Special-Event

Clamour and Toll presents Quiet City, Quiet City Presents Clamour and Toll
Daikyo Furoshiki, regularfantasy, V. Vecker
January 30, 9PM, 2016

Curated by Eli Bornowsky and Constantine Katsiris

One Night Only,
Presented by Or Gallery, Soundscape & Panospria

Sunset Terrace
2028 Clark Drive


The Or Gallery’s performance series Clamour and Toll teams up with Constantine Katsiris’ Quiet City to present an evening of experimental noise, pop and improve in honour of DaiKyoFuroShiki’s West Coast Civilization Shuffle Tour.


大凶風呂敷 (DaiKyoFuroShiki)
Cammisa Buerhaus (NYC) + Tamio Shiraishi (NYC/Tokyo)

Cammisa Buerhaus is a sound artist and actress who lives in NYC. She runs the record label Wild Flesh Productions, is a member of the theatre company NYC Players, cofounded the band 大凶風呂, and writes fanfiction about American politics. Her sound art and performances have traveled internationally, most recently at the CDG Cultergeist Foundation in Lisbon, Portugal and as sound designer for Felix Bernstein’s Bieber Bathos at The Whitney Museum of American Art.

Tamio Shiraishi is an alto saxophonist and vocalist who is a central figure in the history of art and noise music in Japan. He has played with the influential noise outfits Taco and A-Musik, and was an original member of Fushitsusha alongside Keiji Haino, for their first performances in 1978. From 1978 to 1980 Shiraishi was a key participant and organizer in the art and music scene surrounding the seminal music venue Club Minor. Located in the western Tokyo suburb of Kichijoji, Minor became a key site in the evolution of new Japanese music. The space and its regulars created a melting pot from countless hybrid musical forms, interweaving psychedelic rock, early electronic music, punk, and European jazz, in addition to hosting programs and acts that were considered too unconventional or unclassifiable for other venues. Since moving to New York in 1990, Shirashi has played with acts like No Neck Blues Band, Bill Nace, and Alan Licht, in addition to performing extensively as a soloist in unconventional locales across the city—most famously in subway stations. He is known for his distinctive style, playing almost exclusively in the sharp, blistering, uppermost register of the instrument.
——
regularfantasy:
liv carmen is a visual artist, and musician and DJ
regularfantasy, DJ silk, bobo eyes, plush throw
colliding visual textures, patterns, sounds, samples, references
to create new vistas of the sublime and sentimental and themes like materiality and memory
collage of influences, obfuscated mix of thrift store influences like thorny rose tramp stamps, justin timberlake and evocotive sectional couches, relishing in a theme of DIY luxury
nostalgia, pop, kitsch
house, techno, top 40, classic rock, indie rock, vapour wave and
whatever u cant quite put your finger on
on labels such as 1080p, total stasis, genero, dorm room productions, summer cool, forthcoming on isla
https://soundcloud.com/regfant
https://genero.bandcamp.com/album/born-on-the-weekend
——
Special Thanks to Sunset Terrace

regular fantasy performing at Clamour and Toll presents Quiet City

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



talk

Suzanne Hudson Agnes Martin: Night Sea Journey
Monday, January 25, 7PM

Curated by Jonah Gray

Or Gallery is pleased to present a talk by Los Angeles-based art historian Suzanne Hudson, the first instalment of our new Curating the Self lecture series.

In 1963, Agnes Martin completed a six-foot-square oil on canvas entitled Night Sea. Within the suite of Martin’s classic grids from 1960–1967, Night Sea is as exemplary as it is exceptional, a shimmering realization of control and loss—made manifest in its specific physicality—that Martin would never repeat. In this talk, Hudson argues for the significance of Night Sea in Martin’s turn away from process-based works. After this, as Hudson will elaborate, the struggle to achieve a composition—to say nothing of the struggle for the self that it represents—happened elsewhere, at a safe remove from the art.

Hudson is Associate Professor of Art History and Fine Arts at the University of Southern California in Los Angeles. She writes on modern and contemporary art with an emphasis on abstraction, painting, process, creativity, pedagogy, and American philosophy as it intersects with aesthetics and institutional discourses. She is the author of Robert Ryman: Used Paint (MIT Press, 2009; 2011), the coauthor and coeditor of Contemporary Art: 1989–Present (Wiley-Blackwell, 2013), and the author of Painting Now (Thames & Hudson, 2015). She is currently completing a book on Agnes Martin, forthcoming from Afterall Books: One Work/MIT Press.

In anticipation of this lecture, Or Gallery will host a reading group focused on Hudson’s essay for the compilation Heroine Paint: After Frankenthaler.

