Monthly Archives: April 2012

2 on 1: An Interview with Adriana Estrada-Centelles

by Stella Hsu and Rhys Edwards

Bullets from the Body of CrimeThe Body of the Crime by Marcos Ramírez Erre

Satellite’s bloggers Stella Hsu and Rhys Edwards interview the curator of our current exhibition Broken Borders

Stella Hsu (SH): Describe the narrative of how Broken Borders came to be.

Adriana Estrada-Cantelles (AEC): During the first year of my masters in Critical and Curatorial Studies at the University of British Columbia, many of the readings and discussions were focused on the war on terrorism and the relationship between war, violence and contemporary art. Art history and contemporary art theory have developed ways of thinking about the resulting violence as well as the various forms of its representation in contemporary art. This war on terrorism, between the United States and Middle East, has left aside other urgent conversations on war and violence, such as the drug war in Mexico. I was interested in foregrounding, in terms of curatorial practice, a contemporary war on a much more complex, global scale that has changed the artistic production of many Mexico-based artists.
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Mumbai Diaries: Part 2—Interview with Abhishek Bhonsle

By Erin Campbell

I first heard about Photographer Abhishek Bhonsle through a mutual friend who suggested the two of us meet for coffee to discuss Abhishek’s artistic career and his thoughts on the Indian art world. Abhishek began his art career in the Bangalore theatre scene. He was a part of organised theatre jams and performed regularly. He later became an amateur theatre photographer, which gradually led to him to use the camera to explore the stories he discovered on the streets.

I met Abhishek at a beachside café in the steamy heat of Mumbai to learn more about his perspective and his creative practice.

Abhishek Bhonsle Photography

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LocalSocial: Design Through the Citizens’ Perspective

by Brandon Chow

On the outskirts of Chinatown, 221A’s current exhibition Tangential Vancouverism addresses design strategies for Vancouver’s ever-growing urbanism. While the topics range in complexity and scale, they remain dedicated to a clear, unifying objective: “Vancouverism 2.0 should attempt to reflect the perspective of its citizens.” In keeping with this goal, the gallery is an inviting atmosphere with in-depth didactics to support its eye-catching sculptures and models.


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Marx Goes “Borrowing”: The Secret World of Miyazaki

By Sean Michael Nelson

For K.

As animator Hayao Miyazaki ages, his films’ scales become increasingly intimate. 1997’s Princess Mononoke is 135 minutes long and set across the countryside of Warring States era Japan. 2008’s Ponyo is a half-hour shorter and seen occurring around a small oceanside village. The Secret World of Arrietty, which Miyazaki co-wrote and planned, is just over 90 minutes in length and is confined to a single household. Though “smaller,” the film, adapted from Mary Norton’s novel The Borrowers, still has a large-scale message for its audience about Miyazaki’s ideals.

Princess Mononoke, 1997One of Mononoke’s many grand vistas

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Getting Social with Instant Coffee

by Liza Montgomery

Since its inception in 2000, the self-proclaimed, “service-oriented” artist collective, Instant Coffee, has self-consciously embraced an aesthetic of “bad taste.” From its arsenal of catchphrases and a garish, neon colour scheme borrowed from low-budget advertising signage to the kitschy, crocheted blankets and DIY “cooler-speakers” that furnish its constructed social environments, the group’s approach to making art is tongue-in-cheek. This approach, however, belies a more serious and destabilizing project.

Instant Coffee: Feeling So Much Yet Doing So Little, Photo Courtesy of Western Front

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