Mount Pleasant Urban Screen Announcement

MPUS Newsletter
New Urban Media Screen to launch in July 2018 in the Mount Pleasant Community!

grunt gallery has been given the reins to program content on a new non-commercial urban screen in Mount Pleasant. The urban screen is being constructed on the second floor of the Rize building on the western side of Kingsway Avenue facing the street. The Mount Pleasant Urban Screen will launch in July 2018.

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Three Indigenous Project Sites

grunt gallery wishes you a happy Aboriginal Day!

grunt has a rich history of working with indigenous artists, check out some of these project sites that archive text, images, video and more.

1) Indian Acts: Aboriginal Performance Art
A website that grunt gallery curated for Activating the Archives, it chronicles a performance art conference that took place in Vancouver in 2002.
Check out essay’s written by Tania Willard, Dana Claxton, Daina Warren, Archer Pechawis and more…


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2) Nikamon Ohci Askiy (songs because of the land)

In December 2008, artist Cheryl L’Hirondelle made daily journeys throughout Vancouver and “sung” the landscape she encountered. These encounters were captured by mobile phone by the artist and whatever other technologies are made available by participating viewers/audience (video, photo, audio). Check out this interactive website that includes sound bites from L’Hirondelle’s recordings.

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3) Beat Nation

The little exhibition that could. Some might not realize the humble beginnings of Beat Nation and how it began as a youth project website between grunt gallery and Native Youth Artist Collective. Check out the website that was originally created in 2009, the amount of emerging artists who have since built tremendous careers is inspiring.

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Check out all of grunt’s project websites here.

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From the ArchivesFebruary 6 2004Sonny Assu, Peter Morin, and…

From the Archives

February 6 2004

Sonny Assu, Peter Morin, and Daina Warren: Futuristic Regalia

“The three artists work with the wearable costume as a means to represent an indigenous body, while dealing with the stereotypes and realities of aboriginal communities.”

“Collecting soil from favored places on his reserve, Peter kneaded the dirt into a chose business suit. In this creative act he is collecting parts of his land, gathering memories of Tahltan life, and bringing those ephemeral aspects together with his everyday existence in a world of cement, buildings, glass, and work.”

“Sonny (Assu) chooses the entity of Spider Man/Peter Parker to connect with because of Spiderman’s organic ‘powers’. The mixture of spider and human attributes contrasts well with many the figures in West Coast folklore; many spirits are a combination of abilities that can shift from animal to human forms, have incredible spiritual powers and watch over the community, teaching the individuals social and survival skills…The fusion of West Coast Native and pop culture is a mirror of Sonny’s own cultural background.”

“Sonny, Peter, and myself are example of Native culture sustaining itself and utilizing traditional aspects to provide a spiritual or emotional strength. The traditional clothing still stands for security, for taking that security out into the public and using it to exude confidence and poise no matter what the situation, while remaining grounded to our ancient beliefs.”

(Daina Warren, curatorial statement for Futuristic Regalia at Alternator Gallery for Contemporary Art, January 2005)

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“On this day in…”March 9 2002Robert Burke’s Aboriginal…

“On this day in…”

March 9 2002

Robert Burke’s Aboriginal Immersion: obscuring the lines

“I realized that as a Métis with Negro ancestry, my view would follow a different line than the First Nation or white people. I painted these images so they could become real for me. I wanted to make some form of connection to ideas and concept that I am unfamiliar with. I did not know that there was a culture that I as a Métis could relate to….I come from a nation of people who roamed this land thousands of years ago, and there is a nation of people roaming, looking for some positive aspect of their past, they are called Métis. Their connection to the land goes deep. It is just finding the recognition, that they too are concerned with identity.” (Artist’s Statement, Aboriginal Immersion, 2002)

Fusing an iconography of images (animal and human figures, colors) inspired by his own Chipewyan Native culture, and some of his own personal symbols, he has created a story of individual triumph. He places the work within  positive context and fills the canvas with a multitude of strong optimistic metaphors, and through this he is able to create  images of strength for himself. As artist and creator, he is forming a definition of what identity is all about and can acknowledge both sides of his background.” (Daina Warren, curator, 2002)

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“On this day in…”February 13 1990Mike…

“On this day in…”

February 13 1990

Mike MacDonald’s 7 Photographic Works

“MacDonald’s work has covered environmental issues and native people for many years and this exhibition of seven photographic works continues in this tradition. The works deal with totem poles and sustainability. Using mirror or reverse printing and multiple shots of a single pole gives the works a wider dimension. The works in this exhibition are from the Gitksan territory near Hazelton and are among the oldest still standing in their original environment.” (grunt, 1990)

“His extensive knowledge of Northwest Coast Indian Art and Indian Music nudge his filming instincts. He has experimented with rock video, especially with Vancouver punk rock group D.O.A. He is interested in recycling, incorporating the concept into his lifestyle and work. Mutual concern has resulted in video tapes with Vancouver recycle artist Evelyn Roth.” (The Hazelton Sentinel, 1986)

“Being an environmentalist has become more fashionable than disco once was. I’ve stepped away from working with environmental groups. I feel I accomplish more working on my own than working with the groups. I have a lot of problems with what I call sob-sister ecology. If my ancestors hadn’t eaten seals I wouldn’t be here.” (Mike MacDonald from an interview with Tom Sherman for Mercer Union, 1991)

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How can new forms of expression interact with the issues that…

How can new forms of expression interact with the issues that still plague Aboriginal peoples in North America? How can this dialogue be opened up and discussed within an artistic context? In 2002 grunt gallery took up these types of questions with a groundbreaking conference. With the archives you can explore the topics raised by participating artists, topics that are still far from irrelevant and require us to be critical of our own histories. 

"This site is an Indian Act in and of itself-a chance to continue the heart journey that was the original Indian Acts: Aboriginal Performance Art conference (grunt gallery 2002), and carry that heart to others who could not attend the conference, but whose own hearts may be ignited by this archive and who can witness this conference through the material within this site."

For any comments or questions regarding the project or any of the websites being launched, please send us a question, follow us on twitter @gruntgallery or use the gruntArchive tag. You can also take a look  at grunt’s history via facebook timeline.

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Activating the Archives- Sculpture


The Sculpture website is now up! You can either follow this link or click on the above image. "This Sculpture site that Program Director Glenn Alteen and I have put together shows a vast variety of sculpture: looking through this website, one will notice many approaches and styles, from minimalism to feminism to social commentary on the spaces we live in. Each exhibit archived in this website was created with a unique purpose, but they all have something in common: each is a means of dealing with social and emotional realities that remain unique to the time in which each exhibit was created." (Polina Bachlakova, Curatorial Intern)

Artwork by James Carl.

For any comments or questions regarding the project or any of the websites being launched, please send us a question, follow us on twitter @gruntgallery or use the gruntArchive tag.

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Archives Officially Launched-Performance

As promised, click on the above picture to access grunt gallery’s Performance archive. The website “features a curatorial focus on a variety of performance based works that have been developed at grunt since its inception in 1984." As well as acting as the digital record of the gallery’s own history with the performance art world, the website  concentrates on historically marginalized groups and artists, situating these performances within a larger social, political and artistic discourse. We greatly appreciate your support!

For any comments or questions regarding the project or any of the websites being launched, feel free to send us a question, follow us on twitter @gruntgallery or use the gruntArchive tag.

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