- 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
medium | 42 Programs
Medium Film & VideoWork including film or video elements either digital or analogue, not to be applied to work that has been documented with film or video but is otherwise not film or video-based.
- January 10, 2014 to February 8, 2014
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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
Nothing to Lose
- June 4, 2004
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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
Miss-Adventures: Museum
- March 16, 2012 to March 31, 2012
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H2O Cycle is a series of three videos shot in and around English Bay in Vancouver, BC. These videos were presented in grunt’s Media Lab as a loop for the duration of the exhibition.This can be understood in contrast to another group of his videos, RGB Cycle, where colour rather than water form the basis of his working methodology. Roux’s process can be characterized by a constant back and forth between complexity and simplicity, experiment and analysis. Gradually, his work finds its place between what he has in mind and what he encounters while wandering through the landscape. This exhibition was produced in conjunction with CSA Gallery.
By François Roux
H20 Cycle
- 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 5, 2013 to May 4, 2013
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The exhibition features several installations that reveal the curious fictional world that the artists refers to as, Lamb's Performing Objects. Russian lacquerware, rusty metal household objects and clockwork mechanisms perform in Bits and Tatters, the first installment of a video trilogy. Accompanying this video is a song that Lamb wrote and produced with composer and singer, Beverly Dobrinsky.
By Laura Lamb
Strange Songs of Trust and Treachery
- May 10, 2013 to June 8, 2013
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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
Background/ ThisPlace
- July 15, 2014 to August 9, 2014
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Initiated by filmmaker Rodrigue Jean, Épopée is a collection of short films written and made in collaboration with male drug addicts and sex trade workers in Montreal. The installation L’État des lieux (The State of the Moment) and film screening of L’État du monde (The State of the World) was co-presented by grunt gallery, Queer Arts Festival and Dazibao.
By Épopée – Groupe d’action en cinéma, Rodrigue Jean - Curated by Tarah Hogue
Épopée – L’état des lieux
- September 11, 2014 to October 11, 2014
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Vancouver-based artist Hyung-Min Yoon presents a series of images that draws from an obscure collection of marginal religious illustrations by Albrecht Dürer. Originally used to surround religious texts, Hyung-Min Yoon re-imagines their placement and purpose by framing them around contemporary political jokes of various cultures in their original languages.
By Hyung-Min Yoon