talk

Chris Gaudet
Beach Talk

Sunday, August 7, 4PM

Locarno Beach
(map of approximate location)

Please join us for the launch of a new round of Or Gallery Beach Talks. This series, originally held in 2012 at various beaches around Vancouver, was curated by Jonathan Middleton and Jonah Gray and featured presentations thematically linked to the beach context. This year’s iteration will take up where the original series left off.

The first talk will take place at Locarno beach at 4PM on August 7th. Chris Gaudet, a PhD candidate in the department of English at UBC, will present research from his dissertation, which takes up the (failed) aesthetic experiments of the seventeenth century and their reemergence in (late) modernity. His talk will focus specifically on the ways that:

The sphere and the bubble present themselves as sites for poetic reflection on form as such, and, in the seventeenth century, become capable of standing in for a range of historical crises and displacements. How to understand them when they are re-formed under the sign of Richard Crashaw’s wildly experimental poetics? The permanence, the perfection, of the form of the sphere, the impermanence of the barely-holding-itself-together, nevertheless held together in the ‘still’ ‘still’ ‘still’ of Crashaw’s soap bubbles, his tears, his drops of blood, which are all, in some way, the deformed, misshapen pearl of the baroque.

More talks TBA! Stay tuned via Facebook and Twitter for exact details on the location. Stick around after the talk for refreshments and grilling on the hibachi.

Also, don’t miss out on our latest publication, a risograph-printed transcription of Steven Maye’s 2012 Beach Talk, Surfaces for Rent: Distraction, Tactility, and the Gallery. It’s now available at the Or Bookstore for $5.

Chris Gaudet Beach Talk at Lacarno Beach, Vancouver

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Or Gallery

555 Hamilton Street.
Vancouver, BC
Canada V6B 2R1

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

Gallery hours 12 - 5PM
Tuesday - Saturday

Free Admission



Exhibition

Pure Numerical Formula Describes Wetness and Light
Mark Fell, Jordan Milner, Eileen Quinlan, Anonymous Tantra Paintings
June 25 — July 30, 2016
Reception Friday June 24
Curated by Eli Bornowsky

“If I could convey my research for this exhibition in the most general fashion it would be characterized as an attempt to scrutinize the relationship between sensation and intellect. Sketching this relation as a waveform, a sine wave for example, I would assign intellect to the peaks and sensation to the valleys of the wave, and the oscillation between the two would model the human experience of movement from inner thought to outer impressions and back again. Whether this relation is drawn taut like a hummingbird or sags like a broken guitar string is up for debate. From my experience it is always in flux, from puttering and purring to bending the throttle, and the intonation of mind-body flirtation is what makes it just as exciting to play with others, as it is to play with oneself. Nevertheless, put this way, but only to begin, we would have to admit our collaboration with the Cartesian separation of mind and body. We tend to take for granted the dualistic mind-body invention and its role in divorcing experience and knowledge. For now, let us install a mind-body program precisely to experiment with the code. What, for example, will happen while riding the oscillator if we take a headlong thrust to the left or the right of its axis? Our x, y oscillator will gain a z, a third dimension and once we have taken this liberty to change course, our freedom to play with the diagram is manifold.”

- from the forthcoming essay by Eli Bornowsky

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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



Special-Event

Conversation and Film Screening: Gowanus Broadside
Jean-Philippe Antoine & Colin Browne
7:00 PM, Thursday, 26 May, 2016

Please join us at the Or Gallery for a discussion with Jean-Philippe Antoine and Colin Browne followed by a screening of Mikael Levin’s 2014 film Gowanus Broadside with sound by Antoine.

Gowanus Broadside is a portrait of the Gowanus Canal, a two-mile-long waterway that extends from the Bay of New York to the south of Brooklyn. Once a marsh and then the principle cargo port of the borough, the canal quickly became one of the most polluted bodies of water in the United States. The film follows the marginal spaces bordering the length of the canal, vestiges of a centre of economic activity, and records the spatial and sonorous qualities of the waterway’s cut into the urban space.

Jean-Philippe Antoine is an artist from Paris. He works with painting, installations, sound and lectures/performances, including collaborations with Leif Elggren and Mikael Levin. Sound publications include The Worried Ones (Antoine-Elggren) Live at 64 (2013), Nouvelles musiques anciennes (CD, 2011) and Objet Métal Esprit (EP, 2010), all at Firework Edition Records.

Antoine is Professor of Aesthetics and Contemporary Art Theory at Paris 8 University. His research focuses on images and the social construction of memory, as well as modern definitions of art. His publications include La traversée du XXe siècle. Joseph Beuys, l’image et le souvenir (Presses du Réel-MAMCO, 2011) and Marcel Broodthaers: Moule, muse, méduse (Presses du réel, 2006).

Colin Browne is a Vancouver-based poet, filmmaker, film historian and Professor Emeritus in the Film program in the Simon Fraser University School for the Contemporary Arts.

This event is presented in collaboration with the Charles H. Scott Gallery at Emily Carr University.

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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

Security Theatre
Karl Burke, Harun Farocki, A​n-­My Lê and the Bureau of Inverse Technology
May 14 — June 18, 2016
Reception Friday, May 13th, 8PM
Curated by Justin Barski

The Or Gallery is pleased to present Security Theatre, an exhibition featuring works by Karl Burke, Harun Farocki, An-My Lê and the Bureau of Inverse Technology.

Security Theatre revolves around methods of simulation and documentation and their hold on respective truth claims about modern war. Specifically, this exhibition looks at how modern warfare is rationalised, remembered and portrayed across image based media such as electronic games, video and photography. The exhibition examines how these systems manifest and evolve into the 21st century, which sees war increasingly fought by proxy and through remote digital means. While claims of possessing the humanist high ground remain tied to the Western Bloc, they are no longer linked to the policy of deterrence seen in the 20th century, but instead are tied to myths of precision and expedience in a preemptive first strike context. Just as there were efforts in the 20th century to socialise people to the omnipresent threats of nuclearism, so too is there an effort to socialise people to the endless need for conflict underwritten by the ubiquitous threat of terrorist states and actors. This requires the creation of dissociative mental states. While the past mass dissociation of the Cold War addressed the need to prevent nuclear war by preparing for it, today’s dissociation follows the need to prevent terrorism by engaging in it. The technology used and the social conditions required were developed incrementally with the aid of experts in various fields, with the aim of gaining either tacit or explicit endorsement of so-called “security policies” which are largely maintained through obfuscation and manipulation. The artists included use media and techniques that provide an intrinsic sense of objective documentation when making reference to armed conflict and related events, which interpret and manage expectations of modern war.