Curating the Self is a series of talks that will take the recent expansion of the field of curating as an occasion to explore the construction of identity in relation to the increasingly professionalized discipline of curating as well as the many forms of cultural assemblage (from certain contemporary art practices to the construction of social media personas) that are now also known as curating.

This series is the inaugural program curated by Or Gallery’s new Curator of Discursive Projects, Jonah Gray. Over the coming year, Gray will initiate an open-ended series of talks, podcasts and print-on-demand publications at the Or Gallery. These projects will complement the Or’s exhibition program, but will also go beyond the usual mandate of public programming to simply “animate” exhibitions.

Suzanne Hudson talk at the Or Gallery

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Special-Project

Or Gallery at NADA Miami Beach
Editions by Lorna Brown, Raymond Boisjoly, Steven Brekelmans, Aaron Carpenter, Stan Douglas, Hadley+Maxwell, Marina Roy
December 3 — December 5, 2015

Booth 1.04
The Fontainebleau Miami Beach
4441 Collins Ave
Miami Beach, FL 33140

The Or Gallery is pleased to announce its participation in NADA Miami Beach 2015. The gallery will exhibit a small selection of editions and single works by Vancouver-based artists pertaining to the city’s strong history of conceptual photographic and textual practices. These include Guilty, 1950 (2010), a previously unreleased photographic edition by Stan Douglas from his acclaimed “Midcentury Studio” series; Temporary Structures II (2012) by Steven Brekelmans; and Sentences on Conceptual Art 1st Draft (2008) and Bungled Open Cube (2008) by Hadley+Maxwell.

Stan Douglas produced his “Midcentury Studio” series in 2010, meticulously staging a collection of photographs under the conceptual premise that they were the work of an anonymous Vancouver photographer practicing between 1945 and 1951. Work in the series includes studio shots of fashion and hair models, promotional shots for entertainers, candid street scenes and film noir-like snapshots of possible crime figures caught in the glare of a blinding flash bulb, destined for the newspaper pages. Guilty, 1950 is of this latter category. Reminiscent of the crime photography of Weegee (Arthur Fellig), the work depicts a well-coiffed man walking up a narrow stairwell, covering his face with his open palm against the ambushing photographer. The work stems from the same body of research used to produce Douglas’s critically acclaimed stage play Helen Lawrence, currently on international tour.

Steven Brekelmans’ series “Temporary Structures” draws on the artist’s interest in model kits and hobbies combined with an affinity for high modernist sculpture. The works were produced as a series of timed photographs, between which he reconfigured simple household craft supplies into new sculptural arrangements. Each print depicts 16 of these momentary works.

Hadley+Maxwell’s Bungled Open Cube (2008) and Sentences on Conceptual Art 1st Draft (2008) both started with a passage from Miguel de Cervantes’s Don Quixote: “The reason of the unreason with which my reason is afflicted so weakens my reason that with reason I murmur at your beauty.” Envisioning this sentence as part an early draft of Sol LeWitt’s 1969 Sentences on Conceptual Art, Hadley+Maxwell further extrapolate “prototypes” for LeWitt’s sentences and artworks, rendering them as crumpled notes rescued from the dustbin.

The Or Gallery will also present an assortment of drawings and Risograph editions, including works by Lorna Brown, Raymond Boisjoly, Aaron Carpenter and Marina Roy.

About the Or Gallery
The Or Gallery (est. 1983) is a non-profit artist-run centre committed to exhibiting work by local, national, and international artists whose art practice is of a critical, conceptual and/or interdisciplinary nature. Since its inception, the gallery has acted as a space for research, proposition making, conceptual experimentation and documentation. The works presented in this sale were contributed by the artists to assist the Or Gallery in its operations and to establish an international residency apartment and studio in Vancouver. We extend our deep thanks to the contributing artists and their gallery representatives, including David Zwirner Gallery (New York) and Catriona Jeffries Gallery (Vancouver).

Steven Brekelmans, Temporary Structures II (2012)

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Special-Event

Or Gallery at the 2015 Offprint Paris Art Book Fair

12 — 15 November, 2015

Update: at police request the remaining two days of Offprint Paris have been cancelled.

The Or Gallery is pleased to be attending the 2015 Offprint Paris Art Book Fair, from November 12-15 at the Beaux-arts de Paris. We will be displaying a variety of our publications, including photo-based artist’s books by Ron Terada and Barb Choit; the Vancouver Anthology; Ginger Goodwin Way; and artists’ books and sound recordings by Steven Brekelmans and Fiona Curtis, Cranfield & Slade, Aaron Carpenter and Brady Cranfield & Jamie Hilder.

offprintparis.com

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Exhibition

The Private Life of the Rabbit
Myfanwy MacLeod
31 October 2015 — 9 January, 2016
Reception Friday, October 30, 8PM

The Or Gallery is pleased to present a new solo exhibition by Vancouver artist Myfanwy MacLeod. The exhibition’s title is derived from the book The Private Life of the Rabbit (1964) by R.M. Lockley, a book which in turn informed Richard Adams’ harrowing children’s novel, Watership Down (1972).

