- 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
724 Programs
Programs- July 5, 2012 to August 4, 2012
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BLIZZARD: Emerging Northern Artists looks at indigenous artists working in the North who are using their traditions to forge new ideas around contemporary art. The exhibition and publication, in development for over two years, looks at the influence of Inuit and Northern traditional art forms and how these are translated by a younger generation of artists whose roots are in the North. How does the landscape and context of the North influence the visions of its young artists and how do our interpretations of that dreaming - our preconceptions about the North - influence our understanding? Curated by Artist/Curator Tania Willard, BLIZZARD looks at a younger generation of Northern Artists breaking barriers by questioning relationships that tie North and South.
By Geronimo Inutiq, Jamasie Pitseolak, Nicholas Galanin, Tanya Lukin Linklater - Curated by Tania Willard
Blizzard: Emerging Northern Artists
- 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
- September 12, 2013 to September 15, 2013
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Media and installation artist Josephin Böttger presents a new work entitled Dynamo Lines, which looks at the fragmentation of cityscapes caused by social constructs, urban development, traffic, lights and movement. Three looped video projections depict time-lapsed motion and light from various vantage points of city grids and traffic. Working with musician Sergej Tolksdorf, Böttger’s video installation includes footage of actors emerging as a work team, observing busy highway arteries. But their movements are edited so they appear sporadic, contrapunctual to the rythm and flow of light from the streets. Josephin Böttger presented Trapez at New Forms Festival. The video documents the construction work that occurs at a building site; time and reality is distorted by time lapses and drawn elements that blend into the footage. The video examines construction and demolition, both key components of urban development.
By Josephin Böttger, Sergej Tolksdorf
Dynamo Lines/Trapez
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No description available
Exquisite Corpse
- September 5, 2013 to October 12, 2013
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A multimedia exhibition with work by artists Bracken Hanuse Corlette and Csetkwe Fortier. The artists turn our attention toward the stcuwin (salmon) as a traditional food source via process and connection. The decline of cultural harvest due to disease, climate change and overfishing has left both animal and human in a struggle to survive; the exhibition investigates this topic with new works in painting, drawing, sculpture and digital media. The artists acknowledge an active and ongoing mentorship with artist, Lawrence Paul Yuxweluptun, throughout the creation of this exhibition. Bracken describes the relationship as multifaceted. “He has given us invaluable tips and tricks that have helped our technical process in painting and we have had good talks about concept, form, Indian politics and life, art world dealings, and the history of Indigenous art on the coast and in the Interior [of British Columbia].
By Bracken Hanuse Corlett, Csetkwe Fortier
Don’t Go Hungry
- 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 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
- 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
one man’s junk
- March 28, 2014 to April 11, 2014
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Matt Troy, grunt’s Media Lab artist-in-residence, has invited artists and teams around the globe to participate and facilitate interactive art websites. The exhibition includes the premiere of three commissioned artworks by Vancouver-based artists Patrick Daggitt, Dan Leonard, and Sammy Chien. Five international artworks will be screened by Kim Asendorf (Germany), Michael Borris (France), Joseph Yølk Chiocchi (United States of America), Chris Collins (United States of America) and James Hicks (United Kingdom). These nine art sites include a tool to create something: a file, jpeg, mp3, gif, or text. Each file explores a component of human sensory interaction: sound and audio; touch and feeling; seeing and being seen; commerce and language. User engagement with these tools creates a file that is catalogued and immortalized forever online. The role of the traditional ‘artist’ is subverted as the artists act as facilitators, programmers or playground supervisors within this online landscape. The audience is encouraged to explore these digitally created tools, producing new works by interaction and participation.
By Chris Collins, Dan Leonard, James Hicks, Joseph Yølk Chiocchi, Kim Asendord, Matt Troy, Michael Borris, Patrick Daggitt, Sammy Chien - Curated by Matt Troy