Remediating Mama Pina’s Cookbook

Exhibition Title: Remediating Mama Pina’s Cookbook

Artist: Gabriela Aceves Sepúlveda

Opening: Saturday, November 23

Exhibition Dates: November 23 - November 28

Remediating Mama Pina’s Cookbook Gabriela Aceves Sepúlveda November 21 – 28, 2015


Remediating Mama Pina’s Cookbook is a three channel video piece that approaches the artist’s great grandmother’s cookbook, as an archival technology that speaks to the generational transmission of gender roles, social status, and cultural memory. Through her attempts to recreate the various handwriting styles, instructions, and recipes from the cookbook, the artist reactivates the archive and raises questions about the nature of what can constitute an archive, the relationship of archival content and form, and the divisions between performed and recorded knowledge.

Bio: Dr. Gabriela Aceves Sepúlveda is a cultural historian and interdisciplinary media artist working at the intersections of video and performance with a research focus on feminist media and Latin American visual culture.

Related: Gabriela Aceves Sepúlveda will be speaking on the panel Artists in the Archive, Thursday November 26, 7pm at the Western Front.

Her work is also featured in Ethnographic Terminalia’s e-zine Terminus: Archives, Ephemera, and Electronic Art launching Wednesday November 26, 6pm at grunt gallery.

Both events are a part of Vancouver Independent Archives Week 2015.

Catastrophe, Memory, Reconciliation


Exhibition Title: Catastrophe, Memory, Reconciliation

Artist: Osvaldo Ramirez Castillo

Opening: Thursday, September 10 (7-10pm)

Exhibition Dates: September 10 – October 10

Vancouver-based artist Osvaldo Ramirez Castillo explores issues around collective memory, historical trauma, and cultural identity in relation to the violence that occurred against civilians during the 12-year Civil War in El Salvador.

A series of mixed media drawings depict surreal and vibrant scenes filled with creatures in uniform; fragmented bodies tense with sinew and muscle; and carefully drawn figures with faces partially obscured or obliterated. Iconography sourced from North American vernacular culture, Pre-Columbian mythology, and Salvadoran popular folklore is amalgamated to explore the role of non-linear storytelling expressed in mythic form.

grunt gallery’s Media Lab shows a stop-motion animation that recalls individual identities of lost civilians juxtaposed against Super 8mm film footage of a road leading to the village of EL Mozote, where a massacre of nearly 1000 civilians took place in 1981 by the Salvadoran state army during the armed conflict.

This exhibition also includes a site-specific work of a colourful sawdust carpet, on the floor of the gallery. This work is based out of a Latin American traditional custom of creating large tapestry-like designs on the ground in public spaces during religious festivities.

Castillo’s work refers to a cultural past and contemporary present, fusing a hybridized aesthetic to engage issues about migration, historical trauma, identity, and memory. His narratives express a multifaceted, interlocking and non-linear approach. Consequently, the body of work revises and casts new personal interpretations on memory-building as a form of resistance, political commentary and healing.

Join us for the opening reception on Thursday September 10 (7–10pm); this reception coincides with SWARM, an annual artist-run centre festival in Vancouver, BC.  An essay written by Alexis Hranchuk will be available at the opening. The exhibition runs from September 11–October 10, 2015.

 Essay by Alexis Hranchuk | Download
Essay by Laura Bucci | Laura Bucci Essay

Artist Bio:

Born in El Salvador, Castillo immigrated to Canada in 1989 at the age of 11. He attended the Ontario College of Art and Design (Toronto 1998-2001) and received an MFA from Concordia University (2004-2007). A previous resident of Montreal, Castillo relocated to Vancouver in 2013.



arctic noise 111

Exhibition Title: ARCTICNOISE

Artist: Geronimo Inutiq

Opening: August 17

Exhibition Dates: Aug 5 – Aug 22

CURATORS: Guest curated by Yasmin Nurming-Por and Britt Gallpen, produced in conjunction with International Symposium on Electronic Arts (ISEA); Glenn Alteen and Tarah Hogue (grunt gallery); and Kate Hennessy and Trudi Lynn Smith (Ethnographic Terminalia)

grunt gallery, Ethnographic Terminalia and the 21st International Symposium on Electronic Arts (ISEA) are excited to present an exhibition, panel, workshop and a performance for ARCTICNOISE. The exhibition is located at grunt gallery and runs from August 5 to August 22, 2015 with an opening reception on Monday, August 17 (7–10pm).

