- February 20, 2014 to March 22, 2014
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one man's junk questions what happens when an object shifts from a prized possession to a nonentity, and asks you to find value amongst junk, waste and the discarded. Laura Moore hand-carves blocks of limestone into outdated electronic devices. Contradicting the indispensability that most discarded electronics face, these tributes monument how once-valuable objects become undesired commodities.
By Laura Moore
medium | 84 Programs
Medium InstallationAn art assemblage, arrangement, or environment specifically created for a particular interior (a gallery space, etc.). Often temporary.
- 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
- October 25, 2013 to November 30, 2013
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location/dis-location(s): contingent promises continues Salloum’s visualization of the nature of the ‘natural’ and constructed environments. An extensive assembly of photographs, taken at various places the artist has visited over recent years, is composed through various signifiers and aesthetics. The images depict locations considered public and private, claimed and unsigned spaces, forms of the common, socio/ideological stage fronts, and domestic settings.These photographs are from Salloum’s ongoing body of work, untitled: photographs, that attempts to critically engage in the representation of public and private space. location/dis-location(s) approaches coming to terms with what it means to be making photographs here (and elsewhere) and the exploration of the possibilities of visualizing the nature of natural, urban, semi-urban, and sub-urban environments (and the totality of the constructs signified in those terms).
By Jayce Salloum
location/dis-location(s): contingent promises
- January 1, 1994 to January 6, 2016
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The Al Neil Collection includes materials on artist, musician, and writer Al Neil whose long and storied career has included grunt's Al Neil Project (see 2005.1015ALN) as a part of the LIVE Biennale of Performance Art 2005, features in brunt Magazine and the web project Ruins In Process: Vancouver Art in the 60s, and continues with grunt's involvement with the relocation, preservation, and reactivation of Al Neil and Carole Itter's cabin from the Dollarton shore. The Al Neil Collection includes physical copies of Neil's music recordings, photocopied and original articles on Neil, and various ephemera related to Neil's life and work.
By Al Neil
The Al Neil Collection
- April 11, 2014 to May 17, 2014
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10 Years of State of Emergency (État d’Urgence), a multidisciplinary visual exhibition based on a retrospective of works from 1998-2013 during État d’Urgence (State of Emergency), an annual 24-hour, 5-day refugee camp in support of people living homeless and under conditions of poverty.
By ATSA, L'Action Terroriste Socialment Acceptable
10 Years of State of Emergency
- June 2, 2014 to July 5, 2014
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Play, Fall, Rest, Dance, is an installation that continuously changes based on the creative output by children with disabilities. Valerie Salez creates an environment that encourages artistic freedom, exploration and installation-making over the course of several weeks.
By Amélie Andres, Deshik Chowdhury, Henry Yu, Isabelle Ghioda, Solange, Valerie Salez
Play, Fall, Rest, Dance
- 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
- November 1, 2014 to December 19, 2014
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grunt gallery kicks off our 30th anniversary programming with a residency and exhibition with Vancouver-based artist Julia Feyrer entitled, Kitchen. Taking the form of an evolving installation in the main gallery space, Feyrer’s work engages with materials and documentation from the grunt archives in the production of a new, site-specific environment.
By Julia Feyrer - Curated by Vanessa Kwan
Kitchen
- May 20, 2011 to May 21, 2011
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In May 2011, ATSA and grunt gallery hosted an ALL-INCLUSIVE event entitled, “The Pigeon’s Club.” This event took place at Pigeon Park, on the corner of Hastings and Carrall in the Downtown Eastside of Vancouver, BC. The event boasted a getaway complete with exterior swimming pool and deck chairs and additional tourist iconography in the heart of Vancouver’s Downtown Eastside, an area where social exclusion and human suffering are among the most intensely experienced in Canada, but where there is also the greatest concentration of mutual aid and frontline services. The Pigeon’s Club was a satirical critique of the glossy, squeaky-clean view of the world champi- oned by travel agency brochures, which extol happiness as an all-inclusive package deal. ATSA provided its own outrageous take on the whole aesthetic of the ALL-INCLUSIVE to better pull people’s strings and stir up debate. gruntKitchen produced a video by ATSA titled “in this mean time” and a video documentary of the project by Elisha Burrows.
By ATSA, L'Action Terroriste Socialment Acceptable - Curated by Glenn Alteen
The Pigeon’s Club
- September 6, 2012 to October 6, 2012
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Villeneuve makes poetic machines by assembling familiar materials that he barely transforms. His works move, emit light and produce sounds in ways that challenge one’s assumption about it’s imaginary function.
By Jonathan Villeneuve