Artist-Talk

From “The GINA Show”

With guest speaker Mark Oliver
“A Conversation with Mr. Dynamite”

It was 1980. A bunch of art school kids with video cameras talked their way into the James Brown concert at the Cave and got an interview with the music legend after the performance. Mark Oliver and James Brown talked about music, entertainment, media and satisfaction. The result became a special episode of the GINA Show. The talk at the Or Gallery will feature live commentary by Mark Oliver and footage that never made it on air.

The GINA Show is exhibited courtesy of the artists and the Morris and Helen Belkin Art Gallery at The University of British Columbia. Archival materials and works are courtesy of the Morris and Helen Belkin Art Gallery and VIVO Media Arts Centre. This exhibition is curated by Allison Collins, a candidate to the Masters Degree in Critical Curatorial Studies at The University of British Columbia, 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.

Exhibition

A new exhibition about The GINA Show, John Anderson’s television art project, will be shown nearly thirty years after its initial broadcast in 1978 on Vancouver Cable 10, at the height of the punk and media DIY movement in Vancouver.

Ninety-some episodes were made from 1978-1981, in close association with the artist-run centre, PUMPS, and with the active involvement of a large community of performance and media artists and musicians. A stronghold of experimental media art, performance, punk and new wave the show formed among a sea of undefined local public programming, and then disappeared from public view. After surviving a fire that damaged the original video cassettes, 63 episodes have been transferred from fragile 3/4-inch tapes into archival and digital formats.

This installation brings together this vast record of video, performance documentation, interviews, promotional spots, music, and digital art with related materials and documents from PUMPS, for a close look at the local cultural underground circa 1979.

For the duration of the show, Or Gallery will host The GINA Show archive, where all surviving episodes will be available for view. A short-wave broadcast will occur on site and related evenings of video screenings will take place in conjunction with the exhibition.

Included are works by John Anderson, Byron Black, Taki Bluesinger, Gary Bourgeois, The Braineaters, Susan Britton, Hank Bull, Donna Chisholm, Elizabeth Chitty, Kate Craig, Jim Cummins, Gina Daniels, Maddalena Di Gregorio, Keith Donovan, Stan Douglas, David Enblom, The Government, Ken Lum, Eric Metcalfe, John Mitchell, Mark Oliver, Gerard Pas, Andrew James Paterson, The Pointed Sticks, Patrick Ready, Randy and Berenicci, Anne Rosenberg, TBA TV, Kim Tomczak, Vincent Trasov, Elizabeth Vander Zaag, Paul Wong, and many more.

This exhibition is curated by Allison Collins, a candidate to the Masters Degree in Critical Curatorial Studies at The University of British Columbia, 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.

Works courtesy of the Morris and Helen Belkin Archives at The University of British Columbia.

WEBSITE:
http://theginashow.orgallery.org

SCREENINGS:
VIVO Media Arts Centre, 1965 Main St.

Uncut Video: Selections from the Gina Show – Wednesday, 16 June, 7:00PM
Randy and Berenicci, Hank Bull, Kim Tomczak, Elizabeth Vander Zaag, Paul Wong

Unbasic Cable: Episodes from Television Art History – Wednesday, 23 June, 7:00PM
Byron Black, Tom Sherman, David Shulman, John Watt


AFTER PARTY:
Club 560, 560 Seymour Street., 10:30PM until late
Music from the GINA Show, with John Anderson

Video Credit: John Anderson, The GINA Show, excerpt from Season 3, Episode 5, intro sequence. Originally broadcast December 8, 1980. 1:08 min. Courtesy of the Morris and Helen Belkin Art Gallery at the University of British Columbia


Image Credit: John Anderson, The GINA Show, still from Season 1, Episode 2, Gina Daniels reads from Strike. Originally broadcast November 21, 1978. 27:10 min. Image courtesy of the Morris and Helen Belkin Art Gallery, The University of British Columbia

curatorial-talk

Reception to follow

Or Gallery
555 Hamilton Street
V6B 2R1

Or Gallery, Contemporary Art Gallery, and The Canadian Embassy in Berlin co-present a public presentation with: Anja Casser, Janneke de Vries, and Dr. Martina Weinhart.