For her exhibition, MacLeod builds from these sources, incorporating an over-sized pair of rabbit ears (initially proposed as a public artwork), along with a rabbit hutch recreated from photographs of the plywood hutch her father built for her family’s pet rabbits in London, Ontario.

The Private Life of the Rabbit marks the fifth of a series of exhibitions and projects curated and produced by Mark Lanctôt and Jonathan Middleton under the title The Troubled Pastoral. The series takes on a broad set of themes including pessimism, psychedelia, altered states and drug use, black comedy, science-fiction dystopia, class struggle (within the context of an increasingly marginal or absent middle class), the industrialization of food production, the ragged edge of suburbia, and various forms of visual, aural, or perceptual interference, including smoke, static, and electro-magnetic radiation.

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



bookstore

Fred Moten

23 October — 7:00PM, 2015

Please join us for an incredible night of poetry and discussion with Fred Moten at the Or Gallery.

Poet and scholar Fred Moten, whose recent collection, The Feel Trio, was a 2014 National Book Award Finalist, explores the ways in which race and poetics—in the wake of colonialism and in the midst of ecological disaster—enter into artistic experimentation, shaping the conditions under which black poets work.

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Special-Event

Or Gallery at the 2015 Tokyo Art Book Fair

September 20 — 21, 2015
Reception 19 September, 3:00-8:00PM

BOOTH 36

The Or Gallery is pleased to be participating in the 7th annual Tokyo Art Book Fair. The event takes place at the Kyoto University of Art and Design/Tohoku University of Art and Design Gaien Campus, and will feature more than 300 publishers and bookmakers from around the world.

The Or Gallery will be presenting a selection of its books and records at the fair, including Ten Shows by Barb Choit; Brady Cranfield & Jamie Hilder’s Night Shift LP; Exercises in Kinesthetic Drawing and Other Drawing by Aaron Carpenter; Cockatoo Island by Ron Terada; If I wanted to sit on the sand I wouldn’t have brought this log by Steven Brekelmans and Fiona Curtis; 12 Sun Songs by Cranfield & Slade; and Stan Douglas’s seminal Vancouver Anthology, featuring essays by Keith Wallace, Sara Diamond, Nancy Shaw, Maria Insell, William Wood, Carol Williams, Robin Peck, Robert Linsley, Scott Watson, and Marcia Crosby.

The Or Gallery will also present its 2014 Risograph Portfolio, featuring prints by Lorna Brown, Aaron Carpenter, and Marina Roy.

Special thanks to the Canada Council for the Arts, Audience and Market Development Office. Thanks also to Makiko Hara for translation support.

More Information: Tokyo Art Book Fair

Cranfield & Slade, Sun SongsOr Gallery booth at the Tokyo Art Book Fair

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Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Exhibition

Flesh and Blood
Steven Brekelmans
12 September — 24 October, 2015
Reception Friday, September 11, 8PM in conjunction with SWARM 16

The Or Gallery is pleased to present Flesh and Blood, an exhibition by Vancouver artist Steven Brekelmans. His new series of ink drawings on panel reference subcultural imagery such as underground comix and punk/heavy metal gig posters. Exhibited as a sculptural installation, the work employs images that harken to early expressions of anti-authoritarian counter-cultural movements, which have since shifted into established and anachronistic signifiers of “the underground” within mainstream popular culture. Flesh and Blood reconstructs the tropes of these aging visual languages and contextualizes them within the domain of contemporary art. Here Brekelmans’ enlarged cartoons display reverence for illustrated art forms, the coded black and white line work and the technical skill required to render them. The works are also simultaneously drawings, sculptures and (monochrome) paintings suggesting a mixture of 20th century art figures running from the quintessential low brow of Ed “Big Daddy” Roth through one liner New Yorker cartoons to major figures of abstract art such as Anne Truitt and Ellsworth Kelly. The ambiguity of this mixture is apparent and asks us to reflect critically on the historical movements of visual form and the qualities and conditions of human expression.

Steven Brekelmans was born in Vancouver, attended the Emily Carr Institute of Art and Design and graduated from the University of Victoria’s MFA program. Working across a variety of mediums, he has exhibited his work both locally and internationally at CSA Space, UNIT/PITT Projects, Western Front, The Museum of Longing and Failure (Norway), The Western Bridge (Seattle), Or Gallery Berlin, and Soi Fischer Projects (Toronto).

