Monthly Archives: October 2011

Opening Reception of “Nature, Knowledge, and the Knower”

The opening reception of Nature, Knowledge, and the Knower at Satellite Gallery on Oct 28th consisted of history, art, wine, and good conversation…. what else could make for a better night?

Take a look at the photographs of our opening reception and see for yourself.

And don’t forget about the second part of the exhibition—the online archive at

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This is a Mirror, You are in the Cellar

by Sean Michael Nelson

“This is a Mirror, You are a Written Sentence” by Luis Camitzer

The 1976 film The Little Girl Who Lives Down the Lane features a prime example of how to induce terror. The titular girl, played by Jodie Foster, lives in a house, seemingly by herself, and is one day intruded upon by the building’s landlord. Having already been refused access to it the day earlier, the landlord insists on retrieving her jelly glasses from the cellar, and proceeds to enter against the girl’s protests, screaming at what she sees down there and meeting her end in an accident trying to exit. The film never reveals just what it was that was seen in the cellar: by allowing the audience to imagine what was in there, they become complicit in and authors of the scene’s horror.

A Scene from The Little Girl Who Lives Down the Lane

Though he dislikes the imposing nature of video and film, Luis Camnitzer’s works function in a similar way to this scene. Take Camnitzer’s polystyrene sign which reads “THIS IS A MIRROR / YOU ARE A WRITTEN SENTENCE.” For the piece to produce any affect, the viewer will have to work with the piece.
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Ready for a Second Date?

By Erin Campbell

When I saw Elspeth Pratt’s installation, Second Date, at the Vancouver Art Gallery’s offsite location beside the Shangri-la, my immediate desire was to go wade in through the pool of water so I could immerse myself in the environment her work created. Of course, social convention and the friend who agreed to wander downtown with me refused to let me do this. Instead, I examined the work from different angles and tried to access its environment without actually getting my feet wet.

Elspeth Pratt, The Vancouver Art Gallery Off-Site                                         Second Date, 2010, Elspeth Pratt

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The Apotheosis of Painting: Gordon Payne at Satellite Gallery

By Rhys Edwards

The work of artist Gordon Payne is not abstract. It is not representational either. Instead, Payne has an incredible ability to tread finely between both maxims, creating compositions that are not even really compositions in the true sense of the term. In effect, the only objective quality that can truly be attributed to Payne’s images is the pure reification of painting itself.

ISTAMBUL, 2007-10 encaustic and alkyd on OSB board 61.5 x 45.5 cm

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It Pays to Play by Peter White

A picture-perfect nuclear family holding hands on Miracle Beach, an unrecognizably cube-shaped Vancouver Public Library, the chalky pastels of roadside motels – these are images of a somewhat foggy past, at once familiar and yet completely alien. It is this feeling of recollection tinted with distance that we see in It Pays to Play: British Columbia in Postcards, 1950s-1980s, Peter White’s exhibition catalogue of B.C. Tourist postcards since the 1950s. These cards are blinding in their saturation and optimism, showing British Columbia not as it was, but as it aspired to be, with its beautiful scenery, urban landscapes, and leisurely visitors on display.

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