ARCTICNOISE is a media installation by Geronimo Inutiq (madeskimo) that draws on archival film footage and sound materials sourced from the Isuma Archive at the National Gallery of Canada, as well as sound and film materials from the artist’s personal collection and other ethnographical material. Conceived as an Indigenous response to Glenn Gould’s celebrated composition “The Idea of the North”, Inutiq will appropriate Gould’s piece as a musical score, paired with new voices and imagery to produce a layered and multi-vocal work.

The project folds into Inutiq’s larger practice of his alter-ego, madeskimo, that draws on the use of instruments, and digital and analogue synthesizers, as well as the remixing and processing of samples from a large variety of sources— including traditional Inuit, Aboriginal, modern electronic and urban music—in order to create an experimental platform.

At its crux, ARCTICNOISE intends to initiate conversations between various communities, Indigenous and non-Indigenous, and to provoke thoughtful exchange about the roles of Inuit orality and materiality in a post-colonial space within the context of new media artwork. New media, with its appropriative and collage-like nature, is employed as a specific strategy to foster a multi-vocal and multi-generational approach to these sensitive issues.

A curatorial essay written by Yasmin Nurming-Por and Britt Gallpen will be available at the exhibition.

ARCTICNOISE exhibition catalogue (print version available in our Gift Shop)

ISEA: Disruption

Ethnographic Terminalia

ISEA 2015 – Vancouver: Grunt Gallery Spotlight with Tarah Hogue from Jimmy Phung on Vimeo.

Review of ARCTICNOISE by Weiyi Chang in the November 2015 issue of Luma Quarterly.

ARCTICNOISE | Geronimo Inutiq



Terminus: Archives, Ephemera, and Electronic Art
Saturday August 15 (9:30 am to 5:30 pm)

at VIVO Media Arts | 2625 Kaslo Street, Kaslo St, Vancouver, BC V5M 3G9

Yasmin Nurming-Por and Britt Gallpen, with grunt gallery’s Curatorial Resident Tarah Hogue, are collaborating with the collective Ethnographic Terminalia to produce a workshop at the International Symposium of Electronic Arts (ISEA), which will be hosted by VIVO on Saturday, August 15th from 9:30 am to 5:30 pm, open to the public for viewing.

Following the 2015 ISEA theme of Disruption as it relates to the archive and its expression in new media, “Terminus: Archives, Ephemera, and Electronic Art,” will include presentations of electronic art works and theoretical frameworks that disrupt material, figurative, discursive, cultural, and political manifestations of the archive, broadly conceived. The workshop will result in a DIY publication of the proceedings that will be made available to the public in limited edition print and online formats.

Ethnographic Terminalia
ISEA: Disruption
Terminus: Archives, Ephemera, and Electronic Art


Wednesday, August 19 (6:30 pm to 8:30 pm)

at NEC Native Education College | 285 E 5th Ave, Vancouver, BC V5T 1H2

This event will include an artist talk by Geronimo Inutiq, a discussion of the curatorial process by Britt Gallpen and Yasmin Nurming-Por, and a presentation by Christine Lalonde, Associate Curator, Indigenous Art, National Gallery of Canada. These will be followed by responses from two local respondents (TBC).

