- September 11, 1992
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No description available
By Margo Kane - Curated by Aiyanna Maracle, Glenn Alteen
curator | 79 Programs
Curators Glenn Alteen- April 21, 2012 to April 28, 2012
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Ghostkeeper is the first major look back at the extraordinary art practice of Ahasiw Maskegon-Iskwew (1958-2006). Ahasiw was among the first aboriginal artists in Canada to work in performance, and the internet. Ahasiw Maskegon-Iskwew's work as a curator, producer, and writer laid important groundwork for Aboriginal artists in these fields. He is an important voice in the development of these media within the aboriginal communities and beyond.
By Adrian A. Stimson, Ahasiw Maskegon-Iskwew, Archer Pechawis, Cheryl L'hirondelle, Elwood Jimmy, Sheila Urbanoski - Curated by Glenn Alteen, Malcolm Levy
Ahasiw/Ghostkeeper
- June 4, 2015 to July 18, 2015
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Dyptichs by artist Mark Igloliorte features over a hundred observational works of still lifes and studio vignette paintings, a series that has been ongoing since 2010. Painted upon torn phonebook paper, Igloliorte uses this practice to explore the ideas of place - both the studio interior and at the city, town or whole region the phonebook indexes.
By Mark Igloliorte - Curated by Glenn Alteen
Diptychs
- April 9, 2015 to May 16, 2015
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Eraser Street – Hubris, Humility and Humanity in the Making of a City! is an exhibition that mixes Robideau’s newest and oldest photographs of moments, milestones and monuments in Vancouver, tracing the character of the city and its residents during the last 40 years of non-stop growth. The work reflects upon the quality of life in Vancouver, the value of heritage, the economic engine of development, homelessness and the voice of the people. Robideau’s holographic satirical text charts history while critiquing the forces of government and commerce that have had a hand in shaping our urban environment. Handmade black and white gelatin silver photographs are juxtaposed with computer mediated digital inkjet prints, reinforcing the flux of change experienced in these images. Robideau’s narrative embraces a lament for what has been lost, a celebration for what has survived, and an admonition for the future of a city still in its infancy.
By Henri Robideau - Curated by Glenn Alteen
Eraser Street
- July 2, 2019 to August 3, 2019
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This photographic exhibition features five large-scale digital photographs by Belmore produced in late 2017 and early 2018. The works were commissioned by grunt gallery and include witness, matriarch, mother, madonna, and keeper.
By Rebecca Belmore - Curated by Glenn Alteen
nindinawemaganidog (all of my relations)
- May 25, 2017 to May 29, 2017
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grunt gallery launched of Journey to Kaho’olawe, an artist publication by Hans Winkler and T’uy’t-tanat Cease Wyss. The artist book is the result of a four year process centred on the Hawaiian Island of Kaho’olawe, a sacred site to the Hawaiians in recovery after being occupied as a practice range by the American military. Returned to the Hawaiians in the 1990s, the island is being remediated and returned to its natural state. The publication also documents the Kanaka presence in British Columbia since the late 1700s when Native Hawaiians travelled to BC with some staying and marrying into the Squamish peoples on the BC Coast and many other indigenous communities throughout the region. With texts by Wyss and historians Jean Barman and Bruce McIntyre Watson in addition to Hans Winkler the book represents the four year research project by the artists. In conjunction with the launch of the publication grunt gallery and the artists presented a week long series of events celebrating Kaho’olawe and the Kanaka presence in BC from May 25 to the 29th, 2017.
By Hans Winkler, T'uy't-tanat Cease Wyss - Curated by Glenn Alteen
Journey to Kaho’olawe
- March 5, 2019
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In 2008 Rebecca Belmore produced the video installation March 5, 1819 recreating the abduction of the Beothuk woman Demasaduit and the murder of her husband Nonosabasut by colonialist settlers in Newfoundland. This video installation is not a historical reenactment, rather the actors are in modern dress and Belmore questions what has changed over the past 200 years. March 5, 1819, was commissioned by The Rooms in St John’s and has also been exhibited in Ottawa and Toronto. Set at Red Indian Lake in central Newfoundland March 5, 1819 was filmed in Vancouver at Mount Seymour. March 5, 2019, marks the 200th anniversary of these events. It was announced earlier this year that their skulls will be returned to the Canadian Museum of History from the University of Scotland. As we grapple with reconciliation it is fitting to remember the history that brought us to this place. grunt will celebrate the re-launch rebeccabelmore.com, a website documenting Rebecca Belmore’s career over the past 32 years. The new site features content that spans Belmore’s career in all media, taking the user deep into the heart of her practice.
By Rebecca Belmore - Curated by Glenn Alteen
March 5, 1819
- September 6, 2019 to October 19, 2019
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Anton Cu Unjieng’s intricately taped, fired, and stacked ceramics are a response to recent political actions in his homeland in the Philippines. The Duterte regime’s mass killings have been officially classified as nanlaban, Filipino for ‘fought back.’ The stack arrangements in Cu Unjieng’s work are not only a monument to the regime’s precarious strength, but also to the possibility of fighting back.
By Anton Cu Unjieng - Curated by Glenn Alteen
A study in restraint, nanlaban
- January 11, 2019 to March 2, 2019
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This new series of work by Mexican Canadian artist Carlos Colín merges symbols of Latin American conceptualist art, and Latin American colonialist history, past and present, and its diaspora. Working with archives, books, footage, and audio material related to Latin American history, the artist creates a work based on photographs, text and/or audio with parallels between, arts, politics, religion, and society.
By Carlos Colín - Curated by Glenn Alteen
Strident Aesthetic. Towards a new liberation
- March 15, 2019 to April 27, 2019
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An Exploration of Resilience and Resistance is about identity, culture, strength, vulnerability, and love; these images are about resilience and resistance. In this series, artist Kali Spitzer is photographing her community of mostly Indigenous and mixed heritage people, while challenging pre-conceived notions of race, gender, and sexuality to touch on how we can become more empathic, empowered people despite the hardships that we have endured. Spitzer uses tintype photographs to capture her subjects. Tintype or ferrotype photography was a product of the late 1800s and most popular during the US Civil War. The medium persisted into the 20th century at fairs and carnivals as tourist photography. In the 21st century, it has been revived as novelty or art photography. The tintype was the first real populist form of photography, making photographs available to working class people reaching out through popular events and gatherings.
By Kali Spitzer - Curated by Glenn Alteen