Please join us for three introductory presentations by German curators Anja Casser, Janneke de Vries and Dr. Martina Weinhart, each of whom are participating in a research trip across Canada organised by the Canadian Embassy Berlin and the Canada Council for the Arts. The focus of their trip is examining artist-run culture, and their presentations will be followed by an informal conversation with local curators Jonathan Middleton (Director/Curator, Or Gallery) and Jenifer Papararo (Curator, Contemporary Art Gallery) drawing out particularities in Canadian and German systems and envisioning new future models.

BIOS
Anja Casser is the director of the Badischer Kunstverein (Baden Art Association) in Karlsruhe, where she has curated exhibitions such as Susanne M. Winterling, Through the looking glass, Anja Kirschner & David Panos: The Last Days of Jack Sheppard, Learn to Read Art – A History of Printed Matter (co-curated by AA Bronson, 2009), Come in, friends, the house is yours!, Pop! goes the weasel (with, among others ,Steven Shearer, 2008) and Matts Leiderstam – Nachbild / After Image (2007). Casser has edited a number of catalogues and other publications, most recently Andrea Büttner – I believe every word you say (2009) and Matts Leiderstam Nachbild / After Image (2010).

Janneke de Vries is the Director of the GAK Gesellschaft für Aktuelle Kunst in Breme, where he has organized solo-exhibitions with artists such as FOS, John Stezaker, Kathrin Sonntag, Özlem Sulak, Cezary Bodzianowski, Matt Mullican, Susanne M. Winterling, Florian Hüttner and Sarah Ortmeyer as well as the international group-show Space Revised #1. Friendly Takeovers. For the group-exhibition An einem schönen Morgen des Monats Mai… (One fine morning in May…), taking place in May 2010, Gareth Moore will develop a new work. Moreover his work will be presented in a solo-exhibition which is planned to take place in 2011. In fall 2010 GAK Gesellschaft für Aktuelle Kunst will present the first solo show by Shannon Bool, a Canadian artist based in Berlin.

Dr. Martina Weinhart is a curator at the Schirn Kunsthalle Frankfurt. In that capacity she has organized solo exhibitions by Jonathan Meese (KÉPI BLANC, NACKT, 2004), Costa Vece (La fin du monde, 2004) and Terence Koh (Captain Buddha, 2008). She has also curated various surveys and thematic exhibitions on contemporary art such as At Your Own Risk (co-curated by Markus Heinzelmann, 2003), 3’ (Schirn Kunsthalle / CGAC Santiago de Compostela / In Progress, Film Festival Locarno; co-curated by Max Hollein and Hans Ulrich Obrist, 2004), Ideal Worlds, New Romanticism in Contemporary Art (co-curated by Max Hollein, 2005), Nothing (2006), Op Art (2007) and, The Making of Art (2009). In collaboration with Boris Groys she organized Dream Factory Communism. The Visual Culture of the Stalin Era (2003) and Total Enlightenment. Moscow Conceptual Art 1960–1990 (Schirn Kunsthalle / Fundación Juan March, Madrid, 2008).

Screening

The Or Gallery is pleased to present SW1, a video programme for No Soul For Sale – A Festival of Independents at the Tate Modern, London.

SW1 features Terrance Houle’s Friend or Foe (2010), Kevin Schmidt’s Long Beach Led Zep (2002), and Kathy Slade’s Tugboat (2007). Each of which have been previously exhibited in Vancouver, and were made in, and in relation to, an area that might loosley be termed Canada’s South-West. The videos each employ humour and the motif of the singular figure against south-west landscape to touch on its politics, industrialization and the sublime.

In celebration of its 10th anniversary, Tate Modern is hosting No Soul For Sale – A Festival of Independents. For this free arts festival, Tate Modern has invited 70 of the world’s most innovative independent art spaces to take over the Turbine Hall. The festival will fills the iconic space with an eclectic mix of cutting-edge arts events, performances, music and film from May 14th to May 16th, 2010.

No Soul For Sale is curated by Cecilia Alemani, Maurizio Cattelan and Massimiliano Gioni, and produced by Tate Modern. The first edition of No Soul For Sale took place in June 2009 at X initiative in the former Dia Center for the Arts in New York.