Swarm 16

Steven Brekelmans Flesh and Blood

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Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Launch

If I wanted to sit on the sand I wouldn't have brought this log.
Steven Brekelmans & Fiona Curtis
at Kitsilano Beach, 20 June — 2:00 PM, 2015

Please join us at Kitsilano Beach on Saturday, June 20th for the launch of a new artists’ book by Steven Brekelmans and Fiona Curtis. “If I wanted to sit on the sand I wouldn’t have brought this log” is a summary of log scouting for the 2015 summer season; Long Beach, British Columbia.

We will aim to be at the north end of the beach, near the parking lot at McNicoll Ave and Arbutus St. Look for our blue Or Gallery flag. Any location updates will be posted on twitter @OrGallery

*Note: In the unlikely event of rain, the launch will be held at 2PM at the Or Gallery (555 Hamilton Street) instead.

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Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Artist-Talk


Rehab Nazzal
6 June — 2:00PM, 2015

Please join us on Saturday, June 6th at 2:00PM for an artist’s talk by Rehab Nazzal. Nazzal will discuss her photographic works, A Dead Sea, in #saltandwater: The Palestinian-Israeli Conflict. Nazzal is a Palestinian-born multidisciplinary artist based in Toronto.

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Exhibition

#saltandwater: The Palestinian-Israeli Conflict
Noor Abuarafeh, Ayed Arafah, Mais Darwazah, and Rehab Nazzal
6 June — 18 July, 2015
Reception 5 June, 8:00PM
Curated by Margaret Stern

The Or Gallery is pleased to present #saltandwater: The Palestinian-Israeli Conflict, an exhibition of four Palestinian artists. In his 1981 book, The Political Unconscious, Fredric Jameson asserts the idea of Louis Althusser’s “absent cause” within a structure. He posits that the structure itself is intrinsic to its effects, that Jacques Lacan’s “real” and Louis Althusser’s “absent cause” can never be represented in their entirety, as the signifier will always take the place of the signified. In looking at the Palestinian-Israeli conflict, Jameson’s argument can bring new light to the violence and unspeakable totality of the ongoing occupation. Seemingly innocuous substances, salt and water, can be viewed as materials which are inherently political. Palestinians now receive at most 73 litres of water per capita, lower than the World Health Organization’s recommended 100 litres for daily consumption. The seas are another space of contestation, as access to the Dead Sea and the Mediterranean Sea is not available to Palestinians without severe security restrictions.

It is never until a life force is removed that one notices its critical importance. In the summer of 2014, approximately 350 Palestinian prisoners participated in a hunger strike. 183 administrative detainees – Palestinians held without charge or trial – were unfairly detained in Israeli jails. The hashtag that emerged from the strike was “#saltandwater,” supporting the consumption by the prisoners of only salt and water for survival. Salt and water became symbols for life, for solidarity, and symbols of a lack of access to basic human necessities. The Palestinian people do not have access to enough clean, useable water. They also do not have access to the seas. Gazan fishing boats are not able to reach waters to support their trade, while the Dead Sea is completely foreclosed to any Palestinian economic activity.

The curator, Margaret Stern, selected four Palestinian artists who work within this theme. They use water and salt as signifiers of the industrialization and politicization of resources with political ramifications for the human body. Rehab Nazzal’s A Dead Sea (2010), Noor Abuarafeh’s A State Closer to Death Than it is to Life (2012), Mais Darwazah’s My Love Awaits Me by the Sea (2013) and Ayed Arafah’s Horizon (2010) play with both salt and water to explore issues of boundaries and resources. Examining this conflict from the material realm of metaphor and bodily necessity allows questions to be asked of the occupation of the Palestinian people, their subsequent resistance, and the issues of resources within this area of conflict.

This exhibition is made possible with 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.

#saltandwater

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



bookstore

Liquidate

May 28, 5:00 — 9:00PM, 2015

Access Gallery
222 East Georgia St.
Vancouver, BC

We have been busy spring cleaning and are looking to clear out some of our excess stock at huge discounts in an effort to make room for upcoming fall titles.

Books priced at 15-80% off, with lots of great gems from our vaults and newer titles at special discounts.

Publications by:

— Access Gallery
— Contemporary Art Gallery
— Fillip
— New Documents
— Or Gallery
— Presentation House Gallery
— Western Front

Plus a large collection of used and rare books recently decommissioned from the private collections of the Contemporary Art Gallery and Fillip!

Drinks provided by Jameson Irish Whiskey.