Saturday, August 15th @ 8:00 pm

at the Vancouver Art Gallery | 750 Hornby St, Vancouver, BC V6Z 2H7 

Vancouver Art Gallery’s FUSE is a wildly popular event where art, music and performance collide. On August 15, 2015 FUSE will be the site of DISTURBANCE, guest curated by Kate Armstrong and Malcolm Levy in connection with the 21st International Symposium on Electronic Art (ISEA 2015), one of the world’s most prestigious global festivals presenting work at the intersection of art and technology.

– 30 –

Media Contact for the exhibition:

Karlene Harvey, grunt gallery | 604-875-9516 or,

Media Contact for ISEA programming:

Maria Fedorova |

Funding Acknowledgments:

ARCTICNOISE is co-presented by ISEA and grunt gallery. We gratefully acknowledge funding from the Canada Council for the Arts, the McLean Foundation, and the Social Sciences and Humanities Research Council. A very special thank you to VIVO Media Arts Centre and the Native Education College for hosting the panel and workshop for ARCTICNOISE.

Grunt gallery is grateful for the support of our Operating Funders: The City of Vancouver, the Province of British Columbia through the BC Arts Council, and the Canada Council for the Arts.

arcticnoise essay logos


Mark Igloliorte_ Home and Away

Exhibition Title: Diptychs

Artist: Mark Igloliorte

Opening: Thursday, June 4 (7-10pm)

Exhibition Dates: June 4 – July 18, 2015

Diptychs by artist Mark Igloliorte features over a hundred observational works of still lifes and studio vignette paintings, a series that has been ongoing since 2010. Painted upon torn phonebook paper, Igloliorte uses this practice to explore ideas of place – both the studio interior and at the city, town or whole region the phonebook paper indexes.

Alla prima paintings of similar size and palette depict commonplace objects and fragments of studio space. These diptychs concentrate on the same subject matter and are hung in pairs throughout the gallery. Through this dual repetition the artist considers observational variance and representation. While subject matter is painted twice over, this repetition is not an effort to replicate. Instead, the shift or fluctuation in perspective rejects an authoritative version, placing a greater emphasis in multitudes over a definitive original.

Join us on Thursday June 4 (7-10 pm) for the opening reception of Diptychs at grunt gallery. The artist will be in attendance. This exhibition runs from June 4 – July 18, 2015.

Press Clippings:
Canadian artist Mark Igloliorte paints a series of ‘growing and experimenting’ | BeatRoute

Artist Bio:

Mark Igloliorte is an artist who was born in Corner Brook, Newfoundland and grew up in Happy Valley-Goose Bay, Labrador. His artistic work is primarily painting and drawing. He has exhibited in group and solo shows across Canada. Recently, Igloliorte has participated in national and international exhibitions such as Beat Nation, Vancouver Art Gallery, Vancouver, BC; Le Nouveau Pleinairisme, Musée national des beaux-arts du Québec, Québec, QC; drift, (Solo), curator Ryan Rice, The Toronto Free Gallery, Toronto, ON; and The Québec Triennial 2011: The Work Ahead of Us, Musée d’art contemporain de Montréal, Montréal QC. He has been the recipient of a number of awards and grants including the Lillian Vineberg Award in Painting and Drawing, The Newfoundland and Labrador Arts Council Visual Arts Grant, and a Canada Council for the Arts Emerging Artist Grant. Igloliorte is represented by Gallerie Donald Browne.

He holds a Bachelor of Education (Intermediate/Secondary) from Memorial University of Newfoundland, a Bachelor of Fine Art, Major in Fine Art from the Nova Scotia College of Art and Design and a Master’s of Fine Art, Studio Art – Painting and Drawing from Concordia University School of Graduate Studies.

Igloliorte is an Assistant Professor at Emily Carr University of Art and Design.

Mark Igloliorte website



Material Traces- Performativity, Artistic “Work,” and New Concepts of Agency by Amelia Jones

Amelia Jones is the Robert A. Day Professor in Art and Design and Vice Dean of Critical Studies at the Roski School of Art and Design at University of Southern California.  She reflects here on “artists animating art through the labor of the material trace” including Igloliorte’s Diptychs.





