curatorial-talk

The Or Gallery is pleased to present a curatorial talk by Montreal curator Mark Lanctôt. Lanctôt graduated with an MA in Art History from the Université de Montréal in 2002. He has been a curator at the Musée d’art contemporain de Montréal since October 2006, during which time he’s curated solo shows by Yannick Pouliot, Tacita Dean, Marcel Dzama, Runa Islam and Daniel Young & Christian Giroux as well as an exhibition of works from the Musée’s Collection entitled .other spaces. He’s co-curated the definitive retrospective of Canadian abstract artist Claude Tousignant and is once again part of the curatorial team behind the Musée’s Québec Triennial. He’s also coordinated a presentation of Israeli artist Guy Ben Ner’s Treehouse Kit and Canadian photographer Arnaud Magg’s travelling exhibition Nomenclature. Forthcoming for the Musée, he is preparing a major solo presentation of the work of Montreal painter Pierre Dorion.

~Image:
François Lemieux
the lesser-known architecture of canada I (sic), 2011
Wall painting
&
the lesser-known architecture of canada II (sic), 2011
Selected correspondance and trees
Installation view, _Québec Triennial_Courtesy of the artist~

Exhibition

Or Gallery is pleased to present Raymond Boisjoly, Jordy Hamilton, Laura Piasta: Studies in Decay, a group exhibition curated by Jonah Gray.

The dark overtones in both the subject matter and colour palette of the artworks in this exhibition are the effects of a kind of realism that is more concerned with conveying the realities of contemporary experience than with naturalistic depiction. However, the gloomy image of history these works register—one of violence and repetition with few prospects for change—never slips into pessimism. Instead, they draw their force from seeking to split the difference between affirming the possibilities of contemporary experience and calling attention to its frequently disastrous outcomes.

Vancouver-based artist Raymond Boisjoly’s recent series of images, collectively titled The Writing Lesson, uses visual conventions associated with black metal music to create logos for indigenous place names such as Chilliwack, Massett and Nanaimo. Boisjoly lays out these Anglicized words with dripping, thorny embellishments and what he calls a “forced symmetry.” Like the band wordmarks to which they refer, Boisjoly’s decrepit tangles of letters often verge on illegibility. This iteration of Boisjoly’s ongoing project will be the largest yet, printed on a tarp, and taking its shape from the name Spuzzum, an unincorporated settlement north of Hope, BC.

Jordy Hamilton, an Ontario-born Vancouver-based artist, will exhibit a collection of appropriated images, including a video and a series of 4 × 6 inch photographic prints. These documents record instances of an event held at the artist’s family home in conjunction with an annual barbecue and trap shooting competition. Each year, the assembled picnickers would take aim at a beat up old motorcycle, propped in a field with its motor running, and shoot it until it burst into flames. The photographs are vintage prints that sequentially depict a motorcycle catching fire; the videos are digital transfers from cassette that reveal the degraded image quality of the originals.

Laura Piasta is a Vancouver-born artist currently based in Umeå, Sweden. Her sculpture, Crystallized Jean Jacket, consists of a denim jacket, hardened from having been soaked in saltwater and hung to dry, a process that leaves a delicate crystalline patterning all over the fabric. Pinned to the wall, the jacket’s slumping shape has a pathetic anthropomorphism, but also evokes the conspicuous absence of the body or bodies it might formerly have clothed.

Walter Benjamin held that the world continually tends towards decay. In the spirit of his inquiry into this process, each of these works offers a meditation on decay, while simultaneously seeking to uncover the transformative potential hidden within the patterns of everyday life.

This exhibition was made possible through support from the Killy Foundation and the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at The University of British Columbia.

Image: Jordy Hamilton, Freedom Machine, 2011. Detail.

Exhibition

The Or Gallery Berlin is pleased to present ΔΤΧ (Delta Tau Chi) featuring the work of Jan Christensen, Pieterjan Ginckels, Jenipher Hur, Marco Schuler, Kathy Slade and Fine Art Union. The show is guest-curated by artist Håvard Pedersen as the second installment of his series of exhibitions based on North American college fraternities and sororities as understood through Hollywood film of the last four decades.

Pedersen’s initial project, The Lambda Lambda Lambda & The Omega Mu at 1612 Gallery (Vancouver), was an open-call exhibition based on the marginalized but gregarious fraternity and sorority portrayed in the 1984 comedy Revenge of the Nerds. In recognition of the “Tri-Lambs’” open acceptance policy, Pedersen eschewed the typical curatorial role of selecting artists, and adhered to a strict policy of accepting any and all artists willing to exhibit their work.

