the form of intricately produced print and paper-based media. Through ‘zines, comics, lovingly crafted artists books and – new for this exhibition – site-specific artworks, Yuen’s body of work comes off the pages and onto the walls. In precise and attentive craftsmanship, Yuen brings dimension to both the known and the overlooked histories of immigrant labour. Drawing from oral histories and archival research inspired by Yuen’s own family history, Cheap! Diligent! Faithful! acknowledges the complexities of labour and immigration in this country – and lifts up the small, remarkable details of lived experience. The exhibition includes the launch of Yuen’s new publication that explores the graphic and cultural history of Ho Sun Hing Printers which closed in 2014, after 106 years of business in Vancouver’s Chinatown.
By Marlene Yuen
- Curated by Vanessa Kwan, Whess Harman
- October 28, 2016 to December 10, 2016
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
- February 22, 2018 to April 21, 2018
Requiem for Mirrors and Tigers is a series of six documented video performances by Guatemalan artist Naufus Ramírez-Figueroa. This series documents interrelated performances and were produced for the camera. Commissioned by the Corpus Network and produced in association with If I Can't Dance, Amsterdam the series features the artist working both in solo performances and with an ensemble in an ethereal and captivating series of performances. For Requiem, Naufus Ramirez-Figueroa developed a cycle of new performance works. Across the punctuated moments of the cycle, Ramirez-Figueroa used his body and direct action to perform a series of images related to the history of the Guatemalan Civil War. Approaching the Civil War from a personal position, he has softened this images through abstraction and humour, while attempting to use the intensity of the performance schedule to push beyond the immense force of the collective and inscribed memory of the war's history. Beyond the live performances, the cycle of works form a collective of videos.
By Naufus Ramirez Figueroa
- Curated by Susan Gibb
- October 1, 2005 to December 31, 2016
Showcasing the artists exhibiting at grunt gallery, brunt magazine is a complement to the exhibitions and a closer look at the artists, their processes and the ideas that inspire their work. This collection contains administrative and other documents related to the publication. Full issues can be viewed and downloaded at bruntmag.com
By Adrian Stimson, Al Neil, Andrea Cooper, ATSA, Carole Itter, Cheryl L'hirondelle, Chrystal Kruszelnicki, Claude Perreault, Dana Claxton, Darren O'Donnell, David Khang, David Neel, Dimitry Strakovsky, Dina Gonzales Mascaro, Edgar Heap of Birds, Enpaauk Andrew Dexel, Felicia Gay, Geoff Carter, Greg Statts, Hans Winkler, Harold Coego, Heloise Audy, Infrasense, Irene Loughlin, Jackson 2Bears, Jake Hill, Jason Fitzpatrick, Jeff Thomas, Johannes Zits, Joi Arcand, Joseph Kohnke, Jude Norris, July Faubert, Karen Kazmer, Keith Langergraber, Kevin Mackenzie, Kuh Del Rosario, Laurie Anderson, Lawrence Paul Yuxweluptun, Margaret Dragu, Martin Beauregard, Maurice Spira, Mirificus, Nathalie Ball, Naufus Figueroa Ramirez, Pam Hall, Rebecca Belmore, Roger Crait, Rolande Soulierre, Sadko Hadzihasanovic, Skeena Reece, Terrance Houle, Trevor Freeman, Victoria Singh, Wally Dion