Eraser Street

grunt gallery - Eraser-Street-Promo

Exhibition Title: Eraser Street

Artist: Henri Robideau

Opening: Thursday April 9 (7-10pm)

Exhibition Dates: April 9 – May 16, 2015

Eraser Street Hubris, Humility and Humanity in the Making of a City! is an exhibition that mixes Robideau’s newest and oldest photographs of moments, milestones and monuments in Vancouver, tracing the character of the city and its residents during the last 40 years of non-stop growth. The work reflects upon the quality of life in Vancouver, the value of heritage, the economic engine of development, homelessness and the voice of the people. Robideau’s holographic satirical text charts history while critiquing the forces of government and commerce that have had a hand in shaping our urban environment.

Handmade black and white gelatin silver photographs are juxtaposed with computer mediated digital inkjet prints, reinforcing the flux of change experienced in these images. Robideau’s narrative embraces a lament for what has been lost, a celebration for what has survived, and an admonition for the future of a city still in its infancy.

Join us on Thursday April 9 from 7pm – 10pm for the opening reception of Eraser Street. There will be a forthcoming publication with an essay written by Clint Burnham. The exhibition runs from April 9 to May 16, 2015.



An Evening in the Archive with Henri Robideau: A fundraiser for the grunt Archive
Saturday, April 25, 2015
Drinks at 6:30 pm, Dinner at 7:30 pm | Ticket Info:

Roundtable on Housing and photography in Vancouver: Henri Robideau
Saturday, May 9, 2015  (1–4pm) at grunt gallery. | FULL EVENT INFO.
facilitated by Clint Burnham

Audrey Siegl
Wendy Pedersen
Lorna Brown
Eugene McCann
Jeff Derksen
Henri Robideau
Clint Burnham

Press Clippings:

Georgia Straight | Henri Robideau’s Eraser Street tackles displacement

grunt gallery gratefully acknowledges support from the Hamber Foundation towards this exhibition and catalogue. The artist would like to thank CUPE 15 for supporting the production of the Solidarity Era series. An additional thanks to the BC Arts Council for the project funding making this exhibition possible.


Artist Bio:

Henri Robideau is a photographer and cultural narrator. His life in photography spans nearly five decades – the medium providing both his profession and his means of artistic expression. He is best known for The Pancanadienne Gianthropological Survey, a two-decade record of eccentric Canadian landmarks; Flapjacks & Photographs, the biography of early British Columbia photographer Mattie Gunterman; and 500 Fun Years, the story of colonialism. Panoramic image collages, holographic text and narrative sequences are the hallmarks of his work, which has been exhibited and collected nationally and internationally. Since 1979, he has taught photography in half a dozen Canadian universities and is currently a sessional instructor at Emily Carr University. For the past twenty years his large format photographic skills have been in demand by Canada’s leading artists, whom he has assisted in the production of their work. He is currently exploring digital colour technology, alternative means of perpetual photographic presentation and writing anecdotal stories about the ironic tragedy of human existence.


05 B.Vickerd 2012 Chopper #2

Exhibition Title: Chopper

Artist: Brandon Vickerd

Opening: Thursday February 26 (7-10pm)

Exhibition Dates: February 26 – March 28, 2015

grunt gallery is pleased to present Brandon Vickerd’s Chopper. Based out of Toronto, Brandon Vickerd is an artist whose work ranges from site-specific interventions and public performances to object-based sculpture.

Chopper is an exhibition of several sculptural objects that reference 1960s motorcycle exoskeletons abstracted beyond their utilitarian purpose. Materials include mechanical parts, fibreglass, foam, car paint and steel. The sleekness of these sculptures suggests minimalist futuristic forms; their shapes appear aerodynamic, evoking ideas of movement, speed and power. At further inspection, they also appear as unknown relics, distinguished from immediate recognition of their mimicked motorcycle reference.