About the Artists

The Bureau of Inverse Technology
The Bureau of Inverse Technology (BIT) began as a collective of anonymous artists working at the intersection of art and technology. Though their work is publicly available, not much is known about the artists themselves. Formed in either 1991 or 1992 (reports vary), BIT is based in at least three locations: Melbourne, San Francisco and Berlin. BIT’s artist-engineers are involved in design, deployment and documentation of products based on commercially available electronic components such as cameras, radios, networks, robots, sensors, etc. Their stated aim is to be an information agency servicing the Information Age. In 2004 information was released about the founding members: engineer/theorist Natalie Jeremijenko and radio journalist Kate Rich, in addition to artist Daniela Tigani. The anonymity of the Bureau was in part a strategy to reflect on the anonymity of technical production – the diffused accountability and ethnographic anonymity in which information technologies and software are generally produced. BIT works with information technology as its primary material, re-engineering technical systems to address the hidden politics of technology. BIT questions the safety of the corporate imagination and its design upon our technological futures and raises questions of privacy in an increasingly technological world. It presents chilling possibilities of a future reminiscent of George Orwell’s novel 1984, in which unsettling, voyeuristic ways of applying readily available technology erode privacy. Its media products include economic indices, consumer-level network and visualisation devices, as well as videos, sound works, and specialised installations.

Karl Burke
Karl Burke (b.1969) is an Irish photographer living and working in Dublin, Ireland. His interest in photography started in 1987 while studying at Trinity College Dublin, from which he graduated in 1990 with a Bachelor’s Degree in Law. After completing his professional qualifications in 1993 he became a full-time musician in an alternative rock band. He travelled to Berlin and lived there between 1994 and 1995, concentrating on painting. Returning to Ireland he then practiced as a lawyer for several years, finally leaving the legal profession in 2002 to set up a studio writing music for film, television and commercials. Burke departed the studio in 2008 to return to photography on a full-time basis. He won the Grand Prix prize at Fotofestiwal Łódź in 2013 for his project The Harvest of Death v2.0. His work has been exhibited in Ireland, Germany, Poland, Lithuania, Argentina and the USA and has been published by The Washington Post; Diário Económico; The Sunday Times; The Irish Times; The British Journal of Photography; Lens, the photojournalism blog of The New York Times; and others. His work aims to explore the underlying threads connecting science, the self, and notions of reality, with a particular interest in the impact of technology on human behaviour.

Harun Farocki
The German film director, screenwriter and media artist Harun Farocki was born in 1944 to an Indian father and a German mother, in Nazi controlled Czechoslovakia. Farocki studied Theatre, Sociology and Journalism in West Berlin in the 1960s. Influenced by Jean-Luc Godard and Bertolt Brecht, Farocki gradually developed his unique style of non-narrative filmmaking concerned with understanding, reflecting and confronting modern society. Since 1966 Farocki produced, wrote and directed more than 100 short and feature-length films for television and cinema, mostly documentaries and essay films that analyzed social realities with a precise use of moving images, and always included the political and sociological context involved in the creation of imagery. Since 1996 Farocki had numerous group and solo exhibitions in museums and galleries worldwide, including New York, Vienna and Paris, followed by retrospectives of his films in London and Warsaw. Farocki’s participation in the prestigious documenta in 1997 and 2007 is an indication of the huge impact that his films and video installations have had in the art context and in the film world: six of his films were presented in the “Forum” of the Berlin International Film Festival and two more films won awards at the Locarno International Film Festival in 2003 and 2007. In 2009 the influential French magazine Cahiers du cinéma named Farocki’s and Andrei Ujica’s celebrated masterpiece Videogramme einer Revolution (1992) one of the 10 most subversive films ever made. Farocki’s life included writing about film and teaching media. As a teacher Farocki had a significant cinematic and intellectual influence on the development of the acclaimed “Berlin School” film movement. He co-wrote five celebrated feature films with its most prominent member Christian Petzold, who used to be his student and assistant. Harun Farocki died at the age of 70 in July 2014 in his home near Berlin.

An-My Lê
An-My Lê’s photographs of landscapes transformed by war or other forms of military activity blur the boundaries between fact and fiction and are rich with layers of meaning. Born in Saigon in 1960, she came to the United States in 1975 as a political refugee. Much of Lê’s work is inspired by her own experience of war and dislocation. From black and white images of her native Vietnam taken on various return visits in 1994 to pictures of Vietnam War battle re-enactments in rural America, her photographs straddle the documentary and the conceptual, creating a neutral perspective that brings the essential ambiguity of the medium to the fore. In her series 29 Palms (2003–2004), Lê documents American soldiers training in a desert in Southern California before their deployment to Iraq. She focuses her camera alternately on young recruits and the harsh terrain in which they practice their drills, lending an obvious artificiality to the photographs that invites speculation about the romance and myth of contemporary warfare. Currently, Lê is documenting the U.S. military’s presence at sites around the world where personnel are undertaking training missions, patrolling international waterways, and offering humanitarian aid. An additional series in progress explores the ongoing ties between Vietnamese nationals who have migrated to southern Louisiana over the past twenty-five years and their homeland in the Mekong Delta.
An-My Lê received B.A.S. (1981) and M.S. (1985) degrees from Stanford University and an M.F.A. (1993) from Yale University. Since 1998, she has been affiliated with Bard College, where she is currently a professor in the Department of Photography. Her work has been exhibited at such venues as the Museum of Modern Art, New York; MoMA PS1, New York; The Art Institute of Chicago; the Metropolitan Museum of Art, New York; Dia: Beacon; the Museum of Contemporary Photography, Chicago; TATE Modern, London; the Museum of Fine Arts, Houston; and the San Francisco Museum of Modern Art, among many others. In 2012, Lê was awarded a John D. and Catherine T. MacArthur Foundation Fellowship in recognition of her accomplishments as a photographer and her contributions to the evolution of the medium. Recently she has had major survey shows at the Baltimore Museum of Art; MK Gallery, UK; MAS I Museum aan de Stroom, Antwerp; and Hasselblad Center, Sweden.