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Special-Event

Or Gallery at Offprint London Art Book Fair 2015

May 22 — 25, 2015

The Or Gallery is pleased to be attending the 2015 Offprint London Art Book Fair, from May 22-25 in the Turbine Hall of the Tate Modern. On this occasion the Or Gallery will be launching a new book of drawings by Steven Brekelmans and Fiona Curtis entitled If I wanted to sit on the sand I wouldn’t have brought this log (numbered edition of 400). We will also be displaying a variety of our other publications, including photo-based artist’s books by Ron Terada and Barb Choit; the Vancouver Anthology; Ginger Goodwin Way; artists’ books and sound recordings by Cranfield & Slade, Aaron Carpenter and Brady Cranfield & Jamie Hilder; the 2015 Risograph Portfolio with works by Lorna Brown, Marina Roy and Aaron Carpenter; and a selection of books published by Fillip and New Documents.

offprintlondon.com

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Special-Event

Or Gallery at SELECT Fair NYC

May 14 — 17, 2015
Reception VIP Preview May 13, 6-10PM

Roy Arden
Lorna Brown
Aaron Carpenter
Stan Douglas
Hadley+Maxwell
David Horvitz
Marina Roy
Ron Terada

May 14–17, 2015

VIP preview: May 13, 6pm

Or Gallery at SELECT NYC
Booth #208
Center 548
548 West 22nd Street (former Dia Building)
Chelsea

www.orgallery.org
www.select-fair.com

The Or Gallery is pleased to announce its participation in the 2015 SELECT Fair NYC (May 13–17). The gallery will exhibit a small selection of editions and single works by Vancouver-based artists pertaining to the city’s strong history of conceptual photographic and textual practices. These include Guilty, 1950 (2010), a previously unreleased photographic edition by Stan Douglas from his acclaimed “Midcentury Studio” series; Cockatoo Island (2009) by Ron Terada; America is Waiting (2007) by Roy Arden; and Sentences on Conceptual Art 1st Draft (2008) and Bungled Open Cube (2008) by Hadley+Maxwell.

Stan Douglas produced his “Midcentury Studio” series in 2010, meticulously staging a collection of photographs under the conceptual premise that they were the work of an anonymous Vancouver photographer practicing between 1945 and 1951. Work in the series includes studio shots of fashion and hair models, promotional shots for entertainers, candid street scenes and film noir-like snapshots of possible crime figures caught in the glare of a blinding flash bulb, destined for the newspaper pages. Guilty, 1950 is of this latter category. Reminiscent of the crime photography of Weegee (Arthur Fellig), the work depicts a well-coiffed man walking up a narrow stairwell, covering his face with his open palm against the ambushing photographer. The work stems from the same body of research used to produce Douglas’s critically acclaimed stage play Helen Lawrence, currently on international tour.

Hadley+Maxwell’s Bungled Open Cube (2008) and Sentences on Conceptual Art 1st Draft (2008) both started with a passage from Miguel de Cervantes’s Don Quixote: “The reason of the unreason with which my reason is afflicted so weakens my reason that with reason I murmur at your beauty.” Envisioning this sentence as part an early draft of Sol LeWitt’s 1969 Sentences on Conceptual Art, Hadley+Maxwell further extrapolate “prototypes” for LeWitt’s sentences and artworks, rendering them as crumpled notes rescued from the dustbin. Ron Terada’s Cockatoo Island (2009) documents his walkabout of Cockatoo Island, site of the 2008 Sydney Biennale. Presented in a serial layout, Terada’s Cockatoo Island “blacks-out” any visual evidence regarding the works in the exhibit, the trajectory of his walk, or any clues to the island itself, instead making visible some of the contextual undertones of the event. Roy Arden’s America is Waiting is a digital collage derived from internet-sourced images of American popular culture, technology, landscapes, and various others. The work borrows its title from a song by Brian Eno and David Byrne from their 1981 album My Life in the Bush of Ghosts, which pioneered a technique of collaging or sampling from vernacular sound sources.

About the Or Gallery
The Or Gallery (est. 1983) is a non-profit artist-run centre committed to exhibiting work by local, national, and international artists whose art practice is of a critical, conceptual and/or interdisciplinary nature. Since its inception, the gallery has acted as a space for research, proposition making, conceptual experimentation and documentation. The works presented in this sale were contributed by the artists to assist the Or Gallery in establishing an international residency apartment and studio in Vancouver. We extend our deep thanks to the contributing artists and their gallery representatives, including David Zwirner Gallery (New York), Catriona Jeffries Gallery (Vancouver), Jessica Bradley Gallery (Toronto), and Monte Clark Gallery (Vancouver).