“Providing a feeling of propulsion, the sculptures in this series seem to be haunted by a lapsed future. In the gleaming hardness of custom paint and polished steel is the faint reflection of the failed project of the futurists and utopian dreamers.”
– Brandon Vickerd, Artist Statement.

Chopper resides in an uncertain limbo, generated from past notions while simultaneously whispering towards an unknown future.

Join us on Thursday February 26 from 7pm – 10pm for the opening reception of Chopper. The exhibition runs from February 26 to March 28, 2015.

Exhibition Documentation:


Ahmad Tabrizi_DSC5746

Exhibition Title: Crossed

Artist: Ahmad Tabrizi

Opening: Thursday January 15 (7-10pm)

Exhibition Dates: January 15-February 21, 2015

grunt gallery presents Crossed, an exhibition by artist Ahmad Tabrizi and curated by Makiko Hara. This multi-media exhibition creates a sense of portraiture compiled of Farsi script, piles of dressmaking pins, and glimpses of the artist himself – both visually and through audio.

Tabrizi studied comparative literature in Tehran, with an eventual goal to pursue a Ph.D in Persian Literature and a teaching career. His involvement in the student movement leading up to the Iranian revolution led to his flight from Iran after which he eventually found refuge in Vancouver.

“This installation [addresses] intellectual claustrophobia through language as a weapon of attack and defense; what is lost in the communication becomes loud sounds, weaponized sounds, sounds through the presence of pins. Pins are a universal symbol of pain, like a loud “ouch,” but silent at the same time.

It is also a portrait, but reduced to just eyes and language. The self-portrait of pinheads, though there is no specific self, is perhaps a very oddball portrait – oddballs of displacement and misplacement and the “door” separating Us and Them. The Persian language written on the “door” is used as decoration or beauty (surface). The English is used as tag or brandification – one as “unknown,” one as insult/poetry or slogan of the collective experiences of refugees, the exiled, marginalized or what is “normally” perceived as “the Others.”

– Ahmad Tabrizi, artist statement.

 Join us on Thursday January 15th from 7pm – 10pm for the opening reception of this exhibition. A curatorial text by Makiko Hara and an essay written by Lorna Brown will be available at the opening. The exhibition runs from January 15 to February 21, 2015.

Artist Bio:

Ahmad Tabrizi is an Iranian Vancouver-based artist who studied Persian literature in the University of Tehran in early 1980s. After arrival in Canada in 1987 as a political refugee, he studied at the Emily Carr University of Art and Design, dropping out in the second year. Ahmad has exhibited in various venues throughout the 1990s including Helen Pitt Gallery, Surrey Art Gallery, Photo Based Gallery, “A Walk is” Gallery, Canadian Craft Museum, and Community Art Council, just to name a few. He has been doing performance art at various venues including Western Front and the Abbey Studio.

Tabrizi has also co-written a catalogue essay for Shirin Neshat’s exhibit at Artspeak Gallery (1997) and most recently contributed an essay for Ali Ahadi’s exhibition at grunt gallery (2012). Also, he wrote a short story for Ann Murray Fleming’s short film Pleasure Film/ Ahmad’s Story.

He received the Exploration grant from Canada Council for the Arts in 1996 as well as the Emerging Artist grant in 1998.

Tabrizi has been working in the film industry as a costume designer since 1998.