This exhibition is curated by Justin Barski and is a collaboration between the Critical and Curatorial Studies Program at the University of British Columbia and the Or Gallery. This project is made possible with the 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. Special thanks to Justin Barski’s faculty advisors, Jaleh Mansoor, John O’Brian and Scott Watson as well as the Video Data Bank for their support.

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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



Special-Project

Or Gallery at NADA New York

5 — 8 May, 2016
Reception by invitation Thursday, 5 May, 12-4 PM

Booth 3.08
Basketball City
299 South Street
New York, New York 10002

The Or Gallery is pleased to announce its participation in NADA New York 2016. The gallery will exhibit a small selection of editions and single works by Canadian and 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), Bungled Open Cube (2008) by Hadley+Maxwell, Ray Tracings (2013) by Jessica Eaton, Cast A Pall by Rodney Graham, and Never odd or even (2012) by Una Knox.

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.

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.

Jessica Eaton has been widely acclaimed for her innovative experiments in colour photography. She creates vibrant images using unique analog techniques that manipulate properties of light. The photographs in the Ray Tracings portfolio are derived from the effects of light bending through glass prisms. As in previous works, here she pushes the rhetoric of abstraction to provoke a sensory experience of colour and space. These optically-charged photographs animate the flux between objects, image, and perception. Making explicit the fact that photographs come from drawing with light, this series references modernist art, such as Berenice Abbot’s science photographs of light rays. Presented at NADA New York in partnership with the Canadian Photography Portfolio Society.

Rodney Graham’s two portfolio images that constitute Cast A Pall are the artist’s favourites from his Black Squares (My Top 100) monochromes that were exhibited at the 50th Venice Biennale in 2003. The series is composed of record albums that are overpainted with India ink; the visibility of the underlying image is dictated by the ink’s adherence to the surface finish. This diptych was originally designated as the front and back cover for the artist’s second rock album, to be called Cast A Pall. The project evolved into Rock Is Hard, a double LP of original songs, which was ultimately released with a revised cover. Presented at NADA New York in partnership with the Canadian Photography Portfolio Society.

In imitation of the way in which the human eye registers colour, Una Knox’s series of images of a museum interior, Never odd or even, is produced using the trichrome photographic process, in which each wavelength of light is captured on a separate black and white negative and then combined afterwards to produce a single chromatic print. This process renders visitors to the gallery as brightly coloured shadows, as each remained stationary for only one of the three photographs required to produce the colour image.

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).

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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

Joni Low The malleability of identity then and now
Thursday, March 31, 7 PM

Curated by Jonah Gray

Or Gallery is pleased to present a talk by independent curator Joni Low for the final instalment of our Curating the Self lecture series.

Low will share her interests in the metaphor of the archive, the ways in which material accumulations perform identities and selves, and the virtual commons as a space of expressive possibility. Drawing on the idea of the archive as an extension of the self, she will discuss past curatorial projects including Fountain: the source or origin of anything, a public art and web project by Laiwan, and Hank Bull: Connexion, an exhibition of collected material traces of life lived as art, currently touring across Canada. She will also screen examples from 1970s performance and video art – including Kate Craig’s Flying Leopard and Norman Cohn’s How We Lived – reflecting on artistic strategies around the malleability of identity then, the performance of selves in our networked digital now, and the shaping of curatorial frameworks around what artists choose to reveal and conceal.


Following this lecture, Or Gallery will host a reading group focused on an essay selected by Low from Hito Steyerl’s Wretched of the Screen (Sternberg Press, 2012). The reading group will take place at the Or on Wednesday April 6 at 7PM. Space is limited so please RSVP .

Joni Low is an independent curator and writer committed to building conversations around interdisciplinary and cross-cultural perspectives. Recent exhibitions include Hank Bull: Connexion (2015-2017, Charlottetown, Montréal, Halifax and Burnaby), Fountain: the source or origin of anything, a public artwork by Laiwan (2014, The Wall: CBC Plaza) and Idle Wild: DRIL art collective (2012, Café for Contemporary Art). She has written for catalogues and publications including Canadian Art, C Magazine, The Capilano Review, Fillip, and Yishu: Journal of Contemporary Chinese Art. A member of Other Sights for Artists’ Projects and the Doryphore Independent Curators’ Society, Low has held positions at the Vancouver Art Gallery, Long March Space Beijing, and Centre A.

Curating the Self is a lecture series that explores the construction of identity in relation to the discipline of curating as well as the many forms of cultural assemblage that have lately begun to appropriate and adapt curatorial strategies for their own purposes.

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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

Wood Land School Critical Anthology
Duane Linklater, cheyanne turions, Amy Kazymerchyk, Candice Hopkins, Tanya Lukin Linklater, Liz Park, Postcommodity, Raymond Boisjoly, David Garneau, Walter Scott
March 19 — April 23, 2016

An exhibition of documentation from the Wood Land School Critical Anthology symposium (March 11-13, 2016)

The weekend of talks brought together artists and curators to address the lack of critical writing on the work of contemporary Indigenous artists. The presentation of papers-in-progress by all the participants will work to advance the discourse around Indigenous contemporary art practices and will ultimately cohere into an anthology co-published by Or Gallery and SFU Galleries at the end of 2016.

