Tag Archives: Performance

Exploring Mainstreeters: Taking Advantage, 1972−1982

by Micaela Kwiatkowski

Kenneth Fletcher’s House, 1978, Courtesy of Paul Wong

Kenneth Fletcher’s House, 1978, Courtesy of Paul Wong

Satellite Gallery’s current exhibition, Mainstreeters: Taking Advantage 1972-1982 explores the beginning of an East Vancouver Art Gang. The exhibition includes a variety of film installations —ranging from old school TVs to large projections— of their adventures and artistic experiments. Alongside the film recordings are photographs documenting the group, newspaper clippings, and a crime scene investigation.  Continue reading

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Yangachi’s “Surveillance Opera”

by Areum Kim

yangachi 2

Still from Yangachi’s 007:Surveillance Opera, 2008

Here is an artist who is digging the frontier of new media/performance-based art using surveillance cameras. South Korean artist Yangachi, whose pseudonym in Korean means a ‘jerk’, produced 007: Surveillance Opera (2008) using CCTV cameras that are ubiquitously installed in everyday places, a phenomenon that is becoming more and more systematic and obsessive. Yangachi manages to hijack these security cameras that are meant to continuously survey citizens, and he uses them as the channel to broadcast and record his recreation of a scene from the famous 007 movies. Continue reading

It Happened at Pomona, Art at the Edge of Los Angeles

by Zoya Mirzaghitova

Pomona College Project, Michael Asher

Michael Asher, Pomona College Project

 

Pomona College in Claremont, California is not very well known; thought for a moment in history, more precisely 1969 to 1973, it became an avant-garde centre for radical and conceptual art. The moment was brief, many artists who participated went on to leave a mark in the history of art and at the end, the entire fine art department faculty at Pomona resigned or had their contracts terminated. Continue reading

Sometimes I Stop to Smell the Roses

by Jason Smythe

Push FestivalPhoto by Tim Matheson

I hate clichés, and the one about “stopping to smell the roses” is particularly annoying. But behind every annoying cliché is a kernel of truth, and it wasn’t until I experienced the Sometimes I Think I Can See You exhibit at the Vancouver Art Gallery that I realized this, for the exhibit (which is happening at multiple venues across the city) proves that there is brilliance and art all around us—we just need to take the time to have a look around every now and then.

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The Studio Theatre: New Work by Damian Moppett

by Brandon Chow

Offsite: Damian Moppett

Damian Moppett’s work at the Vancouver Art Gallery’s Offsite location fashions concrete space into an imagined stage, and Georgia Street’s sidewalk into front-row seating.

Large Painting and Caryatid Maquette in Studio at Night, colloquially nuanced, describes a large-scale model (maquette) of elements from a portrait of Moppett’s studio, translated into a colour kaleidoscope of Rorschach-esque metal cutouts. While a sculpture of a painting of an art studio sounds like an easy concept at which to throw hipster labels, Moppett’s use of various media in relation to one another reflects a deeper meditation on the progression of art making—something that didn’t immediately appear to me in my experience with this piece, but grew more familiar with an intimate review.

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Performing Intertextuality: An Unconventional Tour of Phantasmagoria

by Liza Montgomery

Phantasmagoria, left: MATHEW MCWILLIAMSPhantasmagoria at Presentation House Gallery

Aaron Peck’s brief but enlightening “tour” of Presentation House Gallery’s Phantasmagoria was far from conventional. Much to my delight—and possibly some other attendees’ confusion—rather than reiterating the curatorial narrative, Peck, a local art critic and writer, staged a performative rewriting of it. By offering up an open-ended alternative reading of the artwork, he highlighted the intertextual nature of meaning formation, drawing attention to the shifting conditions that influence our relationship to an artwork. These are important considerations given the form and function of Phantasmagoria—a group show that captures the Zeitgeist of current photo-based art practices in Vancouver.

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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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