Independent arts organisations taking part in No Soul For Sale include: 2nd Cannons Publications (Los Angeles), 98weeks research project (Beirut), Alternative Space LOOP (Seoul), Arrow Factory (Beijing), ArtHub Asia (Shanghai/Bangkok/Beijing), Artis – Contemporary Israeli Art Fund (New York/Tel Aviv), Artists Space (New York), Artspeak (Vancouver), Auto Italia South East (London), Ballroom (Marfa), Barbur (Jerusalem), Black Dogs (Leeds), Capacete Entertainment (Rio de Janeiro), casa tres patios (Medellín), Cinématèque de Tanger (Tanger), cneai= (Paris-Chatou), Collective Parasol (Kyoto), Dispatch (New York), e-flux (Berlin), Elodie Royer and Yoann Gourmel – 220 jours (Paris), Embassy (Edinburgh), Filipa Oliveira + Miguel Amado (Lisbon), FLUXspace (Philadelphia), FormContent (London), Galerie im Regierungsviertel / Forgotten Bar Project (Berlin), Green Papaya Art Projects (Manila), Hell Gallery (Melbourne), Hermes und der Pfau (Stuttgart), i-cabin (London), Intoart (London), K48 Kontinuum (New York), Kling & Bang (Reykjavík), L’appartement 22 (Rabat), Latitudes (Barcelona), Le commissariat (Paris), Le Dictateur (Milan), Light Industry (New York), Lucie Fontaine (Milan), lugar a dudas (Cali), Mousse (Milan), Next Visit (Berlin), New Jerseyy (Basel), Not An Alternative (New York), no.w.here (London), Or Gallery (Vancouver), Oregon Painting Society (Portland), Para/Site Art Space (Hong Kong), Peep-Hole (Milan), PiST/// (Istanbul), Post-Museum (Singapore), PSL [Project Space Leeds] (Leeds), Rhizome (New York), Sala-Manca & Mamuta (Jerusalem), Sàn Art (Ho Chi Minh City), Scrawl Collective (London), studio1.1 (London), Swiss Institute / Contemporary Art (New York), The Mountain School of Arts (Los Angeles), The Museum of Everything (London), The Royal Standard (Liverpool), The Suburban (Chicago), The Western Front Society (Vancouver), Thisisnotashop (Dublin), Torpedo – supported by the Office for Contemporary Art Norway (OCA), Tranzit.cz (Prague), Viafarini DOCVA (Milan), Vox Populi (Philadelphia), Western Bridge (Seattle), White Columns (New York) and Y3K (Melbourne).

The Or Gallery would like to thank Anne Duffau, Anca Rujoiu, and Erica Shiozaki for their assistance on this project.

Exhibition

In celebration of its 10th anniversary, Tate Modern will host No Soul For Sale – A Festival of Independents. For this free arts festival, Tate Modern has invited 70 of the world’s most innovative independent art spaces to take over the Turbine Hall. The festival will fill the iconic space with an eclectic mix of cutting-edge arts events, performances, music and film from May 14th to May 16th, 2010.

As its participation in No Soul For Sale, the Or Gallery is pleased to present Kristina Lee Podesva’s Brown Globe at the Tate Modern.

Tangential to Podesva’s colourschool project*, Brown Globe marks the first in a series of colour studies undertaken by the artist that engages exclusively with the colour brown. Despite its regular appearance in everyday life, the colour brown does not exist on the visible light portion of the electromagnetic spectrum, and, as pigment, cannot be made without mixture. It posesses no pure, nor singular, nor truly opposite form…It is a special case.

Brown Globe, thus, refers to the multiple and paradoxical meanings inherent in its chromatic coding and pairs them with a smooth, gaseous, and cartoonish representation of the world to propose questions on how we understand and recognize globalization. In lieu of binary formulations such as the universal/the particular, the global/the local, East/West, North/South, or Black/White, Brown Globe offers another way, and it is brown.

Kristina Lee Podesva is a Vancouver-based artist, curator, writer, and editor of Fillip. Her art work, projects, and texts have appeared in exhibitions, screenings, and publications in Canada, the United States, and Europe. She was the founder of *colourschool (2006-2008), a pedagogical project dedicated to the speculative research of five colours; black, white, red, yellow, and brown, and was the inaugural artist-in-residence at the Langara Centre for Art in Public Spaces. She was co-founder of Cornershop Projects and co-creator of online works such as the Google Emotional Index, youareherebetweenus, This is a Vehicle, and Free for All.

No Soul For Sale is curated by Cecilia Alemani, Maurizio Cattelan and Massimiliano Gioni, and produced by Tate Modern. The first edition of No Soul For Sale took place in June 2009 at X initiative in the former Dia Center for the Arts in New York.