Wood Land School is an ongoing project with no fixed location and a shifting form. It seeks critical engagement within the realms of representation, film, contemporary art, land, and politics on Turtle Island and beyond. Each iteration of Wood Land School carries forth with it a commitment to address the lack of structural inclusion, both historically and in the now, in a multiplicity of institutional spaces. It is a conceptual and physical space for Indigenous people, with Indigenous people deciding its directions, structures and functions. An important aspect of Wood Land School is the inclusion of non-Indigenous people, so as not to exclude anyone interested in engaging with the complexities of the aforementioned issues. Wood Land School started in 2011 with a small exhibition of works, selected by Duane Linklater, in a studio space located above a store on the Nipissing First Nations in Ontario. Since then it has taken many forms such as residencies, seminars, film screenings and discursive happenings, in places such as The Banff Center for the Arts, Art Metropole, and Simon Fraser University.

Duane Linklater
cheyanne turions – From Where Do You Speak?: Locating the Possibility of Decolonization in Krista Belle Stewart’s Seraphine Seraphine
Raymond Boisjoly, Questions without answers: needs, justifications, explanations, meaning
Amy Kazymerchyk – Bush Gallery
David Garneau – Can I Get a Witness?: Indigenous, Art, Criticism
Postcommodity – Art is Deaf
Walter Scott – Wendy’s Revenge (with Amy Kazymerchyk)
Candice Hopkins – Outside the margins and inside the institution
Tanya Lukin Linklater – A Glossary of Insistence
Liz Park – Exhibitions about Exhibitions, Criticism of Criticism
Closing remarks

Editor:

Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario, and is currently based in North Bay, Ontario. He was educated at the University of Alberta, receiving a Bachelor of Native Studies and a Bachelor of Fine Arts. Duane attended the Milton Avery Graduate School of Arts at Bard College in upstate New York, completing his Master of Fine Arts in Film and Video. Duane produces a range of work including video and film installations, photography, sculptural objects, and often works within the contexts of cooperative and collaborative gestures. He has exhibited and screened his work nationally and internationally at the Vancouver Art Gallery; Family Business Gallery in New York City; Te Tuhi Centre for Arts, Auckland, New Zealand; City Arts Centre in Edinburgh Scotland; and at the Institute of Contemporary Arts, Philadelphia. His collaborative film project with Brian Jungen, Modest Livelihood, was originally presented at the Walter Phillips Gallery at The Banff Centre as a part of dOCUMENTA (13) with subsequent exhibitions of this work at the Logan Centre Gallery at the University of Chicago, Catriona Jeffries Gallery in Vancouver and the Art Gallery of Ontario. Duane was also the recipient of the 2013 Sobey Art Award, an annual prize given to an artist under 40. Duane is currently represented by Catriona Jeffries Gallery, Vancouver.

Writers:

Raymond Boisjoly is an artist of Haida and Québécois descent, living and working in Vancouver. Boisjoly’s practice operates as active speculation, engaging issues of aboriginality, language as cultural practice and the experiential aspects of materiality. His process is situated in proximity to photography, and concerns the nature of technology and its transmission as a means to index and understand cultural transformation. Boisjoly has presented work in solo and group exhibitions at institutions including the Senter for Nordlige Folk, Manndalen; Simon Fraser University Gallery, Vancouver; Esker Foundation, Calgary; Catriona Jeffries Gallery, Vancouver; the Contemporary Art Gallery, Vancouver; the Power Plant Contemporary Art Gallery, Toronto; and Western Bridge, Seattle.

David Garneau (Métis) is Associate Professor of Visual Arts at the University of Regina, Saskatchewan. His practice includes painting, drawing, performance art, video, curation, and critical writing. He is interested in visual and tactile expressions of contemporary Indigenous identities and moments of friction between nature and culture, materialism and metaphysics. Garneau recently co-curated (with Michelle LaVallee) Moving Forward, Never Forgetting, an exhibition concerning the legacies of Indian Residential Schools, other forms of aggressive assimilation, and (re)conciliation. He has written numerous catalogue essays and reviews and has recently given talks in Australia, the United States and Canada. He is currently working on curatorial projects in Sydney and New York, and is part of a five-year, SSHRC funded, curatorial research project, “Creative Conciliation.”

Candice Hopkins is a Curatorial Advisor for dOCUMENTA 14. She has held curatorial positions at the Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery. Hopkins’ writings on history, art, and vernacular architecture are published by MIT Press, BlackDog Publishing, Revolver, New York University, Fillip, and the National Museum of the American Indian, among others. She has lectured widely including a keynote presentation with Hetti Perkins on the “sovereign imagination” for dOCUMENTA (13). She is co-curator of the exhibitions Close Encounters: The Next 500 Years; Sakahàn: International Indigenous Art; and the 2014 SITE Santa Fe Biennial exhibition Unsettled Landscapes. Hopkins has co-edited the books Recipes for an Encounter (Western Front) and Jimmie Durham: The Second Particle Wave Theory (Walter Phillips Gallery Editions and Art Editions North).

Amy Kazymerchyk is the curator of SFU Galleries’ Audain Gallery. She has programmed for VIVOMedia Arts Centre, the Signal + Noise Media Arts Festival, Vancouver Queer Film Festival and DIMCinema at The Cinematheque. Amy has contributed to Artist-Run Culture in Vancouver in numerous capacities and continues to support both institutional and non-institutional artist run initiatives and projects.

Liz Park is a curator and writer currently based in Pittsburgh as Associate Curator of Carnegie International 2018. She has curated exhibitions at the Glenbow Museum in Calgary, the Kitchen in New York, the Institute of Contemporary Art in Philadelphia, and Seoul Art Space_Geumcheon in Seoul. Her writing has been published by Afterimage, Afterall Online, ArtAsiaPacific, Performa Magazine, Fillip, MOMUS, Pluto Press, and Ryerson University Press among others. In 2011–2012 Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Museum’s Independent Study Program, and in 2013-2015 she was Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art in Philadelphia. The topics of her curatorial research and writing include the politics of visibility, representation of violence, ghosts, and non-western art in the global context of contemporary art.