Curator Bio:

Makiko Hara is an independent curator based in Vancouver. Hara was the curator at Centre A: Vancouver International Centre for Contemporary Asian Art between 2007 and 2013. She has curated numerous contemporary art exhibitions by Japanese, Canadian, and international artists for over 20 years in Japan and Canada. She has served as project coordinator for several international

exhibitions, including the Yokohama Triennale (2001/2005) and the Echigo Tsumari Art Triennale (2003). Hara was one of the three curators for the Scotiabank Nuit Blanche (2009) in Toronto. She has contributed essays to catalogues and magazines. Recent essays include an entry in Mutation, Perspectives on Photography, Paris (2011) and “Rethinking of Tokyo Art Speak,” in Institutions by Artists: Volume 1, Fillip (2012)



PDF Download | Ahmad Tabrizi exhibition and curatorial essay’s by Lorna Brown & Makiko Hara

Press Clippings:

Ahmad Tabrizi’s Crossed digs into loss and expression | Georgia Straight
A portrait of the artist as an exile | The Source

Exhibition Photos:

Crossed by Ahmad Tabrizi | Photos by Henri Robideau


grunt gallery gratefully acknowledge the Hamber Foundation for making this exhibition possible.

Mainstreeters: Taking Advantage, 1972-1982

Images_ Mainstreeters

Exhibition Title: Mainstreeters: Taking Advantage, 1972-1982

Artist: Mainstreeters

Opening: Thursday January 8, 2015 (6pm - 9pm) @ Satellite Gallery

Exhibition Dates: January 9 - March 14, 2015

Exhibition Location: Satellite Gallery (560 Seymour, 2nd Floor, Vancouver, BC)

Mainstreeters: Taking Advantage, 1972-1982 is an exhibition, website and publication that takes a close look at a self-identified collective of socially and artistically motivated men and women who came of age on Vancouver’s Main Street—once the dividing line between a predominantly Anglo middle-class west side and a multicultural working-class east side. The exhibition at Satellite Gallery contributes to the larger project of bringing to light an under-recognized chapter of Vancouver art history.

The Mainstreeters—Kenneth Fletcher, Deborah Fong, Carol Hackett, Marlene MacGregor, Annastacia McDonald, Charles Rea, Jeanette Reinhardt and Paul Wong—were an “art gang” who took advantage of the times, a new medium (video), and each other. Emerging from the end-stage hippie era, the gang drew from glam, punk and a thriving gay scene to become an important node in the local art scene. Their activities connect the influential interdisciplinary salon of Roy Kiyooka in the early 1960s with the collective-oriented social practices that emerged worldwide in the early years of the 21st century.

Like the current “digital natives” generation, the Mainstreeters were the first generation to grow up with video cameras. The resulting documents bring into focus a decade of their lives, including forays into sex, love, drugs and art.

Mainstreeters: Taking Advantage, 1972-1982 is curated by Allison Collins and Michael Turner and is a coproduction of grunt gallery and Presentation House Gallery. The exhibition is presented by Satellite Gallery. Mainstreeters launched with the December 2nd release of a video documentary chronicling the lives of the group. On January 8th the exhibition opens at Satellite Gallery along with the launch of the website, featuring selected images, videos and texts. Throughout the exhibition, Mainstreeter videos will be presented in storefronts along Main Street, and the project will be complemented by a publication featuring photographs and documents to be released in summer 2015.


Video: Watch the Mainstreeters: Taking Advantage, 1972-1982 documentary featuring footage from the Mainstreeters’ archives and new interviews with a number of the Mainstreeter artists.

Video Direction, Editing and Production: Krista Lomax

Mainstreeters: Taking Advantage 1972-1982 | Full Video
from grunt gallery on Vimeo.

Exhibition Documentation:

Mainstreet Tour Documentation:

Press Clippings:

Remembering Mainstreeters | Georgia Straight

Main Street ‘art gang’ remembered | The Westender

The Mainstreeters straddled Vancouver’s great divide, quietly | The Vancouver Sun

Mainstreeters: Taking Advantage, 1972-1982 explores important chapter in Vancouver’s art history | BeatRoute

Part 1: “Mainstreeters: Taking Advantage 1972-1982” curated by Allison Collins and Michael Turner | Vancouver Art Review

Exhibition Event Details:

Opening Reception: A free courtesy bus will take visitors from the opening reception of Mainstreeters: Taking Advantage, 1972-1982 at Satellite Gallery to the opening reception of Tom Burrows at the Belkin Art Gallery (UBC) on Thursday, January 8. The bus will depart Satellite Gallery for the Belkin at 8:30 pm and return downtown at 9:45 pm. | Visit Satellite Gallery’s website.