Independent arts organisations taking part in No Soul For Sale include: 2nd Cannons Publications (Los Angeles), 98weeks research project (Beirut), Alternative Space LOOP (Seoul), Arrow Factory (Beijing), ArtHub Asia (Shanghai/Bangkok/Beijing), Artis – Contemporary Israeli Art Fund (New York/Tel Aviv), Artists Space (New York), Artspeak (Vancouver), Auto Italia South East (London), Ballroom (Marfa), Barbur (Jerusalem), Black Dogs (Leeds), Capacete Entertainment (Rio de Janeiro), casa tres patios (Medellín), Cinématèque de Tanger (Tanger), cneai= (Paris-Chatou), Collective Parasol (Kyoto), Dispatch (New York), e-flux (Berlin), Elodie Royer and Yoann Gourmel – 220 jours (Paris), Embassy (Edinburgh), Filipa Oliveira + Miguel Amado (Lisbon), FLUXspace (Philadelphia), FormContent (London), Galerie im Regierungsviertel / Forgotten Bar Project (Berlin), Green Papaya Art Projects (Manila), Hell Gallery (Melbourne), Hermes und der Pfau (Stuttgart), i-cabin (London), Intoart (London), K48 Kontinuum (New York), Kling & Bang (Reykjavík), L’appartement 22 (Rabat), Latitudes (Barcelona), Le commissariat (Paris), Le Dictateur (Milan), Light Industry (New York), Lucie Fontaine (Milan), lugar a dudas (Cali), Mousse (Milan), Next Visit (Berlin), New Jerseyy (Basel), Not An Alternative (New York), no.w.here (London), Or Gallery (Vancouver), Oregon Painting Society (Portland), Para/Site Art Space (Hong Kong), Peep-Hole (Milan), PiST/// (Istanbul), Post-Museum (Singapore), PSL [Project Space Leeds] (Leeds), Rhizome (New York), Sala-Manca & Mamuta (Jerusalem), Sàn Art (Ho Chi Minh City), Scrawl Collective (London), studio1.1 (London), Swiss Institute / Contemporary Art (New York), The Mountain School of Arts (Los Angeles), The Museum of Everything (London), The Royal Standard (Liverpool), The Suburban (Chicago), The Western Front Society (Vancouver), Thisisnotashop (Dublin), Torpedo – supported by the Office for Contemporary Art Norway (OCA), Tranzit.cz (Prague), Viafarini DOCVA (Milan), Vox Populi (Philadelphia), Western Bridge (Seattle), White Columns (New York) and Y3K (Melbourne).

More information: http://www.nosoulforsale.com

The Or Gallery would like to than Anne Duffau, Anca Rujoiu, and Erica Shiozaki for their kind assistance on this project.

Artist-Talk

The Or Gallery and Fillip are pleased to co-present a talk with Brooklyn-based artist
David Horvitz.

A prolific, and incredibly diverse artist, Horvitz’s practice incorporates photography, publishing, performance, and mail art, often through collaboration with friends and strangers. Many of his projects are completed through ASDF, a collaborative entity formed Mylinh Trieu Nguyen in 2007. Recent projects have included The Wikipedia Reader (2008–09), One Hundred $1 Grants (2009), and Songs for the Arctic Ocean (2009).

Following up on his visit to Vancouver last spring, Horvitz will present recent and upcoming projects, including Drugstore Beetle (Sitodrepa Paniceum), a bound exhibition set containing works of 27 artists that were mailed out as gifts to various international libraries. This project operates through a sense of generosity and open distribution that are at the forefront of his practice.

Exhibition

Friend or Foe features new work by two renowned Canadian artists – Rebecca Belmore and Terrance Houle. The exhibition explores the stereotyped First Nations body within contemporary social contexts. Belmore will present a new video projection based on a recent performance held at The University of British Columbia’s Museum of Anthropology. The performance explores both the relationship between First Nations and the Museum and the homeless aboriginal body. Alongside this work will be, Victorious, a reconfigured video work from the 2009 Hive Festival. Houle’s contribution includes a recent series of pin-hole photographs documenting and questioning aboriginal stereotypes within the context of First Nations dioramas at the Calgary Stampede alongside a new video projection, which examines the myths and proliferations of “Indian Sign Language” and the question of identity within this context.