Tanya Lukin Linklater’s performance collaborations, videos, photographs and installations have been exhibited at EFA Project Space, NYC; Museum of Contemporary Art Santiago, Chilé; SBC Gallery, Montreal; Western Front, Vancouver; Urban Shaman, Winnipeg; Images Festival + Museum of Contemporary Canadian Art, Toronto; grunt gallery, Vancouver; Nuit Blanche, Winnipeg; Museum of Contemporary Native Art, Santa Fe; Culver Center for the Arts, California; People of Good Will Project, Guelph; and elsewhere. She is compelled by the interstices of visual art and poetry, pedagogy, indigenous languages, portrayals of women and children in film, and the body. In 2016, she will present performances at Remai Modern, Saskatoon; Centre Phi + DHC / Art, Montreal; and the Belkin Gallery/UBC, Vancouver; and install new work at Art Gallery of Alberta in a two-person exhibition with Duane Linklater. Her poetry and essays have been published by C Magazine, Access Gallery, BlackFlash Magazine, Yellow Medicine Review, Taos International Journal of Poetry and Art, Drunken Boat, Ice Floe, Western Front Gallery, and McLaren Art Centre. Tanya studied at University of Alberta (M.Ed.) and Stanford University (A.B. Honours) where she received the Mellon Mays Undergraduate Fellowship and the Louis Sudler Prize for Creative and Performing Arts. She is currently a graduate student in Cultural Studies at Queen’s University. She was awarded the Chalmers Professional Development Grant in 2010 and the K.M. Hunter Artist Award in Literature in 2013. She originates from southern Alaska and is based in northern Ontario, Canada.

Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, Kade L. Twist and Nathan Young. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the Telluride Institute (2007), American Composers Forum (2008), Arizona Commission on the Arts (2009), Elly Kay Fund (2010), Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), and the Native Arts and Cultures Foundation (2014). In 2011 the collective’s work was featured in Close Encounters, an international Indigenous exhibition exhibited in multiple venues throughout the city of Winnipeg; Contour, the 5th Biennial of the Moving Image in Mechelen, Belgium; Nuit Blanche, Toronto; Half Life: Patterns of Change, Santa Fe Art Institute, Santa Fe, New Mexico; The Night is Filled With the Harmonics of Suburban Dreams, Lawrence Art Center, Lawrence, Kansas; Here, Pennsylvania Academy of Fine Arts Museum; 18th Biennale of Sydney in Sydney, Australia; Adelaide International in Adelaide, Australia; and Time Lapse, Site Santa Fe, in Santa Fe, New Mexico. In 2013, Postcommodity exhibited their work at the Headlands Center for the Arts, and also opened their art space, Spirit Abuse, in Albuquerque, New Mexico. In 2015, Postcommodity exhibited at the Scottsdale Museum of Contemporary Art and staged a site-specific 2-mile long land installation at the US/Mexican border near Douglas, Arizona.

Walter Scott is a Kahnawake-born, Montreal/Toronto based artist working in writing, illustration, performance and sculpture. His ongoing comic book series, Wendy, follows a young woman living in an urban centre whose dreams of contemporary art stardom are perpetually derailed. Recent exhibitions include Habitual Present, 8-11, Toronto; Pre-Existing Work, Macaulay and Co. Fine Art, Vancouver; and Stopping the Sun In Its Course at Francois Ghebaly, Los Angeles. In 2014 he was Artist-in-Residence at the Koganecho Bazaar in Yokohama.

cheyanne turions is an independent curator and writer who holds a bachelor’s degree in Philosophy from the University of British Columbia, and is currently pursuing a master’s degree in Visual Studies from the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. From the farmlands of Treaty 8, she is of settler and Indigenous ancestry. Her work approaches the space of exhibition as alive: the gallery is a space of dialogue where artists, curators and publics can reflect on and experiment with ways of seeing and being in relation. Recently she curated Talking Back, Otherwise, a year-long exhibition at the Jackman Humanities Institute. Forthcoming writing projects include contributions to MAWA’s Desire/Change: Contemporary Canadian Feminist Art; Johanna Householder and Tanya Mars’s More Caught in the Act: An Anthology of Performance Art by Canadian Women; and Meryl McMaster’s Confluence. Her exhibition Other Electricities was presented the award for Innovation in a Collections-based Exhibition by the Ontario Association of Art Galleries in 2014. In 2015 she received the inaugural Reesa Greenberg Curatorial Studies Award and the Hnatyshyn Foundation’s Emerging Curator of Contemporary Canadian Art Award. She sits on the Board of Directors for Kunstverein Toronto, the Editorial Advisory Committee for C Magazine and the Advisory Board for the Art Museum at the University of Toronto. She is the director of No Reading After the Internet (Toronto).

SFU Galleries | Simon Fraser University

< 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



symposium

Wood Land School: Critical Anthology
Duane Linklater, cheyanne turions, Amy Kazymerchyk, Candice Hopkins, Tanya Lukin Linklater, Liz Park, Postcommodity, Raymond Boisjoly, David Garneau, Walter Scott
March 11 — March 13, 2016

A symposium on directions in Indigenous contemporary art

Or Gallery, 555 Hamilton Street, Vancouver
Co-presented by Or Gallery and SFU Galleries

This weekend of talks brings together artists and curators to address the lack of critical writing on the work of contemporary Indigenous artists. The presentation of papers-in-progress by all the participants will work to advance the discourse around Indigenous contemporary art practices and will ultimately cohere into an anthology co-published by Or Gallery and SFU Galleries at the end of 2016.

Wood Land School is an ongoing project with no fixed location and a shifting form. It seeks critical engagement within the realms of representation, film, contemporary art, land, and politics on Turtle Island and beyond. Each iteration of Wood Land School carries forth with it a commitment to address the lack of structural inclusion, both historically and in the now, in a multiplicity of institutional spaces. It is a conceptual and physical space for Indigenous people, with Indigenous people deciding its directions, structures and functions. An important aspect of Wood Land School is the inclusion of non-Indigenous people, so as not to exclude anyone interested in engaging with the complexities of the aforementioned issues. Wood Land School started in 2011 with a small exhibition of works, selected by Duane Linklater, in a studio space located above a store on the Nipissing First Nations in Ontario. Since then it has taken many forms such as residencies, seminars, film screenings and discursive happenings, in places such as The Banff Center for the Arts, Art Metropole, and Simon Fraser University.