Stan Douglas: Guilty, 1950 (2010)

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



talk

Vancouver Institute for Social Research: Geoffrey Winthrop-Young

27 April — 7 PM, 2015

April 27th
Geoffrey Winthrop-Young: “A Turbine Driven by Blood”: Ernst Jünger’s “Total Mobilization” between Hitler and Heidegger

First published in 1930, “Total Mobilization” marks Ernst Jünger’s departure from his radical right-wing journalism of the late 1920s, which on occasion took on an insurrectionist flair and was carried out in in critical solidarity with the fledgling Nazi party. Moving away from a more explicit engagement with politics, it looks ahead to Jünger’s most important essay, the still untranslated Der Arbeiter (“The Worker”), and beyond to the increasingly abstract mytho-historical reflections that would come to occupy him for the rest of a very long life (1895-1998). It is — even for Jünger — an uneven text, ambivalent in its evaluation of technology, and caught between a radical nationalism and the invocation of a ‘planetary’ techno-evolution that can do without nations and peoples, including Germany and the Germans. The ambiguities of style and argument have to do with the fact that the essay is in many ways an attempt, as it were, to un-lose the First World War by revealing an allegedly more profound level of events, a hidden evolution now emerging in the shape of a total military, economic, social, and psychic “mobilization,” in which the conventional narratives of winners and losers no longer apply. This invites comparisons with the analysis of WWI in Hitler’s Mein Kampf and Martin Heidegger’s attempts to come to grips with the ongoing WWII in the recently published infamous “Black Notebooks.”

Recommended reading: https://visrfreeschool.files.wordpress.com/2015/01/junger-total-mobilization-doc.pdf

Geoffrey Winthrop-Young is Acting Head of the Department of Central, Eastern and Northern European Studies at UBC and teaches in the German and Scandinavian programs.

The Vancouver Institute for Social Research (VISR) is an independent, para-academic, graduate-level, theory-based free school that began in Feb. 2013. Our intent is to move beyond the borders of the traditional university and to open up a more accessible platform in the city for the engaged discussion of critical theory.

The Institute’s fourth session will be organized around the theme of “Sovereignty,” and is being held from March 2 to April 27, 2015.

Once a week on Monday evenings from 7-9 pm at the Or Gallery (555 Hamilton Street), professors, grad students, and local activists will be presenting on topics of their choice. The seminar will be free to the public and advance readings will be distributed through our Wordpress site. Videos of past classes can be found here.

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



curatorial-talk

Taro Amano, Michelle Hyun, Nathalie Boseul Shin, and Amy Cheng Presentation at Western Front by visiting curators from Korea, Japan, Taiwan

Thursday, April 23, 5PM

The Or Gallery in partnership with Canada Council for the Arts and The Western Front is pleased to present curatorial talks by visiting curators Taro Amano, Michelle Hyun, Nathalie Boseul Shin, and Amy Cheng. The four curators will be speaking in the Western Front’s Grand Lux hall

After presentations on each curator’s respective practice, please join us for an informal barbecue and reception in the Lux and adjoining patio.

_______

TARO AMANO is the Chief Curator and Program Director of the Yokohama Civic Art Gallery in Yokohama, Japan. He has also served as Chief Curator of the Yokohama Museum of Art (1986-2015), Curator of the 2005 Yokohama Triennale, Head of the Curatorial Team of the 2001 and 2014 Yokohama Triennales and Assistant Curator of the Hokkaido Museum of Modern Art (1982-1986). Amano has organized numerous exhibitions and has contributed essays to the following catalogues: Japanese Art after 1945: Scream against the Sky (94), Louise Bourgeois (97), Yoshitomo Nara (01), Black Out: An Exhibition of Contemporary Japanese Photography (organized by the Japan Foundation) (02), and Non-Sect Radical: Contemporary Photography III (04).

MICHELLE HYUN is a curator and researcher working with the conditions and interrelationships of publics, space, discourse, and pedagogy. Such work has manifested in the collaborative production of projects with artists and organizations such as Public Movement at the New Museum and Bik Van der Pol with Creative Time. Her curatorial projects have been realized in the form of exhibitions, public interventions, mass media broadcasts, screenings, and discursive programs. Most recently, she co-curated the Gwangju Biennale 20th anniversary exhibition, Sweet Dew – Since 1980 and was the 2012-2014 Curatorial Fellow at the University of California San Diego University Art Gallery. She received her BA in International Political Economy from George Washington University and MA in Curatorial Studies from the Center for Curatorial Studies, Bard College.

NATHALIE BOSEUL SHIN is chief curator of Total Museum of Contemporary Art, Seoul. She studied philosophy at Ewha Woman’s University and aesthetics at Hongik University (M.A). Currently, she is a Ph.D candidate at Hongik University. Since 1997, she started her curatorial career in Korea, engaging various exhibition planning and art projects. In 2000, she began as a curator with an expertise of media art after working for art center nabi. Further, she developed her experience at Seoul International Media Art Biennale 2004, leading exhibition team as manager. She has been working at Total Museum of Contemporary Art since 2007. She curated Muntadas: Asian Protocols, News after the News (Dan Perjovschi), Postcapical Archive: 1989-2001 (Daniel G. Andujar), Danish Video Art Exhibition Subtle Whispering, etc. Since 2010, she has been organizing various annual international projects such as Roadshow, Playground in island (Kota Kinabalu, Malaysia), the show must go on.