ΔΤΧ, in turn, takes its name from the 1978 comedy National Lampoon’s Animal House. The film’s protagonists are members of the similarly estranged fraternity, Delta Tau Chi (“The Deltas”), an eclectic group of misfits at odds with the oppressive and conformist campus edicts imposed by the college dean. Despite their poor social standing and tenuous agency, the Deltas ultimately (though somewhat inexplicably) triumph against conformity by a steadfast assertion of their identities and individualism, and through persistent gestures of irreverence.

The premise of this exhibition is thereby to construct a group of individuals, not unlike the original fraternity, where there exists no common thread trough which to read the work. Rather than joining the artists in a unified context or shared argument, the exhibition focuses on their individual artistic approach as a notion to associate and organize freely apart from the myth of fraternal implications. Christensen’s meticulous process of painting, Hur’ infatuation towards object-narcissism or Schuler’s persistent captivation of his physical ventures illustrate the characteristics of the judicious intuition of misfits, contrary to their surrounding world of archetypal protagonists and their fellowship bound together by social class and conviction.

Or Gallery Berlin is a satellite project of Or Gallery (Vancouver), established in December 2010. ΔΤΧ marks its fourth exhibition. This project was developed during a curatorial-residency supported by Cultiva Express and Billedkunstnernes Vederlagsfond, Norway.

In Kooperation mit der Botschaft von Kanada/In collaboration with the Embassy of Canada

Exhibition

Artist Talk
at Emily Carr University of Art & Design (room 301)
Thursday, Septemeber 8, 6:30PM

Opening reception
Friday, September 9, 7PM

The Or Gallery is pleased to present Creative Destruction, an exhibition by New York-based artist Matthew Buckingham. Central to the exhibition is a new video installation work titled Where Will We Live? produced at the Or Gallery in July of this year. The work is based on an assignment designed by the artist’s father, Edward Buckingham, for his grade 4 classes. Students are asked to create an “inventory list” of an imagined present or future city. Using simple paper construction techniques each student creates a number of buildings, roughly in scale with each other. At the end of this exercise the group is asked to physically fit the city together, deciding which buildings “belong” next to which, subsequently forming a model city that reflects and expresses their ideals. To produce this work, Matthew Buckingham collaborated with students of an Arts Umbrella summer class, planning and creating their city over four consecutive days.

The title work of the exhibition, Creative Destruction (2006), a small text-based sculptural work, shares a critical investigation into cities. The work presents a short paragraph as a condensation of the economic idea of “creative destruction,” theorized by Werner Sombart and Joseph Schumpeter, and later analyzed by David Harvey.

Utilizing photography, film, video, audio, writing and drawing, Buckingham’s work questions the role that social memory plays in contemporary life. His projects create physical and social contexts that encourage viewers to question what is most familiar to them. His work has been seen in one-person and group exhibitions at ARC / Musée d’art moderne de la Ville de Paris, Paris; Camden Arts Centre, London; The Corcoran Gallery of Art, Washington DC; Hamburger Bahnhof National Gallery, Berlin; Kunst-Werke, Berlin; Moderna Museet, Stockholm; Museum Moderner Kunst, Vienna; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Whitechapel, London and The Whitney Museum of American Art, New York. He was a 2003 recipient of the DAAD Artist in Berlin Fellowship.

This project is made possible with special support from the BC Arts Council Special Project Assistance – Innovations program. Additional thanks to Arts Umbrella, Ian Barbour, Erin Boniferro, Stephanie Damgaard, Pete Hagge, Sarah Hoemberg, Jessica Jang, and Josh Olson.

Very special thanks to Ella Arnatt, Ari Bone, Andres Corina, Liron Gertsman, Jiwon Har, Liam Hayden, Laura Joyce, Soojin Kang, Sofia Patterson, Caroline Pillon, Kathryn Seifert, and Sarina Yagihara.

News

The Or Gallery’s main Vancouver location is now closed for the summer, and will re-open Friday, September 9th at 8PM with a new solo exhibition by New York artist Matthew Buckingham.

While the gallery is closed, we will be presenting our new Summer Reading series of small works of fiction. Approximately each weekday, a new page of the story will be presented on the front door of the gallery, replacing the previous page.

For our inaugural 2011 project, we are pleased to present Virginia Woolf’s short story An Unwritten Novel, selected by Matthew Buckingham.