Friday, March 11, 2016
6:00-7:30PM Duane Linklater
Saturday, March 12, 2016
10:00AM cheyanne turions – From Where Do You Speak?: Locating the Possibility of Decolonization in Krista Belle Stewart’s Seraphine Seraphine
11:00AM Raymond Boisjoly, Questions without answers: needs, justifications, explanations, meaning
12:00PM Lunch break
1:00PM Amy Kazymerchyk – Bush Gallery
2:00PM David Garneau – Can I Get a Witness?: Indigenous, Art, Criticism
3:00PM Postcommodity – Art is Deaf
Sunday, March 13, 2016
10:00AM Walter Scott – Wendy’s Revenge
11:00AM Candice Hopkins – Outside the margins and inside the institution
12:00PM Lunch break
1:00PM Tanya Lukin Linklater – A Glossary of Insistence
2:00PM Liz Park – Exhibitions about Exhibitions, Criticism of Criticism
3:00PM Closing remarks

Editor:

Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario, and is currently based in North Bay, Ontario. He was educated at the University of Alberta, receiving a Bachelor of Native Studies and a Bachelor of Fine Arts. Duane attended the Milton Avery Graduate School of Arts at Bard College in upstate New York, completing his Master of Fine Arts in Film and Video. Duane produces a range of work including video and film installations, photography, sculptural objects, and often works within the contexts of cooperative and collaborative gestures. He has exhibited and screened his work nationally and internationally at the Vancouver Art Gallery; Family Business Gallery in New York City; Te Tuhi Centre for Arts, Auckland, New Zealand; City Arts Centre in Edinburgh Scotland; and at the Institute of Contemporary Arts, Philadelphia. His collaborative film project with Brian Jungen, Modest Livelihood, was originally presented at the Walter Phillips Gallery at The Banff Centre as a part of dOCUMENTA (13) with subsequent exhibitions of this work at the Logan Centre Gallery at the University of Chicago, Catriona Jeffries Gallery in Vancouver and the Art Gallery of Ontario. Duane was also the recipient of the 2013 Sobey Art Award, an annual prize given to an artist under 40. Duane is currently represented by Catriona Jeffries Gallery, Vancouver.

Writers:

Raymond Boisjoly is an artist of Haida and Québécois descent, living and working in Vancouver. Boisjoly’s practice operates as active speculation, engaging issues of aboriginality, language as cultural practice and the experiential aspects of materiality. His process is situated in proximity to photography, and concerns the nature of technology and its transmission as a means to index and understand cultural transformation. Boisjoly has presented work in solo and group exhibitions at institutions including the Senter for Nordlige Folk, Manndalen; Simon Fraser University Gallery, Vancouver; Esker Foundation, Calgary; Catriona Jeffries Gallery, Vancouver; the Contemporary Art Gallery, Vancouver; the Power Plant Contemporary Art Gallery, Toronto; and Western Bridge, Seattle.

David Garneau (Métis) is Associate Professor of Visual Arts at the University of Regina, Saskatchewan. His practice includes painting, drawing, performance art, video, curation, and critical writing. He is interested in visual and tactile expressions of contemporary Indigenous identities and moments of friction between nature and culture, materialism and metaphysics. Garneau recently co-curated (with Michelle LaVallee) Moving Forward, Never Forgetting, an exhibition concerning the legacies of Indian Residential Schools, other forms of aggressive assimilation, and (re)conciliation. He has written numerous catalogue essays and reviews and has recently given talks in Australia, the United States and Canada. He is currently working on curatorial projects in Sydney and New York, and is part of a five-year, SSHRC funded, curatorial research project, “Creative Conciliation.”

Candice Hopkins is a Curatorial Advisor for dOCUMENTA 14. She has held curatorial positions at the Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery. Hopkins’ writings on history, art, and vernacular architecture are published by MIT Press, BlackDog Publishing, Revolver, New York University, Fillip, and the National Museum of the American Indian, among others. She has lectured widely including a keynote presentation with Hetti Perkins on the “sovereign imagination” for dOCUMENTA (13). She is co-curator of the exhibitions Close Encounters: The Next 500 Years; Sakahàn: International Indigenous Art; and the 2014 SITE Santa Fe Biennial exhibition Unsettled Landscapes. Hopkins has co-edited the books Recipes for an Encounter (Western Front) and Jimmie Durham: The Second Particle Wave Theory (Walter Phillips Gallery Editions and Art Editions North).

Amy Kazymerchyk is the curator of SFU Galleries’ Audain Gallery. She has programmed for VIVOMedia Arts Centre, the Signal + Noise Media Arts Festival, Vancouver Queer Film Festival and DIMCinema at The Cinematheque. Amy has contributed to Artist-Run Culture in Vancouver in numerous capacities and continues to support both institutional and non-institutional artist run initiatives and projects.

Liz Park is a curator and writer currently based in Pittsburgh as Associate Curator of Carnegie International 2018. She has curated exhibitions at the Glenbow Museum in Calgary, the Kitchen in New York, the Institute of Contemporary Art in Philadelphia, and Seoul Art Space_Geumcheon in Seoul. Her writing has been published by Afterimage, Afterall Online, ArtAsiaPacific, Performa Magazine, Fillip, MOMUS, Pluto Press, and Ryerson University Press among others. In 2011–2012 Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Museum’s Independent Study Program, and in 2013-2015 she was Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art in Philadelphia. The topics of her curatorial research and writing include the politics of visibility, representation of violence, ghosts, and non-western art in the global context of contemporary art.

