by Jae in Jung
Artist Byungseo Yoo and curator, Sojin Kim by Yoo’s Disposable Cinema (2014)
Korea-based artist Byungseo Yoo has recently made his journey to Vancouver for his first exhibition in Canada. His works are currently being exhibited in Vancouver at Public Storage. Considering the nature of the space—a repository for forgotten objects—one may think of it as an unlikely place to display an artwork. That said, it is a suitable place for Yoo’s installation Disposable Cinema (2014), which touches on the theme of ephemerality and chance. In this work, Yoo has created a cine projector out of disposable materials such as plastic bottles, styrofoam, paper cups, and wooden boxes.
By Micaela Kwiatkowski
The element of surprise in the Vancouver Art Gallery’s latest exhibition, Unscrolled: Reframing Tradition in Chinese Contemporary Art caught me off guard. Through mediums ranging from large-scale installation to painting and digital media, Unscrolled juxtaposes the traditional Chinese Art on display in The Forbidden City against a breadth of contemporary art practices. Continue reading
by Jae in Jung
Ross Kelly, 12 12 122 12 12 121, 2011. Inkjet print (detail).
Access Gallery held its Annual Auction fundraiser on Saturday, November 15, 2014. With artworks generously donated by more than 60 local and international artists, some of the proceeds of this fundraiser will go towards the development of Access’ new Traveling Artist Residency, Twenty-three Days at Sea. The residency will enable selected artists to book passage aboard a cargo ship and sail across the Pacific Ocean from Vancouver to Shanghai, China. These artists will be considered“in residence”for the 23 days aboard the vessel. The following interview is with Access Gallery‘s Director/Curator, Kimberly Phillips. Twenty-three Days at Sea will be officially announced through a press release and Call for Submissions in early December, 2014. Continue reading
By Sarah Davidson Arcosanti is best described as a never-realized utopia. Dreamed up by architect Paolo Soleri in 1970, the (self-described) despot imagined a thriving city of 5000 in the middle of the Arizona desert. Soleri’s uncompromising vision doomed his ambitions, but Arcology, Soleri’s benevolent if deeply quixotic philosophy, persists in attracting thousands of visitors and a few dozen transient residents each year.
Posted in Book Review, documentary, Film and Music, International Art, Photo Essay, Popular Culture, Travel
Tagged architecture, Buckminster Fuller, Bucky Dome, desert, earthship, PuSH Festival, tiny home, Utopia, utopian communities
By Sarah Davidson
I have a second life. Well, not so much a second life, as a non-city one. Often for a month at a time, I disappear into remote wilderness. This is part of a job that I get paid to do, teaching leadership courses to youth. It’s hard to communicate what this job is like, especially because when I say remote wilderness I don’t mean popular hiking routes. I mean getting dropped off by the side of the road in the Yukon, with no cell phone reception, no trails, no built structures and often no other signs of human life. I do this for weeks at a time. Continue reading
By June Lee
Out of sight, out of mind is an unfortunate yet true adage about the reality of our global economy. But, what are the forces behind the movement of goods from one continent to the next? And what happens to the local environment in the process? These are questions which directors Alan Sekula and Noel Burch explore in their documentary The Forgotten Space (2010). Sekula narrates the film and includes the perspectives of local residents, truck drivers, homeless people, corporate staff, factory workers and ship crew members, who speak on camera. The effects of the global trade system on these people reveal lives that are very far from the utopian promise of capitalism. These are the lives hidden amongst the maze of shipyard containers.
By Jaclyn Guse
While Artist Mathew Buckingham speaks to the physical and metaphorically changing landscape of port cities in his video “Obscure Moorings”, curator Cate Rimmer creates a bridge of historical relevance to our own city through “The Port”. Established in 1964, the port of Vancouver (now known as Port Metro Vancouver) has grown to be Canada’s largest and most diversified port, and is at the heart of our city’s bustling economy. Black and white photographs of Vancouver’s port beginnings, obtained from the Vancouver Archive collection, are adhered to the walls of the first room in the gallery. Gazing here and there, curator Cate Rimmer’s selection mimics Buckingham’s film, by providing only fragments of the port-city narrative. Placed without regard to chronology, and lacking obvious signage (a list of the works is available upon request), viewers are asked to interact with the snapshots organically.