Residency

The Or Gallery is pleased to welcome New York artist Matthew Buckingham to Vancouver. During his time at the Or Gallery, Buckingham will be producing a new video work to premier at the Or Gallery in an exhibition opening September 9, 2011.

Utilizing photography, film, video, audio, writing and drawing, Buckingham’s work questions the role that social memory plays in contemporary life. His projects create physical and social contexts that encourage viewers to question what is most familiar to them. Recent works have investigated the Indigenous past and present in the Hudson River Valley; the “creative destruction” of the city of St. Louis; and the inception of the first English dictionary. His work has been seen in one-person and group exhibitions at ARC / Musée d’art moderne de la Ville de Paris, Paris; Camden Arts Centre, London; The Corcoran Gallery of Art, Washington DC; Hamburger Bahnhof National Gallery, Berlin; Kunst-Werke, Berlin; Moderna Museet, Stockholm; Museum Moderner Kunst, Vienna; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Whitechapel, London and The Whitney Museum of American Art, New York. He was a 2003 recipient of the DAAD Artist in Berlin Fellowship.

This project is made possible with special support from the BC Arts Council Special Project Assistance – Innovations program. Additional thanks to Arts Umbrella, Ian Barbour, Erin Boniferro, Stephanie Damgaard, Pete Hagge, Sarah Hoemberg, Jessica Jang, and Josh Olson.

Very special thanks to Ella Arnatt, Ari Bone, Andres Corina, Liron Gertsman, Jiwon Har, Liam Hayden, Laura Joyce, Soojin Kang, Sofia Patterson, Caroline Pillon, Kathryn Seifert, and Sarina Yagihara.

Exhibition

The Or Gallery is pleased to present Bronze Tinfoil Ball, a new exhibition by Vancouver artist Kelly Lycan.

The exhibition features a single artwork: a small bronze cast of a crumpled ball of aluminum (‘tin’) foil, presented on the floor in the middle of the gallery. The work is part of Lycan’s ongoing interest in the beauty of ordinary objects; beauty that she aims to make apparent through her practice of displacing objects from their original context.

Gilded in aluminum leaf, the bronze sculpture looks nearly identical to its familiar namesake, and it is principally the heavy weight of it that reveals its true material. The bronze ball is produced with the same lost-wax technique used in Classical Greek statuary and much traditional sculpture. The ‘heroic’ connotation of bronze, emphasized by the lighting and design of the exhibition space to resemble early 20th Century museum galleries, is contrasted by the ‘disposable’ connotation of a small ball of foil. This humorous gesture reflects Lycan’s critical practice of examining how value is created across personal, consumer, and artistic worlds and how material objects contribute to the formation of identities and ideologies.
Kelly Lycan is an installation and photo based artist residing in Vancouver, Canada. She received her Bachelor of Fine Art from Nova Scotia College of Art and Design, and her Master of Fine Art from the University of California, Santa Barbara and Los Angeles. Lycan has exhibited in solo and group shows in Canada and the US. She is a member of Instant Coffee, a service oriented artist collective that builds social structures, where ideas, materials and actions are explored. Instant Coffee has exhibited Canada, South America, Europe and the USA.

Bronze Tinfoil Ball marks the second project of the Or Gallery’s Economies/1 series, examining systems of value and exchange in contemporary art.

Exhibition

Or Gallery Berlin presents two new exhibitions opening June 10, both of which employ subtle alterations and superimpositions to work against a simple understanding of the picture.

Rachelle Sawatsky’s Mixed Pictures is part of the artist’s recent series of works employing 35mm slides, most of which have been acquired second-hand via online sales and other sources. Using the simple tools of a hole-punch, matting tape and doubled projections, Sawatsky produces a series of antagonisms in the images; at times painterly, other times only barely perceptual. In one instance, a series of amateur photographs taken aboard a U.S. naval ship is contaminated by a tiny green shape superimposed over each of the slides. Through the course of the photographs, this small blemish in the image transitions from a minor distraction to a focus of the viewer’s attention, principally by remaining an unchanging element in the picture frame.