Tanya Lukin Linklater’s performance collaborations, videos, photographs and installations have been exhibited at EFA Project Space, NYC; Museum of Contemporary Art Santiago, Chilé; SBC Gallery, Montreal; Western Front, Vancouver; Urban Shaman, Winnipeg; Images Festival + Museum of Contemporary Canadian Art, Toronto; grunt gallery, Vancouver; Nuit Blanche, Winnipeg; Museum of Contemporary Native Art, Santa Fe; Culver Center for the Arts, California; People of Good Will Project, Guelph; and elsewhere. She is compelled by the interstices of visual art and poetry, pedagogy, indigenous languages, portrayals of women and children in film, and the body. In 2016, she will present performances at Remai Modern, Saskatoon; Centre Phi + DHC / Art, Montreal; and the Belkin Gallery/UBC, Vancouver; and install new work at Art Gallery of Alberta in a two-person exhibition with Duane Linklater. Her poetry and essays have been published by C Magazine, Access Gallery, BlackFlash Magazine, Yellow Medicine Review, Taos International Journal of Poetry and Art, Drunken Boat, Ice Floe, Western Front Gallery, and McLaren Art Centre. Tanya studied at University of Alberta (M.Ed.) and Stanford University (A.B. Honours) where she received the Mellon Mays Undergraduate Fellowship and the Louis Sudler Prize for Creative and Performing Arts. She is currently a graduate student in Cultural Studies at Queen’s University. She was awarded the Chalmers Professional Development Grant in 2010 and the K.M. Hunter Artist Award in Literature in 2013. She originates from southern Alaska and is based in northern Ontario, Canada.

Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, Kade L. Twist and Nathan Young. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the Telluride Institute (2007), American Composers Forum (2008), Arizona Commission on the Arts (2009), Elly Kay Fund (2010), Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), and the Native Arts and Cultures Foundation (2014). In 2011 the collective’s work was featured in Close Encounters, an international Indigenous exhibition exhibited in multiple venues throughout the city of Winnipeg; Contour, the 5th Biennial of the Moving Image in Mechelen, Belgium; Nuit Blanche, Toronto; Half Life: Patterns of Change, Santa Fe Art Institute, Santa Fe, New Mexico; The Night is Filled With the Harmonics of Suburban Dreams, Lawrence Art Center, Lawrence, Kansas; Here, Pennsylvania Academy of Fine Arts Museum; 18th Biennale of Sydney in Sydney, Australia; Adelaide International in Adelaide, Australia; and Time Lapse, Site Santa Fe, in Santa Fe, New Mexico. In 2013, Postcommodity exhibited their work at the Headlands Center for the Arts, and also opened their art space, Spirit Abuse, in Albuquerque, New Mexico. In 2015, Postcommodity exhibited at the Scottsdale Museum of Contemporary Art and staged a site-specific 2-mile long land installation at the US/Mexican border near Douglas, Arizona.

Walter Scott is a Kahnawake-born, Montreal/Toronto based artist working in writing, illustration, performance and sculpture. His ongoing comic book series, Wendy, follows a young woman living in an urban centre whose dreams of contemporary art stardom are perpetually derailed. Recent exhibitions include Habitual Present, 8-11, Toronto; Pre-Existing Work, Macaulay and Co. Fine Art, Vancouver; and Stopping the Sun In Its Course at Francois Ghebaly, Los Angeles. In 2014 he was Artist-in-Residence at the Koganecho Bazaar in Yokohama.

cheyanne turions is an independent curator and writer who holds a bachelor’s degree in Philosophy from the University of British Columbia, and is currently pursuing a master’s degree in Visual Studies from the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. From the farmlands of Treaty 8, she is of settler and Indigenous ancestry. Her work approaches the space of exhibition as alive: the gallery is a space of dialogue where artists, curators and publics can reflect on and experiment with ways of seeing and being in relation. Recently she curated Talking Back, Otherwise, a year-long exhibition at the Jackman Humanities Institute. Forthcoming writing projects include contributions to MAWA’s Desire/Change: Contemporary Canadian Feminist Art; Johanna Householder and Tanya Mars’s More Caught in the Act: An Anthology of Performance Art by Canadian Women; and Meryl McMaster’s Confluence. Her exhibition Other Electricities was presented the award for Innovation in a Collections-based Exhibition by the Ontario Association of Art Galleries in 2014. In 2015 she received the inaugural Reesa Greenberg Curatorial Studies Award and the Hnatyshyn Foundation’s Emerging Curator of Contemporary Canadian Art Award. She sits on the Board of Directors for Kunstverein Toronto, the Editorial Advisory Committee for C Magazine and the Advisory Board for the Art Museum at the University of Toronto. She is the director of No Reading After the Internet (Toronto).

SFU Galleries | Simon Fraser University

Wood Land School Critical Anthology

< 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

Jordan Wilson Curating the Self
Monday, February 29, 7PM

Curated by Jonah Gray

Or Gallery is pleased to present a talk by Vancouver-based curator Jordan Wilson, the third instalment in our Curating the Self lecture series.

Wilson will discuss his experiences and observations as a Musqueam community member and co-curator involved in producing the multi-site exhibition c̓əsnaʔəm, the city before the city. He will examine the issues present in the curation of a contemporary ethnographic (and ostensibly archaeological) exhibit, and the role of the curator—particularly a curator from the community represented—in such an endeavour. His talk will explore the question of balancing a community’s desire to right inaccurate historical representations of itself, while maintaining its privacy and control over knowledge. He will detail the challenges of respectfully approaching the representation of a collection of 10,000+ belongings (‘artefacts’) obtained through colonial displacement. He will also consider his own personal trajectory as an Indigenous curator and scholar.

Wilson is an independent curator, researcher and writer. He was a co-curator of the exhibit c̓əsnaʔəm, the city before the city, at the Museum of Anthropology at the University of British Columbia. He is of mixed European-Indigenous ancestry and is a member of the Musqueam First Nation. He holds a Masters of Arts in Anthropology (museum studies stream) and a Bachelor of Arts in First Nations Studies, both obtained at UBC.


Following this lecture, Or Gallery will host a reading group focused on a text selected by Wilson from Audra Simpson’s book Mohawk Interruptus (2014). The reading group will take place at the Or on Wednesday March 2 at 7PM. Space is limited so please RSVP.

