Programs | The Activation Map

Programs

Eraser Street

April 9, 2015 to May 16, 2015
Exhibition, Publication
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.

March 6, 1990 to March 17, 1990
The Politics of Power is a series of large scale oil paintings by artist Liz Chrzan. In this series of large figurative works she is asking questions about power, and power related relationships. The paintings represent explorations and thoughts about the moral decay power encourages.

May 1, 2015 to July 31, 2015
Uncategorized
Shako club (or social club) is a project initiated by grunt gallery and the artist, and created in collaboration with members of Tonari Gumi (Vancouver’s Japanese Community Volunteers Association), an association serving primarily Japanese Canadian seniors and new immigrants to Canada. With a signature investment in both collaborative and improvisational energies, Mochizuki will spend 3 months in residence at Tonari Gumi, working in their commercial kitchen to create recipes and culinary sculptures that acknowledge equally the influence of cultural background, history, taste, aesthetic value, and an abiding love of snacks. Through an ongoing series of workshops and taste experiments, Mochizuki and Tonari Gumi members will craft interpretations of the bento box (a traditional Japanese meal set containing a selection of small dishes) that combine culinary and sculptural sensibilities with stories, memories and advice, selected with care. Mochizuki will document the workshops and process through a series of drawings and recipes available online, and the work will culminate in the distribution of custom-made, edible bento “editions” to members of the public.

June 4, 2015 to July 18, 2015
Exhibition
Dyptichs by artist Mark Igloliorte features over a hundred observational works of still lifes and studio vignette paintings, a series that has been ongoing since 2010. Painted upon torn phonebook paper, Igloliorte uses this practice to explore the ideas of place - both the studio interior and at the city, town or whole region the phonebook indexes.

August 5, 2015 to August 22, 2015
Conference, Exhibition, Performance, Publication
ARCTICNOISE is a media installation by Geronimo Inutiq (madeskimo) that draws on film footage and sound materials source from the Isuma Archive at the National Gallery of Canada, as well as sound and film materials from the artist's personal collection and other ethnographic material. Conceived as an Indigenous response to Glenn Gould's celebrated composition "The Idea of the North". Inutiq will appropriate Gould's piece as a musical score, paired with new voices and imagery to produce a layered and multi-vocal work.

September 10, 2015 to October 10, 2015
Exhibition
Castillo's work refers to a cultural past and contemporary present, fusing a hybridized aesthetic to engage issues about migration, historical trauma, identity, and memory. His narratives express a multifacted, interlocking and non-linear approach. Consequently, the body of work revises and casts new personal interpretations on memory-building as a form of resistance, political commentary and healing.

February 19, 1991 to March 9, 1991
Exhibition
Jeannie Kamins moved from Vancouver to Montreal in 1987. In November of that year Anthony Griffin, a 19 year old black youth, was shot and killed by a Montreal policeman who had a history of racial violence. This incident sparked in Kamins an extended exploration into racism. Using the Griffin murder as a jump off poiint she explored racist incidents in Canada's past such as the Komagata Maru in the early 1900's, the national policy on Jewish Immagration during World War II (None is too many), and the ongoing racist polices around native people. Kamins series is a rich and personal exploration into racial and cultural differences. She provides herself a historical backdrop and present reality through her throughts on mulitculturalism she comes to the belief that racism and differences are used in a political way to divide populations. Never reaching a commonality and suspicious of the other, we are manipulated into war and wawy from the pressing social and environmental problems that are the concern of us all.

January 29, 1991 to February 16, 1991
Exhibition
Scenes From a Marriage is an autobiographical look at Nicholson's own marriage. But it is also about the institution of marriage as it has developed in North America. The works are insightful and bristle with humour. Nicholson's meld of feminist politics and folk art aesthetics provide an exciting backdrop for this exploration of the marital arrangement. Her use of personal and family history as a site for endeavour speaks to a new feminist analysis where the personal becomes political and in the microcosm a more general picture emerges.

March 12, 1991 to March 30, 1991
The INTIFADA series is about portraiture but also about surface. The images were garnered from a supermarket tabloid and are the masks of the young Palestinian boys worn in their rock-throwing struggle with the Israeli Army. These images are surely sensationalistic, if only by virtue of their source but they are also aesthetically beautiful.

April 2, 1991 to December 20, 1991
These works are a response to the current war hysteria and the notion we haven't transcended those aspirations of being male. The title, Lay Down and Be Counted, is both a reflection of apathy and a reaction to those ideals of manhood, Ouimet considers these photographs as "sad images to live up to." Ouimet's work is seldom literal: he evokes more than he states.