Hadley+Maxwell’s …Um (2006) is a video of nearly 11 minutes in length depicting a lit light bulb on the end of a simple short black cord. Playing out a kind of absurd and minimal drama, the bulb is subjected to a series of “experiments that probe the theatrical and poetic possibilities of a bare light bulb, a projection and a shadow”. The video is projected through a real bulb that hangs unlit in the space, offering a static one to one counterpart to the video image. At times the physical bulb seems illuminated by its video twin, other times it hangs solemnly like a comedic “straight man” in contrast to its writhing “funny man” video partner. …Um was originally shown as part of the artists’ 2006 solo exhibition Deleted Scenes at Vancouver’s Contemporary Art Gallery.

Rachelle Sawatsky is based in Vancouver, Canada. Hadley+Maxwell have been collaborating since 1997 and are based in Berlin, Germany.

In Kooperation mit der Botschaft von Kanada/In collaboration with the Embassy of Canada

Exhibition

Or Gallery Berlin presents two new exhibitions opening June 10, both of which employ subtle alterations and superimpositions to work against a simple understanding of the picture.

Hadley+Maxwell’s …Um (2006) is a video of nearly 11 minutes in length depicting a light bulb on the end of a simple short black cord. Playing out a kind of absurd and minimal drama, the bulb is subjected to a series of experiments that probe its theatrical and poetic possibilities. The video is projected through a real bulb that hangs unlit in the space, offering a static counterpart to the video image. At times the physical bulb seems illuminated by its video twin, other times it hangs solemnly like a comedic “straight man” in contrast to its writhing “funny man” video partner. …Um was originally shown as part of the artists’ 2006 solo exhibition Deleted Scenes at Vancouver’s Contemporary Art Gallery.

Rachelle Sawatsky’s Mixed Pictures is part of the artist’s recent series of works employing 35mm slides, most of which have been acquired second-hand via online sales and other sources. Using the simple tools of a hole-punch, matting tape and doubled projections, Sawatsky produces a series of antagonisms in the images; at times painterly, other times only barely perceptual. In one instance, a series of amateur photographs taken aboard a U.S. naval ship is contaminated by a tiny green shape superimposed over each of the slides. Through the course of the photographs, this small blemish in the image transitions from a minor distraction to a focus of the viewer’s attention, principally by remaining an unchanging element in the picture frame.

Hadley+Maxwell have been collaborating since 1997 and are based in Berlin, Germany. Rachelle Sawatsky is based in Vancouver, Canada.

In Kooperation mit der Botschaft von Kanada/In collaboration with the Embassy of Canada

Special-Project

As its contribution to The Fair , the Or Gallery presents the 16th installment of its 88-part Science Fiction series.

Installed in room 117 of the Waldorf Hotel, Science Fiction 16/ Raised on a Diet of Broken Biscuits features Dan Starling’s 2011 video work Commodities Start Talking at Millionaire Fair, Untitled (Display Box) from Karin Bubaš‘s 2002 Exotic World photographic series, a rare edition of Karl Marx’s Das Kapital, assorted American currency, plus Or Gallery editions pertaining to notions of the speculation and economies.

The title of the exhibition is derived from the 1995 pop song Mis-Shapes by the UK band Pulp.

OFFSITE LOCATION
A special project at The Fair: International Contemporary Art in Vancouver at the Waldorf Hotel, 1489 East Hastings St., Vancouver

Please see www.artaftermoney.com for project hours.

Exhibition

The Or Gallery is pleased to announce Who That Happens, a new sculptural installation by Berlin-based artists Hadley+Maxwell.

Who That Happens is part of an ongoing investigation of the theme Improperties, a term the artists have coined to describe a desired shift in material sensibilities, both in the act of artistic making and its reception. The cut, from the Latin root of the word decision, is used as a formal device to bring together a series of works that focus on the undecidable status of the human: a being that defines itself as both not-animal and not-divine. In these works, the figure of the cut is presented as a literal manifestation of the decision. However, the cut, or separation, is also the means by which metaphysical ideas such as spatiality, contingency, mortality, and otherness can be figured as interior boundaries within a sense of being-together in the world. In this exhibition the emphasis is on the wandering nature of human subjectivity, expressed not only in the arbitrary nature of the placement of the cuts, the multiplication of surfaces, but also the mobile character of the materials used (for instance, objects found in flea-markets or purchased on e-bay). Ultimately, this structure allows for a wandering interest, historically and intuitively, in the making and presenting of this growing body of work.

