Category Archives: Morris and Helen Belkin Art Gallery

Tom Burrows Exhibition Contributes to Dialogue Surrounding Vancouver Housing

by Shaina Dickson

Opening reception of "Tom Burrows", January 8, 2015. Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery Tom Burrows

Opening reception of “Tom Burrows”, January 8, 2015.
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery

Tom Burrows, a Vancouver/Hornby Island-based artist, presents a wide breadth of his work at the Morris and Helen Belkin Gallery at the University of British Columbia, spanning from the 1960s to the present. Burrows has made crucial contributions to the development of Vancouver’s art scene, as both an artist and educator. The exhibition, curated by Scott Watson, leads the viewer through the timeline of Burrows’ work, showing the progressive momentum of his practice. It begins with his documentation of squatting and travelling, and wraps up with his polymer resin panels.

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The Missing Corner—Legends lost and found at Satellite Gallery

by Rhys Edwards

photo 4

The eclecticism of the O’Brian collection encourages patrons of Cindy Sherman meets D’zunukwa to find parallels between works which wouldn’t normally be shown together. Although Sherman’s pre-eminent status within recent art history warrants her inclusion in the title of the exhibit, the combined efforts of the show’s four curators have produced an array of relational meanings which extend far beyond her immediate presence. The most interesting of these meanings, arguably, reside in the far corner of Satellite’s first gallery space. Continue reading

Punk-Rock 101: The Work of Doreen Grey and the Battle between Idealism and Defeatism in the Vancouver Punk Community

by Jason Smythe

OLYMPUS DIGITAL CAMERASatellite Gallery window display. Image courtesy of Morris and Helen
Belkin Art Gallery

Doreen Grey’s work and her archive of art punk touches on the great debate that existed within the Vancouver punk community of the late 1970s and 1980s: Was it possible for those in the mainstream to be woken up and challenge prevailing norms?  Grey’s collection of art punk from this time period shows a community that had a burning desire to bring about lasting change to all facets of society, but at the same time seemed to be admitting that such lofty goals were impossible to achieve.  Did Doreen believe this?

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“Following the Sound of the West Wind Down”: Some Notes on the Moral Character of a Concrete Poet

by Sean Michael Nelson

As well as the work of Michael Morris, the recent exhibit Letters: Michael Morris and Concrete Poetry at the Morris and Helen Belkin Art Gallery also featured the work of a number of other poets who worked in the field of concrete poetry. Among them was bpNichol.

bpNichol’s Blues. Image source <> retrieved May 9, 2012

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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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Broken Borders – Breaking Borders

by Stella Hsu

Photograph by Amie Beaton

Broken Borders is an exhibition that examines the drug war through the works of four Mexican artists: Teresa Margolles, Rosa Maria Robles, Marcos Ramirez Erre, and Jorge Malacón. This exhibition at Satellite Gallery and Access Gallery points to a situation in Mexico where the lives of civilians have been compromised into a state of fear.

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Broken Borders Opening Reception

Here is a photo recap of the opening reception of Broken Borders, curated by Adriana Estrada-Centelles, at Satellite Gallery and Access Gallery on March 9, 2012.

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The Opening of Palomar: Michael Morris

by Stella Hsu

Feburary 4th was the opening reception of Palomar: Michael Morris at the Satellite Gallery, where artists, curators, writers, and art lovers alike gathered to enjoy Morris’ sculptures as well as the company of each other. In conjunction with the exhibition Letters: Michael Morris and Concrete Poetry at the Morris and Helen Belkin Art Gallery, Palomar consists of works which adds to the viewers’ understanding of Morris’ art practice.

It was also during the opening where photographer, Henri Robideau, introduced his book Babyland, featuring Mick Henry, Vincent Trasov and Michael Morris. A limited number of signed copies of Babyland can be purchased at the Satellite Gallery bookstore.

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Interview with Mo Salemy

by Stella Hsu

Nature, Knowledge and the Knower

How does the title Nature, Knowledge and the Knower correlate with the exhibition and, more specifically, with history? What do you mean by the term the knower?

In their coauthored book, Objectivity, Lorraine Datson and Peter Galison establish a relationship between nature and knowledge that is mediated by the artist and/or the scientist as the knower. The knower is the one who sees and ultimately knows nature and whose abilities are measured by what s/he already knows. Through these acts, the knower not only arrives at knowing but contributes to new ways of seeing and knowing. These new conditions, as they put it, should not only be seen as obstacles to objectivity or truth but as their very condition. It is in the figure of the knower that the objective world and the subjective opinion about that world find a two-way mediation.

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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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