Tag Archives: Events

MIX at Five Sixty

Tonight Satellite Gallery became part of a building-wide art party at Five Sixty. The two floor space was transformed into a maze of contemporary art, and every room (plus the alley, where Scott Sueme and a friend were spray-painting) was filled with exhibitions from artists working with diverse themes and wildly different work. From Gordon Payne’s “cubo-futurist-surrealist” paintings to florist and up-and-coming artist Thomas Hobbs’ digitally manipulated, found paint-by-number figures, MIX really had something for everyone. On the ground floor a man approached me and asked where the gallery was. For once I had nothing to say except, “Uh, everywhere!”

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Introducing Lab

As part of our mandate to engage with the community at large and to serve as an experimental space, the Satellite Gallery is very happy to introduce Lab, a series of workshops with students around Vancouver.

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Seen as It Was Conceived: Or Gallery’s “The Unspeakable Compromise of the Portable Work”

by Sean Michael Nelson

The blog for Or Gallery’s current off-site exhibition The Unspeakable Compromise of the Portable Work features a post by artist Igor Santizo, wherein a black spot is placed over top of several images. This transposition onto a space radically alters how it is perceived. As I Enter office 202 at 3540 West 41st, the space of the exhibition, I receive a similar impression.

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Not Photographs: Opening Reception

Last night, after a long week of take down and set up, we finally had the pleasure of seeing Andrea Pinheiro & Damian Moppett’s works for the opening reception of Not Photographs. We’ll be taking an in-depth look at the show next week, with a review by one of our contributors and interviews with the artists.

For now, here are some photographs from last night’s exciting opening reception.

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Peter Morin’s Museum: The Book

As a co-op student for the Satellite Gallery interested in publication design, I was lucky enough to design an artist’s book/catalogue for our current exhibition, Peter Morin’s Museum.

I had a wonderful experience working with artist Peter Morin, MOA curator Karen Duffek, and manager Karen Benbassat; we put together a publication that incorporated elements of the installation, such as wraparound end-pages that reveal the title of the book, and hand-binding that incorporates the imitation sinew used in Museum’s tent. Tahltan red is seen throughout, and Peter Morin’s handwriting is used in headers, making his written presence felt from the beginning to the end of the publication. Continue reading