by Micaela Kwiatkowski
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
Posted in No Category
Tagged Annasiacia McDonald, Carol Hackett, Charles Rea, DeborahFong, Grunt Gallery, Jeanette Reinhardt, Kenneth Fletcher, Main Street, Mainstreeters, Marlene MacGregor, Paul Wong, Performance, Presentation House Gallery, Video
by Janine C. Grant
The exhibition of Beat Nation begins even before you enter the Vancouver Art Gallery. Carved into the cement by the Hornby Street entrance, the stylized logo ‘Indians’ of the Cleveland Major League Baseball team physically imprints the sidewalk with new meaning. Interweaving the history of Vancouver with contemporary re-appropriation, Nicholas Galanin’s piece sets the tone for the work found inside. In the past, the gallery building held the Land Title office of still un-ceded Coast Salish territory. The enlightening play between space, medium and meaning throughout the gallery presents re-interpretations of tradition and the lived experience of Aboriginal people today.
Posted in Offsite Exhibitions
Tagged Aboriginal, audio visual, Beat Nation, Cleveland Major League Baseball, Coast Salish territory, Indian Act, Janine C. Grant, Jordan Bennett, Land Title, Nicholas Galanin, Nike Air Jordans, Northwest Coast, potlatch, re-interpretations, Remix, Turning Table, VAG Hornby Street Entrance, Vancouver Art Gallery, Video
In his forward to the book counterpart of Jeremy Shaw’s DMT video installation, Clint Burnham notes that in the aftermath of Gulf War II, sentiments can quickly give way to nostalgia. In fiction of this era—Jonathan Safran Foer’s Extremely Loud & Incredibly Close, for example—characters default to nostalgia in a post-traumatic universe. The novel’s protagonist collects images, frequently of events that predate his own birth. In DMT, the work’s volunteers, 20- and 30-something acquaintances of Shaw’s who agreed to be filmed while tripping on the eponymous hallucinogenic drug, partake in a sort of “drug-stalgia,” or, as Burnham puts it (referencing a song by Shaw), they try to “get high like we used to.”
Window Display of 4 Intersections / Photo: Ben Lee
Since Satellite Gallery opened its door in late September 2010, a series of events took place to celebrate the birth of this new experimental space. We joined our neighbor, Blanket Gallery, for an opening reception with Instant Coffee’s Light Bar installation on September 29th. The artist collective hosted a successful event that helped introduce us to the public and our grand opening followed on the evening of October 23rd with a performance by Petroglyphs.
Recognizing the importance of experimental art in the history of Vancouver, we had the honor of co-hosting Flakey: The Early Works of Glenn Lewis with the Presentation House Gallery as our inaugurating exhibition. Two of Lewis’ early works, Room Divided and 4 Intersections, were featured in our gallery on separate occassions. Room Divided (1969) was an installation exhibited from September 29th to October 17th and 4 Intersections (1970), a video installation, was shown in a complete state for the first time from October 21st to November 7th. We also hosted our first book launch event on the evening of October 26th with Lewis performing his 16 mm film Forest Industry.
Instant Coffee’s Light Bar Photo: Sherry Lu
Room Divided Photo: Sherry Lu
4 Intersections Photo: Ben Lee
For more information on Flakey: The Early Works of Glenn Lewis, please visit the Presentation House Gallery website