Friend or Foe boldly questions how the Aboriginal body may be utilized to create and dismantle First Nations stereotypes. Belmore and Houle, each in their own way, utilize their own body and the performance medium to delve into and explore colonialism and the social affects of racial stereotyping.

Anishinabe born Rebecca Belmore bases her practice in Vancouver, British Columbia. Since 1987, her multi-disciplinary work has addressed history, place and identity through the media of sculpture, installation, video and performance. Belmore was Canada’s official representative at the 2005 Venice Biennale.

Terrance Houle is an internationally recognized multi-disciplinary artist of Blood Tribe ancestry based in Calgary, Alberta. Houle studied at the Alberta College of Art & Design earning a BFA in Fibre in 2003. In 2004, his short, The Wagon Burner, won the Best Experimental Film Award at the imagineNATIVE Film + Media Arts Festival in Toronto.

CURATOR’S TALK:
Saturday, May 29, 2010 4:15pm
As part of the Canadian Art Gallery Hop
http://www.canadianart.ca/microsites/vancouverhop/talks

This exhibition is curated by Darrin Martens, a candidate to the Masters Degree in Critical Curatorial Studies at The University of British Columbia, 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.

Performance

Anza Club
3 West 8th Avenue
3$ at the door.

An evening of extreme noise and spoken words, Clamour and Toll: Church draws a tension between the sensory phenomenon of sound and the intellectual experience of language.

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TASKMASTER
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Rachelle Sawatsky presents a talk about the early history of Essondale, one of Vancouver’s earliest hospitals for the mentally ill.
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FLATGREY
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Neal Rockwell presents a new monologue.
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RUSALKA
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Donato Mancini reads his poem “ligature”.
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THE RITA
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Performance

The Candahar Bar
PTC Studio, 3rd Floor
1398 Cartwright Street
Granville Island, Vancouver, BC
10$ (with 5 dollars redeemable for food/drinks)

Please NOTE: Due to capacity we suggest you arrive early.

Clamour and Toll is the first in a series of evening performances based in Vancouver’s robust noise/performance community. Vancouver has a history of conflating experimental music and performance art. In the 1960’s and 70’s, free improvised jazz influenced the performances of artists such as Eric Metcalfe, Hank Bull, Al Neil and others. Since then spaces such as the Western Front, Blim, 1067, Sugar Refinery, and Emergency Room have served as hubs for performances where sound is an important component. This series seeks to explore this element of performance, where sound is the agent that propels the performer creating an immersive world in which the performance takes place.

symposium

Six Acres (map)
203 Carrall Street
Vancouver, BC

Invented by Portland novelist/publisher Matthew Stadler and curator Stephanie Snyder, Public Speakers is a collective of autonomous cells in five cities that commissions and presents new public lectures for a popular audience. Past events include Psychedelic Logging and Monkey Wreaks Havoc in Suburbia.

Eight times an unknown quantity brings together eight — or more — speakers presenting lectures for Vancouver’s first-ever Public Speakers event.

Betsey Brock (Seattle)
Eric Fredericksen (Seattle)
Hadley + Maxwell (Berlin)
Jonathan Middleton (Vancouver)
Jeanne Randolph (Winnipeg)
Kathleen Ritter (Vancouver)
Matthew Stadler (Portland)

PLEASE NOTE
Space is very limited at this venue. Be sure to arrive early – doors will be closed after we reach capacity.

Exhibition

Ginger Goodwin Way is an exhibition of contemporary art that engages with contested stories and histories: re-interpretations, misinterpretations and unofficial versions.

As one version has it:

In 1918 Albert “Ginger” Goodwin, a miner, and vice president of the British Columbia Federation of Labour, organized a strike that shut down an iron mine and smelter in Trail BC for a number of months. During the strike, even though he was almost blind in one eye, suffered from rotten teeth, stomach ulcers, and bad lungs, he was suddenly conscripted to fight in the First World War. Goodwin fled from Trail to Cumberland BC, on Vancouver Island, where local coalminers helped him hide out with some other draft evaders in a small cabin on Forbidden Plateau. After a few months police Constable Dan Campbell tracked Goodwin down and shot him dead with a soft nose bullet. Campbell, who claimed he fired in self-defense, was never brought to trial. There was a huge funeral procession for Goodwin that filled the streets of Cumberland, and Goodwin’s death resonated in Vancouver, sparking the first general strike in Canada’s history. This synopsis of Goodwinʼs story is one of many, and the facts change depending on where you find it.