Hadley+Maxwell have been collaborating since they met in Vancouver in 1997, working in a variety of media including video, installation, and sound. Stemming from their commitment to collaboration, their work examines mediation as the threshold between the individual and the social. Their writing has appeared in publications including Fillip, Art Lies!, Public, C Magazine, Capilano Review and F.R. David. Recent solo exhibitions include The Lemonade is Weak Like Your Soul, Kunstverein Göttingen (Germany, 2009), Improperties, Smart Project Space (Amsterdam, 2010); and “who can resist a Human? who doesn’t finger lies?” YYZ (Toronto, 2010). Recent group exhibitions include Strange, the first time I’ve heard of a piano with four legs (Hey, I keep falling down!), Contemporary Art Gallery (Vancouver); Quebec City Biennial; Kurt, Seattle Art Museum; and It’s the End of the World as We Know It, La Kunsthalle Mulhouse, France, (all 2010); The Bell Show, Lüttgenmeijer, Berlin; Light in Darkness, Western Bridge, Seattle; The End of Money, upcoming, Witte de With, Rotterdam (all 2011); and Surrender, the 4th Marrakech Biennale, upcoming, 2012. Hadley+Maxwell are represented by Jessica Bradley Art + Projects, Toronto.

Exhibition

Presented in an installation context, Komma (after Dalton Trumbo’s Johnny Got His Gun) is a 16mm film based on Hollywood script writer Dalton Trumbo’s seminal anti-war novel. The project re-imagines Dalton Trumbo’s work through its syntactical idiosyncrasy.

Set around the time of World War I, the novel with its—then particularly inconvenient—anti-war message, was first published in 1939. The book came into true prominence during the Vietnam war era, after its author had re-emerged from McCarthyist blacklisting throughout the 1950s.

The central device of Trumbo’s novel is the body of the protagonist, a young American soldier who, incredibly, has lost his face and both arms and legs during combat. Unable to see, speak, hear, smell, or act, he is fully conscious, but seemingly completely without agency. As he struggles to come to terms with his personal tragedy, he strains to communicate with ‘the outside world.’

The entire book was written without commas, though all other punctuation conforms to established conventions. The term comma is derived from Greek komma, meaning ‘something cut off.’ The film marks the location where commas would appear according to the Chicago Style Manual.

Antonia Hirsch lives and works in Berlin and Vancouver. Her practice consistently engages with systems—geographical, quantitative, syntactic—that underwrite the most basic understandings of the world. She questions the often invisible hierarchies of these epistemological structures by relating them to more familiar territory: embodied experience. Her work has been exhibited at Program, Berlin, the Taipei Fine Arts Museum, Power Plant in Toronto, the Contemporary Art Gallery in Vancouver, and as part of Frieze Projects in London, UK, among others. Her work can be found in public collections such as that of the Vancouver Art Gallery, the Canada Council Art Bank, and the Sackner Archive of Concrete & Visual Poetry, Miami Beach. Her work is currently on view at the National Gallery of Canada as part of It is What It Is, Recent Acquisitions of New Canadian Art; at the Neue Sächsische Galerie, Chemnitz, Germany, as part of Gullivers Sechste Reise, and at Republic Gallery in Vancouver with Stoppages, starting February 18. More information on the artist’s practice can be found at antoniahirsch.com.

symposium

Presented by The PuSh International Performing Arts Festival and the Or Gallery

Reception and Keynote address by Nato Thompson
Co–hosted by fillip magazine
Friday, January 28 6—8pm

Full day Symposium
Saturday, January 29 9:30am—5pm; Closing Reception 5—6pm

Admission : Friday $15; Friday & Saturday $40/$20 students (includes lunch)
Details at pushfestival.ca

A SYMPOSIUM EXPLORING THE SPATIAL POETICS OF VANCOUVER

“ …mapping has emerged in the information age as a means to make the complex
accessible, the hidden visible, the unmappable mappable. As we struggle to steer
thorough the torrent of data unleashed by the Internet, and to situate ourselves in a world in which commerce and community have been redefined in terms of networks, mapping has become a way to make sense of things…” – Janet Abrams and Peter Hall

The city has come of age in this spatial construct. Terminal City—the colonial outpost of Vancouver—celebrates its quasquicentennial in 2011. One hundred and twenty–five years into the project, recent art, architecture and performance works have begun to critically position themselves and respond to the spatial condition of the city. For Vancouver, this period of introspection has coincided with a cultural shift in contemporary mapping practices, a shift that reflects a fundamental change in how we think about and represent our relationship to the spaces we inhabit. Changes in the global, economic, environmental and digital worlds have created the platform, and the necessity, for interdisciplinary strategies to understand these new spatial references.

