- January 8, 2015 to March 15, 2015
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Mainstreeters: Taking Advantage, 1972-1982 is an exhibition, website and publication that takes a close look at a self-identified collective of socially and artistically motivated men and women who came of age on Vancouver’s Main Street—once the dividing line between a predominantly Anglo middle-class west side and a multicultural working-class east side. The exhibition at Satellite Gallery contributes to the larger project of bringing to light an under-recognized chapter of Vancouver art history. The Mainstreeters—Kenneth Fletcher, Deborah Fong, Carol Hackett, Marlene MacGregor, Annastacia McDonald, Charles Rea, Jeanette Reinhardt and Paul Wong—were an “art gang” who took advantage of the times, a new medium (video), and each other. Emerging from the end-stage hippie era, the gang drew from glam, punk and a thriving gay scene to become an important node in the local art scene. Their activities connect the influential interdisciplinary salon of Roy Kiyooka in the early 1960s with the collective-oriented social practices that emerged worldwide in the early years of the 21st century. Like the current “digital natives” generation, the Mainstreeters were the first generation to grow up with video cameras. The resulting documents bring into focus a decade of their lives, including forays into sex, love, drugs and art.
By Annastasia McDonald, Carol Hackett, Charles Rea, Deborah Fong, Jeanette Reinhardt, Kenneth Fletcher, Marlene MacGregor, Mary Janeway, Paul Wong - Curated by Allison Collins, Michael Turner
medium | 40 Programs
Medium Photography / Photo-based WorkWork including photographic elements either digital or analogue, not to be applied to work that has been documented photographically but is otherwise not photo-based.
- November 28, 2002 to November 30, 2002
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A performance by Cheli Nighttraveler that will be presented as the closing event for Nadia Myre's Indian Act.
By Cheli Nighttraveller
My Mother’s Smile
- October 21, 1986 to November 1, 1986
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"Chisholm uses the medium of photography in an unusually straight-forward way, recording faithfully the image his eye has defined."
By Michael Chisholm
Mysterious, The
- 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)
- January 4, 1989 to January 14, 1989
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Open Heart: 1999 Members Group Show: Dawn Richard, Jean MacRae, Danielle Peacock, Daav MacNab, David Asmodeus, Polly Bak, Georgie Haggerty, Garry Ross, Ken Gerberick, Kempton Dexter, Spike, Joey Schwartzman, Merle Addison, Hillary Wood, Pat Beaton
By Daav Macnab, Danielle Peacock, David Asmodeus, Dawn Richards, Garry Ross, Georgie Haggerty, Hillary Wood, Joey Schwartzman, Kempton Dexter, Ken Gerberick, Merle Addison, Pat Beaton, Polly Bak, Spike
Open Heart (5th annual members show)
- December 11, 1984 to December 22, 1984
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No description available
By Garry Ross
Photographs
- March 6, 2020 to April 11, 2020
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For her first solo exhibition in Vancouver, Meagan Musseau presents a body of work from her ongoing research responding to Beothuk and Mi’kmaq visual culture. Musseau uses a multi-disciplinary practice that involves archival research, land-based action, video, drawing, and sculpture to explore land, language, and design. By telling stories about cultural belongings from the perspective of a contemporary L’nu woman living on Ktaqmkuk (Newfoundland), Musseau’s work transfers knowledge from archived collections into contemporary visual consciousness. A braided sculpture made during a land-based action in Musseau’s home region of Elmastukwek (Bay of Islands, NL) forms the physical and conceptual center of the exhibition. While the act of endurance required to create the 22 foot braid connects to stories and nomadic histories of the Mi’kmaq, the object itself carries the history of the land in its creation. A series of tall sculptures rendered in engraved plexiglass reference Beothuk caribou bone pendants that Musseau visited during museum research. Evoking the artist’s experience of visiting cultural belongings through plexiglass cases, the sculptures re/awaken their designs by enlarging them to a human scale and presence. A site specific wall installation integrates the material qualities of the braid with graphic elements from the pendant designs. These textures surround an image of Musseau beside one of Santu Toney, a woman living in the early 1900s with mixed Mi’kmaw and Beothuk ancestry. Musseau’s work seeks to honour Santu by highlighting the transmission of knowledge that exists between past, present, and future generations. pi’tawkewaq | our people up river presents contemporary cultural belongings that index and render tangible Musseau’s active practice of building and maintaining her relationships to land and ancestor artists. She uses her perspective to overturn colonial narratives of disappearance and instead addresses the role of interterritorial relationships between the two nations as a guiding methodology.
By Meagan Musseau - Curated by Laurie White
pi’tawkewaq | our people up river
- October 8, 2004 to October 30, 2004
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Skai Fowler and Jose Ramon Gonzalez both employ multiple exposures in a series of photographic self portraits. By superimposing body upon body, a dialogue iscreated between light and dark, shadow self and public persona, and the presence of the moment in an extended period of time. Voyeurism and exhibitionism join hands in this expression of human complexity as the line between subject and object is lost in layers of visual suggestion.
By Jose Ramon Gonzalez, Skai Fowler
Radiant Flesh
- November 2, 2018 to November 13, 2018
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Recollective: Vancouver Independent Archives Week 2018 takes place from November 2 – 13, 2018 as a series of free public events, panels, conversations, and screenings that highlight artist-run centre archives, artists working with archives, and the intersections between contemporary art practices and social movements in Vancouver. The program significantly expands on the work begun through previous archival projects: Activating the Archive and Vancouver Independent Archives Week. Taking the focus and format of these events as a starting point, Recollective broadens the context, understanding, and awareness of independent archives by exploring what is at stake when artists and arts organizations confront the tasks of arranging, describing, preserving, and providing access to material history. In 2018, Recollective features perspectives and approaches to archival practice through grassroots strategies, collective organizing, hybrid models, DIY spaces, open source solutions, and counter- archives that facilitate ownership of community memory by and for community. This series of events will emphasize the reciprocal influence between contemporary culture and social movements by drawing attention to shared experiences and struggles across diverse communities.
By !Kona, Casey Wei, Christine D’onofrio, Cindy Mochizuki, Dr. Anne Murphy, Dr. Glenn Deer, Dr. JP Catungal, Dr. Sunera Thobani, Elisa Ferrari, Elizabeth MacKenzie, Josh Gabert-Doyon, Laiwan, Laura Cuthbert, Melanie Hardbattle, Raghavendra Rao K.V., Salia Joseph, Samantha Nock, Sid Chow Tan, Syrus Marcus Ware
Recollective: Vancouver Independent Archives Week
- October 5, 1999 to October 23, 1999
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Still: a photograph. A moment in performance. Still: First Nations people survive. Blatant injustices are not addressed. Still: Indians stand up and claim space. In that space the stories are re-told, re-interpreting what was assumed understood. The space becomes part of the moccasin telegraph: a gathering place, a communal council fire. Grievances are aired. Relations are shown. News of the community is examined, the larger community of Indianess considered...(for full curatorial statement see attached exhibition brochure below)
By Merle Addison - Curated by Archer Pechawis