Independent curator AMY CHENG lives and works in Taipei, Taiwan. From 2000 to 2005 Cheng lived in Vancouver, Canada, and served as a feature writer for Taiwan’s ARTCO Monthly magazine, where she currently works as a lead feature writer. Cheng has curated numerous exhibitions, including: Invisible City (2003) and THTP/Phase Five/Oversight/2008 at the Vancouver Centre for Contemporary Asian Art, the 2004 Taipei Biennial: Do you Believe in Reality? (co-curated), Altered States (2006) at the Taipei Fine Arts Museum, Traversing the Fantasy (2010) and Re-envisioning Society (2011-2013)at Taipei’s TheCube Project Space, The Heard and The Unheard─Soundscape Taiwan, Taiwan Pavilion at the 54th International Art Exhibition – La Biennale di Venezia (2011), The 3rd Taiwan International Video Art Exhibition at Hong-Gah Museum of Taipei (2012). With m culturd cultural critic, Shamans and Dissent (West Heavens, Artist Dispatch Project Exhibition) at Hanart Square of Hong Kong (2013), ALTERing NATIVism – Sound Cultures in Post-War Taiwan (co-curated, Taipei, Kaohsiung, 2014) and Phantom of Civilization (2015) at Casino Luxembourg-Forum d’art contemporain (co-curated). With Jeph Lo, she founded Taipei’s TheCube Project Space in 2010, which aims to explore local culture, establish long-term relationships with artists, and promote contemporary art exchanges between Taiwan and the international community.

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Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



talk

Vancouver Institute for Social Research: Christina Hendricks

20 April — 7 PM, 2015

April 20th
Christina Hendricks – Foucault on Beheading the Sovereign

“What we need … is a political philosophy that isn’t erected around the problem of sovereignty, nor therefore around the problems of law and prohibition. We need to cut off the King’s head: in political theory that has still to be done.”

So said Michel Foucault in an interview first published in 1977 (“Truth and Power,” in Power/Knowledge, Ed. Colin Gordon, Pantheon, 1980). This presentation will not address whether or not political theory has yet cut off the king’s head (though discussion of this issue is welcome); rather, I will discuss why, according to Foucault, it should be done. What is the problem with thinking of power relations in terms of “law and prohibition,” in terms of sovereignty? Drawing from The History of Sexuality Volume I and some of the lectures in Society Must be Defended and Security, Territory and Population, I will distinguish between what Foucault calls “sovereign power” and “biopower,” and will explain his later understanding of power through the notion of “governmentality”. In this way I, along with those present through our discussion, will address why Foucault thought sovereignty no longer provided a useful model for analyzing power relations (at least in the mid- to late-twentieth century).

Christina Hendricks is a senior lecturer in UBC’s Philosophy department. She works predominantly on issues pertaining to ethics, sex, and gender.

The Vancouver Institute for Social Research (VISR) is an independent, para-academic, graduate-level, theory-based free school that began in Feb. 2013. Our intent is to move beyond the borders of the traditional university and to open up a more accessible platform in the city for the engaged discussion of critical theory.

The Institute’s fourth session will be organized around the theme of “Sovereignty,” and is being held from March 2 to April 27, 2015.

Once a week on Monday evenings from 7-9 pm at the Or Gallery (555 Hamilton Street), professors, grad students, and local activists will be presenting on topics of their choice. The seminar will be free to the public and advance readings will be distributed through our Wordpress site. Videos of past classes can be found here.

Venue is wheelchair accessible

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



talk

Vancouver Institute for Social Research: Geoff Mann

6 April — 7PM, 2015

April 6th, 2015
Geoff Mann – Sovereignty in a Warming World

What might sovereignty come to mean as climate change challenges societies around the world? Widespread “progressive” support, even desperate hope, for global “agreements” might seem to suggest that the promised land of modern governance is a (“democratic”) planetary sovereign, at least in the carbon realm. However unlikely such arrangements actually are, the prospect of the uneven degradation of the planet as a global public good cannot help but put turn a magnifying glass on the content and form of modern sovereignty, even if we choose not to look through it. When we do, we find a fraught, contradictory, and unsettled set of dynamics, full of peril, but also, perhaps, full of possibility—some of which might point beyond sovereignty itself.

Geoff Mann teaches in SFU’s Geography Department.

The Vancouver Institute for Social Research (VISR) is an independent, para-academic, graduate-level, theory-based free school that began in Feb. 2013. Our intent is to move beyond the borders of the traditional university and to open up a more accessible platform in the city for the engaged discussion of critical theory.

The Institute’s fourth session will be organized around the theme of “Sovereignty,” and is being held from March 2 to April 27, 2015.