Cartographic Exploits: Marking Territory in the Contemporary City brings together an interdisciplinary group of cartographers, architects, designers, writers and artists—the symposium will discuss the significance of this current trend and explore how these practices are shaping our own understanding of the city and making new interpretations possible.

SCHEDULE

FRIDAY JANUARY 28, 2011
• 5.30 – 6.00PM Registration


• 6.05 – 6.15PM Welcome : Annabel Vaughan | UBC SaLa


• 6.15 – 7.00PM Keynote Lecture : Nato Thompson | CREATIVE TIME NYC


• 7.00 – 08.00PM Opening Reception

SATURDAY JANUARY 29, 2011

• 9.30 – 10.00AM Registration


• 10.00 – 11.00AM Artist Talk : Martin Chaput + Martial Chazallon | PROJET IN SITU [FRANCE]


• 11.30AM – 1.00PM Moderator : Kelty Miyoshi McKinnon | PHILLIPS FAAREVAG SMALLENBERG [VANCOUVER]
  1] Martin Kinch [Pod Plays] | NEW WORLD THEATRE [VANCOUVER]
  2] Volker Gerling [Portraits in Motion] | DAUMENKINOGRAPHIE [BERLIN]
  3] Kate Hennessy | SFU – SCHOOL OF INTERACTIVE ARTS AND TECHNOLOGY [VANCOUVER]

1.00 – 2.00 LUNCH

• 2.00 – 3.00PM Artist Talk : Marco Casamonti + Andrea Destro + UBC students | ARCHEA [ITALY/BEIJING]


• 3.30 – 5.00PM Moderator : Erick Villagomez | RE:PLACE MAGAZINE [VANCOUVER]
  1] Marco Casamonti | ARCHEA [ITALY/BEIJING]
  2] Peter Reder [City of Dreams] | PETER REDER CO. [LONDON]
  05.15 – 05.30 Closing Remarks : UBC Student | UBC SaLa
  05.30 – 08.00 Closing Reception | UBC SaLa

Cartographic Exploits is generously supported by Vancity, the City of Vancouver’s 125th Anniversary Grants Program with the participation of the Government of Canada, the Italian Cultural Institute, the UBC School of Architecture + Landscape Architecture, Studio Archea, Fillip Magazine, the Consulate General of France in Vancouver and Cultures France.

Special-Event

12 – 5PM at the Or Gallery: 555 Hamilton Street, Vancouver.

Our 2nd annual sale of limited artist editions produced in support of Vancouver’s non-profit art spaces!

The sale presents limited artist editions by local and international artists, commissioned by the Or Gallery, Bywater Bros, Artspeak, Contemporary Art Gallery, Fillip, and Presentation House Gallery. Come and check out Motto Vancouver, our new outlet of Motto Books (Berlin, Zurich, Brooklyn) coordinated by Fillip, as well as an opportunity to see our current Mark Soo solo exhibition, Several Circles, a special project commissioned by the Or with support from Arts Partners in Creative Development.

The sale includes works by: Cranfield and Slade, Hadley + Maxwell, Ron Terada, Nicole + Ryan, Althea Thauberger, Sean Dockray, NORMA, Paul McDevitt, Tim Lee, Silvia Kolbowski, Cedric Bomford, Michael Drebert, Brian Jungen, Fia Backström, Andrew Dadson, Rodney Graham, Matthew Higgs, Colter Jacobsen, and Frances Stark, Liz Magor, Emily Vey Duke & Cooper Battersby, Micah Lexier and Christian Bök, Eric Metcalfe, Antonia Hirsch, Kevin Schmidt, Fiona Banner, Stan Douglas, Judy Radul, and more!

Proceeds from the sale of artist editions will be used to support programming and operations at the participating organizations.

www.artspeak.ca
www.bywaterbros.com
www.contemporaryartgallery.ca
www.fillip.ca
www.presentationhousegall.com

Our current exhibition will be closed from 2 – 3 PM on Thursday, December 2nd in order to hold a memorial reception for George Riste, the great friend of affordable housing and arts, who passed away the evening of November 24th.

Over the course of almost a decade, Mr. Riste resisted persistent pressure and attempts to purchase his building at 553/555 Hamilton Street to make way for the new corporate headquarters of BC Hydro. Instead, he stood by the tenants of his building and continued to provide rooms and a gallery space at rates well below market rent.

George Riste’s vision and independent spirit was remarkable and stands as an example for others. We encourage you to come and pay tribute to his life and ideals.