During the exhibition, Main Street Tapes will be show in storefronts along Main Street, including:
Eugene Choo, 3683 Main Street
Smoking Lily, 3634 Main Street
Lifetime Collective, 4386 Main Street

Performance of Kenneth Fletcher’s Camp Potlatch
Directed by Paul Wong
Thursday January 22 at 8pm
At Satellite Gallery.

Exhibition Tour and Conversation with Allison Collins and Michael Turner
Saturday, January 31 at 2pm
At Satellite Gallery.

Main Street Walking Tour with Paul Wong and Annastacia McDonald
Saturday, February 21 at 2pm
Meeting point: Helen’s Grill, 4102 Main Street

Drag Ball
Saturday, March 7
Location: Fox Cabaret, 2321 Main Street


website lower

Exhibition Title: Kitchen

Artist: Julia Feyrer

Opening: Closing Reception TBA

Exhibition Dates: November 1 - December 19, 2014

grunt gallery kicks off our 30th anniversary programming with a residency and exhibition with Vancouver-based artist Julia Feyrer entitled, Kitchen. Taking the form of an evolving installation in the main gallery space, Feyrer’s work engages with materials and documentation from the grunt archives in the production of a new, site-specific environment.

Feyrer’s starting point is the kitchen—a space that has played a central role in the gallery’s social and creative life since its beginnings in 1984. A meeting space that entertained activities, conversations, and ideas fuelled by coffee, tea, beer, and wine, it has been a venue of literal and figurative “brewing”, where creative relationships have percolated over the years. The idea of the kitchen has long been a source of inspiration for the gallery, and the physical site has evolved into the present-day media lab and an exhibition space for innovative media works.

“Process-based and meticulously—if playfully—constructed, Feyrer’s work is both densely material and intellectually airy; that is, her work challenges the viewer to engage both a tactile experience in this present moment, while simultaneously considering the transformative potential of perception, over time and through space. Feyrer’s use of materials acts as a conduit for seeing and, importantly, for experiencing an archival document.” – Vanessa Kwan, curatorial statement.

More than an exploration of archival material, her work will also engage the heart of the kitchen environment: the social. Feyrer, in collaboration with the gallery, will produce a series of events that activate the installation. Window paintings for this kitchen exhibition is provided by Vancouver-based artist and animator Tasha Brotherton. These events will be announced on an ongoing basis, and will include the closing event in mid-December.

The gallery will also be producing a series of texts over the course of the exhibition and residency. These texts, written by curator Vanessa Kwan, will be made available at the gallery and online.

Exhibition Documentation:


Part 1 – History creeps: the grunt kitchen and Julia Feyrer
Part 2 – Recordings
Part 3 – Notes

Fridge Logic: events at the Kitchen

Half an hour after the show is over, a random viewer is staring into her refrigerator, vaguely bemused by the fact that her six-pack of beer has somehow become a two-pack of beer. Rather than work out how this might have happened, it occurs to her to wonder how in the hell the kitchen took 30 years to turn into a sculpture.

Revisit some old narratives and sketch out a possible present one, with grunt gallery, Julia Feyrer and friends.
1985 – 2015

Thursday, December 4th: Drawing 7pm
Ballets for Miniature Aerial Drones: A Research Workshop
(with Donato Mancini)

Tuesday, December 9th: Reading 7pm
(with Vivienne Bessette)

Friday, December 12th: Recording 7pm
(with Pietro Sammarco)

Friday, December 19th: Solstice Party
(bar by Magic Mystery Bartenders)

Artist Bio:

Julia Feyrer (b. 1982, Victoria, BC) is a filmmaker and artist who lives and works in Vancouver. She graduated in 2010 with a Meisterschülerin from the Städelschule in Frankfurt, Germany. She has recently exhibited Escape Scenes at the Western Front in Vancouver. Other recent exhibitions include (in collaboration with Tamara Henderson), Bottles Under the Influence, at Walter Phillips Gallery, Banff (2013), Alternatives and Opportunities, Catriona Jeffries, Vancouver (2012), Irregular Time Signatures, Johan Berggren Gallery, Malmö (2011) and The Poodle Dog Ornamental Bar, Artspeak, Vancouver (2010). Her work has been included in the following group exhibitions The Intellection of Lady Spider House, Art Gallery of Alberta (2013), Phantasmagoria, Presentation House (2012), Children’s Films, Contemporary Art Gallery, Bielefelder Kunstverein, & International Project Space (2011  2013). Julia is also the co-editor of the audiozine Spoox ( and author of a series of artist books from Perro Verlag press.


The Book of Jests

pub_01_final - marxist

Exhibition Title: The Book of Jests

Artist: Hyung Min Yoon

Opening: Thursday Sept 11 (7–10pm)

Exhibition Dates: Sept 11–Oct 11, 2014

Vancouver-based artist Hyung-Min Yoon presents a series of images that draws from an obscure collection of marginal religious illustrations by Albrecht Dürer. Originally used to surround religious texts, Hyung-Min Yoon reimagines their placement and purpose by framing them around contemporary political jokes of various cultures in their original languages.

This challenging combination strikes a balance between different historical and contemporary modes of ideology; the popular and the religious; and the individual and the state.

The Book of Jests is both the exhibition title and the name of the book that Hyung-Min Yoon has produced to house 25 contemporary jokes. Visit grunt gallery to view a selection of prints from the book, a newly created video that documents the book from cover to cover in our Media Lab, and to see the hand-sewn The Book of Jests protected by vitrine.

The opening reception for this exhibition will take place on Thursday September 11th, 7pm –10pm. The opening is associated with SWARM, an annual festival of artist-run centres. The exhibition runs from Sept 11– Oct 11, 2014.

Be sure to attend the artist talk on Saturday, September 27th, 12:30pm –1:30pm at grunt gallery, an event that’s a part of BC Culture Days.

The Book of Jests from Hyung-Min Yoon on Vimeo.

Exhibition Documentation:

Artist Bio:

Born in Seoul, Hyung-Min Yoon studied at the Korean National University of Arts, Seoul (BFA) and Chelsea College of Art & Design, London (MFA). Her works seek to develop the idea of ‘aesthetic translation’ to uncover meaning in the ambiguities and contradictions that lie undetected in an era of globalization. Yoon’s current interest is in the role that printing technologies have had in the dissemination of ideas through time. Her works have been exhibited internationally in Korea, UK, Switzerland, Austria and Canada. She is currently artist in residence at Gyeongi Creation Centre, Korea.


The Book of Jests | Essay by Lorna Brown

Press Clippings:

 Artist reframes old master for modern age

| The Source

Yoon adds that in her work, she tries to match Dürer’s illustrations to the jokes she compiles. Although the religious drawings and political jokes may seem incompatible, Yoon says that the drawings in this piece are portrayed humorously and compliment her work.

“Dürer is an amazing artist who’s really playful with his drawing so it looks quite light and not that serious. It occurred to me that it’s would be a perfect match,” says Yoon.


Hyung Min Yoon: From Page to Screen

| Canadian Art

With that in mind, what does it mean to produce or consume a CD, a DVD or a glue-and-paper book when the music, pictures and literature they contain are now more commonly produced and consumed through one’s phone? Is it both a political and an aesthetic act to continue with these apparently obsolete forms, as it was in the 1980s when the digitization and increased corporatization of the music industry resulted in multi-track tape decks showing up at thrift stores, where they were purchased and put to use by musicians associated with the North American “lo-fi” indie movement? Are we now at a similar place with the hard-copy book?

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