Once a week on Monday evenings from 7-9 pm at the Or Gallery (555 Hamilton Street), professors, grad students, and local activists will be presenting on topics of their choice. The seminar will be free to the public and advance readings will be distributed through our Wordpress site. Videos of past classes can be found here.

Venue is wheelchair accessible

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



talk

Vancouver Institute for Social Research: Matt Hern

30 March — 7PM, 2015

March 30th, 2015
Matt Hern – Land As Freedom

For some time now I have been studying the Albina district of Portland, Oregon – the site of one of the most starkly racialized gentrification battles in America and currently embroiled in a well-publicized dispute over a Trader Joe’s and an empty lot. Starting there and moving through East Van, Coast Salish Territories, New Orleans, Jackson Mississippi and a few other spots, I interrogate dominant gentrification theory to connect everyday inequality to our understandings of land, ownership and wealth. I submit that considering property theory can lay some of the groundwork for understanding how contemporary divergences in wealth are accelerated and deepened – not just between individuals, but within and between places – and then how that divergence is wielded in the service of racialization, displacement and dispossession.

Even in an age of financialization and servicization capitalism remains more about land than production: constantly seeking new spaces for profit and relentlessly reterritorializing. Thus, assertions of commonality are forced to confront the conundrums of property, and ultimately, land. I hope to bring both post-development and decolonizing sensibilities to bear as I offer some ideas about both sovereignty and the commons, and what those ideas might, and should mean.

Matt lives and works in East Vancouver, Coast Salish Territories, with his partner and daughters. He has founded and directed the Purple Thistle Centre, Car-Free Vancouver Day and Groundswell Grassroots Economic Alternatives among many other community projects. His books and articles have been published on all six continents and translated into ten languages. He currently teaches in CBU’s MBA program is an Adjunct Professor in UBC’s SCARP program. He has taught at many other universities, and continues to lecture globally.

The Vancouver Institute for Social Research (VISR) is an independent, para-academic, graduate-level, theory-based free school that began in Feb. 2013. Our intent is to move beyond the borders of the traditional university and to open up a more accessible platform in the city for the engaged discussion of critical theory.

The Institute’s fourth session will be organized around the theme of “Sovereignty,” and is being held from March 2 to April 27, 2015.

Once a week on Monday evenings from 7-9 pm at the Or Gallery (555 Hamilton Street), professors, grad students, and local activists will be presenting on topics of their choice. The seminar will be free to the public and advance readings will be distributed through our Wordpress site. Videos of past classes can be found here.

Venue is wheelchair accessible

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Exhibition

adrift
David Hartt
March 28 — May 9, 2015
Reception Friday, March 27, 8PM

Artist talk presented by SFU Galleries at SFU Woodward’s Thursday, March 26, 7PM

The Or Gallery is pleased to present adrift, a new film installation by David Hartt. The film is a work of speculative fiction set 50 or so years in the future, wherein the entire population of the island nation of Tuvalu has been displaced due to global warming and resulting rising water levels. The Tuvalese have relocated to a high-density Soleriesque arcology, commissioned and built on the banks of the Mississippi river. The story draws influence from both Mark Twain’s Huckleberry Finn and Kobo Abé’s Inter Ice Age 4. The main character Saini’s journey traces a territory of uncertainty: uncertain identities, economies and borders. The film considers the impossibility of someone living in our present to understand the moral and cultural conditions of someone from the distant future.

The footage was shot in Tuvalu, which appears in the film as the Mississippi river settlement and quarantine zone. Bertrand Goldberg’s River City complex in Chicago appears as the Tuvalese arcology, and models from the Goldberg Archive, of unbuilt phases of the River City complex, appear as the exteriors of the Tuvalese arcology.

Hartt’s work to date has addressed the relationship between ideology and the built environment. adrift addresses what happens to an ideology when the environment that informs it disappears. Specifically, Hartt is interested in the changing concept of sovereignty in the 21st century; both virtual and physical.

adrift was commissioned by the Or Gallery and Threewalls (Chicago) as part of the Slow Frequency Series curated by Shannon Stratton, Jonathan Middleton, and Dan Devening. Slow Frequency addresses currents in artwork that engage a process of slow looking, magnification or tuning-in in order to locate the place where a thing becomes visually or sonically clearest. Whether manifest in photography, film, appropriation strategies or other forms of image or object making, the process of tuning in to a space, an ideology, or a transmission is presented as a practice or gesture of careful observation. The series is collaboratively produced by Threewalls , Or Gallery and Devening Projects+Editions (Chicago). This exhibition is also produced in partnership with the Capture Photography Festival and SFU Galleries

< Back

Or Gallery

555 Hamilton St.
Vancouver, BC
Canada V6B 2R1

T. +1 604.683.7395
E. or @ orgallery.org

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission