- 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
medium | 84 Programs
Medium InstallationAn art assemblage, arrangement, or environment specifically created for a particular interior (a gallery space, etc.). Often temporary.
- 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
- November 12, 1996 to November 30, 1996
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No description available
By Fiona Bowie - Curated by Glenn Alteen
Swell
- May 9, 1989 to May 20, 1989
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The Synthetic Monolith is Robin Peck's translation of the structural language of architecture and engineering into the plastic, representational or synthetic language of sculpture. Peck refers to this work as Anti- Proun, that is, anti-utopian or anti-constructivist. He uses materials of architecture, of the contemporary built environment and the recycled detritus from the culture of consumerism in a different, synthetic, sculptural way.
By Robin Peck
Synthetic Monolith, The
- 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
- June 21, 2013 to July 27, 2013
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"The Big Foldy Painting of Death is a kind of west coast Canadian visual journey through its creator's mind in large scale. It's not an illustration of death or an entirely allegorical painting, but more a meditation on environment and social structures of Western Canada" Noah Becker
By Ian Forbes
The Big Foldy Painting of Death
- June 15, 2018 to July 28, 2018
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When Jeremy Borsos and his wife, Sus, took on the remediation of the Blue Cabin, we at grunt never expected what would eventually come out of it! Using historical materials, they took the structure apart, methodically cleaned every inch, and replaced the rotted out bits. They insulated the walls and fixed the floor. Essentially, they treated it as an archaeological site, collecting its history in scraps of newspapers and mouse nests and, in an archival process, painstakingly saved what remained. The humble structure revealed itself slowly over the six-month period of the restoration and culminated – when they took up the floor – in the discovery of almost 40 posters that had been put there in 1927 to prevent the floor from squeaking. In this exhibition, the Borsos’ present a body of work that documents this journey, while providing us a history of the cabin before Al Neil and Carole Itter’s tenancy, and offering us new insights into the earlier inhabitants— squatters, and marine workers on the foreshore.
By Jeremy Borsos, Sus Borsos - Curated by Glenn Alteen
The Blue Cabin
- April 18, 1996
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A collaboration of photography and performance documenting a journey of transformation through gender and the shadow. Photography, through darkroom manipulation of multiple images incorporated into a single photograph illustrating the journey with 8 to 10 images printed with liquid light on large format fibre-based paper. Performance, to tell the story through a combination of music-partly pre-recorded and composed by the author and two additional musicians as well as through spoken word, teatre and movement.
By Rosamond Norbury, Star Maris - Curated by Glenn Alteen
The Last Sunrise
- 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
- May 11, 1999 to May 29, 1999
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With a change in direction, Vancouver artist Carole Itter exhibits The Pink Room at the grunt gallery. Her prior large scale found object assemblages dealt with urban or rural ecological issues on the West Coast. With this installation, another facet is explored--more personal and emotional--dealing with the impact of deep grief and irreconcilable loss.
By Carole Itter