I first heard the story of Ginger Goodwin from my aunt, who lives below the Forbidden Plateau in the Comox Valley, but her story focused not only on Ginger Goodwin the man, but also on a sign for a stretch of the Island Highway near Comox named Ginger Goodwin Way. In 1996, to commemorate the fallen miner and to recognize the importance of his story to the history of the region, the provincial New Democratic Party government named a small section of the highway after him. Since it was installed, however, the road sign has generated great debate, and in 2001 the newly appointed provincial Liberals had it quietly removed.

At the time of the removal, B.C. Federation of Labour President Jim Sinclair wrote “Ginger Goodwin was not only an Officer of the Federation, he was a miner, an organizer, a community leader and a tireless advocate for the rights of working people… At least five BC communities have streets commemorating coal baron Robert Dunsmuir. Ginger Goodwin Way provides a very modest balance.”

The story of Ginger Goodwin has always been plural and ambiguous: one figure’s story with many variants. In many ways his story could be seen as a point of contestation between official narratives and those that circulate by other means.

Some local residents protested the removal of Ginger Goodwin Way through an ongoing campaign replacing the sign with makeshift versions: each sign disappeared shortly after it was put in place.

The artists in the exhibition Ginger Goodwin Way take a similar approach by re- interpreting and taking ownership of narratives that are either in danger of being lost, or are only told from one dominant position. The exhibition itself derives from the idea that a story can be told within a story or beside a story without being the only anchor of the particular narrative. Goodwin’s story then, becomes an entry point to approach the diverging stories present in the exhibition itself.

Special-Event

You’re invited to an edition sale at the Or! Join us for an evening of conversation and new cocktails invented by world-renowned artists!

The event will present limited artist editions by local and international artists, commissioned by the Or Gallery, Bywater Bros, Access Gallery, Artspeak Gallery, Fillip, and ECU Press.

Including works by:
Cranfield and Slade, Hadley + Maxwell, Ron Terada, Nicole + Ryan, Fiona Banner, Dan Graham, Brian Jungen, Myfanwy MacLeod, Jonathan Monk, Shannon Oksanen, Peter Piller, Michael Stevenson, Fia Backström, Andrew Dadson, Matthew Higgs, Colter Jacobsen, Frances Stark, Micah Lexier & Christian Bök, Antonia Hirsch, Eric Metcalfe, Althea Thauberger, Michael Drebert, Liz Magor, Emily Vey Duke & Cooper Battersby, Stan Douglas, Judy Radul, and more!

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

Exhibition

A project of the Helen Pitt Gallery.

Michael Jones’ new installation consists of a short, narrative 16mm film projection in which the artist is cast as Police officer. Set in the Vancouver Multicultural Society’s administrative offices, Jones’ character is seen responding to a disturbance call. As he inspects the premises, the objects, artworks and publicity material associated with officially sanctioned notions of Canadian multiculturalism become the focus of his investigation. Presented alongside a series of posters and sculptures drawn from and responding to the Multicultural Society’s archives, Jones’ new work explores the complex relationship between image, otherness, authority and security.

Michael James Jones was born in Canada in 1980. From 1999-2003 he attended the Alberta College of Art and Design, obtaining a B.F.A in Media Arts and Digital Technologies. He later received an M.F.A in Fine Art Media from the Slade School of Fine Art, in London, U.K. He currently works in Vancouver.

Film runs 12 – 4PM during gallery hours

Special-Project

Future Social is a competition that challenged UBC students to develop innovative architectural designs for social housing. In teams or as individuals, over 40 UBC students have worked to imagine new supportive social housing that best responds to homelessness in contemporary Vancouver.

For more information please visit the UBC School of Architecture and Landscape Architecture Future Social website.

Launch

Zulu Records
1972 West 4th

“Cranfield and Slade: 12 Sun Songs” is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrison’s “Here Comes the Sun” and The Kinks’ “Waterloo Sunset,” to the lesser-known “Sun” by singer-songwriter Margot Guryan or “Where Evil Grows” by Vancouver’s The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments.

Based in rainy Vancouver, Cranfield and Slade are made up of visual artist Kathy Slade and artist/musician Brady Cranfield, working with musicians including Larissa Loyva (Piano, Kellarissa), Johnny Payne (Victoria Victoria, The Shilos), and Chris Harris (Piano, Parks and Rec, The Secret Three, Womankind); and special guests John Collins (The New Pornographers, The Evaporators) and artist Rodney Graham (The Rodney Graham Band, UJ3RK5).

The liner notes for 12 Sun Songs were written by celebrated Canadian poet and critic Peter Culley.

Published with JRP Ringier in the Christoph Keller Edition series.

Exhibition

Special-Event

The Morris and Helen Belkin Art Gallery, at The University of British Columbia and the grunt gallery, Vancouver, invite you to a celebration of Ruins in Process: Vancouver Art in the Sixties. Launched online in June, this resource and digital archive incorporates hundreds of photographs, press clippings, audio recordings and film clips. Drawn from private collections and archives as well as public sources, Ruins in Process brings together the research of many artists, curators and writers in an exploration of the diverse artistic practices of Vancouver art in the 1960s and early 1970s. Since its online launch, the project has been enthusiastically embraced by libraries, directories, blogs and listings worldwide.

Please join us in celebrating the many artists, curators, writers, designers and researchers that have made www.vancouverartinthesixties.com such a success.

Party!
7pm, Thursday, September 3, 2009
Hosted by the Or Gallery
555 Hamilton Street
Vancouver, BC

For more information, call 604.822.2759.

Ruins in Process is made possible with the support of the Department of Canadian Heritage through the Canadian Culture Online Strategy. We are grateful for the assistance of the Canadian Broadcasting Corporation.

News

Please come and show your opposition to recent and devastating cuts to the arts in BC.

The cuts to multi-year gaming grants have been lifted – but those not on multi-year are still out in the cold. Arts funding is being hacked by 80-85%.

The Morris and Helen Belkin Art Gallery, the grunt gallery and the Or Gallery invite you to join us in faxing our continued frustration to our political representatives at the Ruins in Process: Vancouver Art in the Sixties launch party.

Bring a pen and an opinion.

Exhibition

Downplaying many of the technological associations with the science fiction literary and cinematic genres, Science Fiction 01 focuses on works dealing with more subtly speculative and social aspects of science fiction – projections on what might or could be in the future, as well as considerations of idealized and dystopic space.

In keeping with the theme of speculation, a number of the works in the exhibition exist in their proposal stage or as works in progress, not to take their final form until some possible later date. For Kate Sansom’s Nothing Is Free In Waterworld, the artist transforms part of the gallery into a working office space with the aim of acquiring the now-derelict floating McDonald’s restaurant from Vancouver’s Expo 86 world fair, intending to put the structure to some productive use. Artists Nicole+Ryan, Håvard Pedersen, and Mark Nakamura similarly make proposals that to varying degrees implicate the gallery in the process. Nakamura’s Back In Five promises the return of someone, likely a gallery staff member, perpetually five minutes in the future.

Works by Brady Cranfield, Robert Filliou, and Holly Ward play on spacialized and historicized aspects of the genre, touching on future or alternative versions of the nation-state, revolution, and war. In Cranfield’s video Daydream Nation, two images of the artist are seen listening and contemplating the Sonic Youth double-album by the same name on a Sony Heavy Duty CD Radio, “(b)uilt with the workshop or jobsite in mind”. Filliou similarly uses a double image of himself – connoting some temporal rift by way of media – a video image of the artist barking instructions to his other-self. Filliou later muses, “The spirit of a nation is incomprehensible, but a spirit of a nation and a spirit of a nation is war, or what you will…” Ward touches on both the utopianism of Buckminster Fuller’s geodesic dome patterns as well as HG Well’s somewhat foreboding 1933 chronicle, The Shape of Things to Come, a history of the world written from the perspective of 2106.

Science Fiction 01 is the first of roughly 88 science fiction-related exhibitions planned for the Or Gallery over the course of the next 260 years.

Performance

DEPARTURE TIMES FOR GETTING LOST
During the first week of the exhibition the artist will depart from the location and wander through the surrounding area until he has become lost. This will be determined by both his inability to consciously know where he is, and his ability to know how to return. It will be a state of vulnerability, in which the power to navigate the environment will have been relinquished. A photograph will be made at this moment. He will then attempt to find his way back.

Leaves from the gallery:
April 25, 4:00pm
April 26, 12:00pm
April 27, 9:00am
April 28, 2:00pm

Files sized to print at 8×10 inches and are free to download. Prints can be made on home printers, or the files can be taken into a photo lab.