Curating the Self is a lecture series that explores the construction of identity in relation to the discipline of curating as well as the many forms of cultural assemblage that have lately begun to appropriate and adapt curatorial strategies for their own purposes.

Photo credit: M. Gallagher

< 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

Cathy Busby Power in the Darkness
Monday, February 22, 7PM

Curated by Jonah Gray

Or Gallery is pleased to present a talk by artist Cathy Busby, the second installment in our Curating the Self lecture series.

Busby will revisit the period when she first began exploring the politics of pain and its relief, and then consider how this theme has informed her more recent works. This early period of inquiry led to projects including her Self-Help Book Library (1994), the exhibition Where Does It Hurt? (1996) and culminated in a book she co-edited with Bill Burns and Kim Sawchuk entitled When Pain Strikes (University of Minnesota Press, 1998).

Early in the new millennium I began tracking public apologies in the news made by CEOs, sports stars and politicians. This became source material for a series of prints, installations and bookworks entitled Sorry. During this time the momentous, long-awaited apologies by federal governments were made to Aboriginal people for residential schools in Canada and the ‘Stolen Generations’ in Australia (2008). I felt their commemoration was important, especially in light of the assertion by Justice Murray Sinclair of the Truth and Reconciliation Commission that “We’re all in this together.” I made several iterations of We Are Sorry, temporary public monuments in Canada and Australia, as well as installations and bookworks (2008-16).

Still expanding ideas about pain relief, I undertook the project Steve’s Vinyl which led me to think about belongings, mourning, community and personal history. For many years I had kept the nearly 200 record albums my late brother Steve left me when he died of AIDS-related illness. I neither played nor looked at them. It gradually occurred to me to create an installation and performance giveaway event. A book documenting this event followed (Steve’s Vinyl, Emily Carr University Press + Visual AIDS New York, 2013).

Cathy Busby is a Canadian artist based in Vancouver. She has a PhD in Communication (Concordia University, 1999) and was a Fulbright Scholar at New York University (1995-96). She has an MA in Media Studies (Concordia University, 1992) and a BFA (1984) from the Nova Scotia College of Art and Design. She has been exhibiting her work internationally over the past 20 years.


In anticipation of this lecture, Or Gallery will host a reading group focused on two chapters from When Pain Strikes. The reading group will take place at the Or on Wednesday February 17 at 7PM. Space is limited so please RSVP .

Curating the Self is a lecture series that explores the construction of identity in relation to the discipline of curating as well as the many forms of cultural assemblage that have lately begun to appropriate and adapt curatorial strategies for their own purposes.

Photo: Cathy Busby with Steve’s Vinyl installation in process, Khyber Centre for the Arts, Halifax, 2011.
Thanks to TRB for the title and the Chronicle Herald, Halifax.

< 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

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.

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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



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.

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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



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



Online-Project

Isabelle Pauwels ,000,
July 11 - September 11, 2016

Curated by Jonah Gray

Or Gallery is pleased to present a special radio play adaption of Isabelle Pauwels’ ,000, completed in 2015. The play follows two entwined characters: the formerly prominent city of New Westminster, and a disillusioned Actress Slash Dominatrix, as they struggle for legitimacy.

The first iteration of this work was presented in 2014 at the Experimental Media and Performing Arts Centre in Troy, New York, as an immersive installation with 27 channels of audio, 9 channels of video, sculptural elements and choreographed lighting. ,000, has also been adapted into a single channel video that was recently screened as part of the DIM Cinema series at the Cinematheque.

Isabelle Pauwels is a New Westminster-based artist who uses a blend of performance and documentary realism in multimedia installations and video to explore the relationship between narrative conventions and everyday life. She won the 2009 Brink Award and was shortlisted for the 2013 Sobey Award.


Credits

Any resemblance to people & places living or dead, real or imaginary, is probably not coincidental, and sometimes deliberately inaccurate. So don’t believe any of it.

Cast:

The Actress Slash Dominatrix:
Valérie Pauwels

The Chorus of Random Dudes:
Doug Barron
Jack Shaefer
Robb Smith
Gabriel Squailia
Avery Stemple
Tim Stowell
Adam Tedesco
Evan Calder Williams

The Critics:
Doug Barron
Gabriel Squailia
Avery Stemple
Tim Stowell

The Former Emergency Planner Turned Webmaster:
Evan Calder Williams

The Girl Next Door, Down the Street, and All Over the Servers:
Emily Armstrong
Jessica Bennett
Michele Cassaro
Valérie Pauwels

The Mayor / Matthew Begbie Hanging Judge:
Robb Smith

The Stewart at Kruger’s Mill:
Adam Tedesco

V.O.:
Isabelle Pauwels

The WAGS:
Emily Armstrong
Jessica Bennett
Michele Cassaro

Music & Sound Effects:
Paul Kajander

Audio Mixing:
Todd Vos

Audio Editing:
Isabelle Pauwels

Script

The script is a blend of approx. 50% original material and 50% unoriginal material

Original material:
Isabelle Pauwels

Unoriginal material includes direct quotes, paraphrases, and deliberate misquotes from the following:

Email correspondence between Mistress Bijou Steal and prospective clients

Post-it notes for Lucky Girl (2014), a one-woman play written and performed by Valérie Pauwels

www.mssteal.com (2013)

@bijou steal

Excerpts from fetish clips used with permission of Mistress Bijou Steal and Miss Jasmine

Editing instructions, Maximus Productions

www.products.kruger.com

www.creativebc.com

The Internet

Advertisement for the GlassHouse Lofts by Aragon Properties, 2013

Robert Filiou

Eddie Russia

Grant Granger. “Heyday swag lights for Columbia costly.” The New Westminster News Leader, unknown date.

G.M. Chuck Stewart, quoted by Grant Granger. “Kruger to cut 187 jobs from its New Westminster operations.” The New Westminster News Leader, March 8 2012.

Craig Ruttle. “Another look at an ‘eyesore.’ “ The New Westminster News Leader, June 12 2013.

This work was produced through residencies at Curtis R. Priem Experimental Media and Performing Arts Center / EMPAC

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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.

< 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