New Work on the Mount Pleasant Community Art Screen!

As of Wednesday November 4th, 2020, grunt gallery has launched an exciting and diverse selection of new works on the Mount Pleasant Community Art Screen! Continuing with our PLACE programming theme, these new works reflect, engage with and enrich the intricate cultural history of Vancouver’s Mount Pleasant neighbourhood. Through works by artists, collectives, curators and other community members, PLACE explores the complexities of the area’s histories of displacement, creativity, expansion and grit. Language, identity, housing, city streets, food, landmarks, loss, memories, narratives of the past and imagined futures are contemplated and celebrated through film, video, photography, performance, painting, GIFs, glitches and collage.

Charlene Vickers’ Cool Indians on Main Street features Indigenous artists’ open-ended statements about Indigenous presence and benchin — the act of gathering socially to sit on a bench to people watch, share ideas and stories, and be together. Shot on 16mm film, ghosts of cambie by Caroline So Jung Lee captures Cambie Street’s Hong Kong migrant community, once a major force in shaping the architectural and cultural landscape of the area but now rapidly disappearing. Co-founder of Artemisia Gallery Lisa g Nielsen gathers memories of this short-lived art space on east 7th that welcomed a community of feminist artists in the early 1990s. RAPTURE showcases work by Dene artist Zachery Longboy curated by Métis artist Justin Ducharme, exploring the feelings of being in queer Indigenous bodies and celebrating their two spirit kin. These works and many more reflect our ever-evolving neighbourhood back to us, presented on a 4×7 metre outdoor urban screen located on the Independent Building at Kingsway and Broadway. As we continue to weather this challenging year apart but together, the remarkable range of work on the MPCAS shines a light on what it means to live in our unique community of Mount Pleasant. You can read more about the new programming and find the full list of artists on the MPCAS website here.

Autumn / Winter Screen Hours:
Sunday to Thursday: 9:00 AM to 9:30 PM
Friday & Saturday:  9:00 AM to 10:30 PM

 

The MPCAS is produced by grunt gallery and generously supported by the Vancouver Foundation, RIZE corporation, Canada Council for the Arts, the City of Vancouver and Creative BC.

 

Images (clockwise from top left): Gloria Wong, Rituals, video (still); Cheyenne Rain LeGrande, Maskekewapoy ᒪᐢᑫᑫᐊᐧᐳᕀ, video (still); Lois Klassen, Flowers for Joyce, film (still); Jupiter Brahms, Grocery Stores, painting.

Comments Off on New Work on the Mount Pleasant Community Art Screen!

Job Call: Curator

Job Posting
Position: Curator
Location: grunt gallery
Reporting to: Program Director
Term: Part-time, permanent. 25 hours/week. Evening and weekend work. Flexible schedule.
Remuneration: $30/ hour
Start Date: January 5, 2021

Application deadline: 4pm PST, Friday, October 30th, 2020
To apply: Please send your resume and cover letter by email to Meagan Kus at meagan@grunt.ca

About grunt gallery
grunt gallery was founded in 1984 on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh First Nations (Vancouver, Canada) and is one of the region’s most established artist run centres. The gallery offers exhibitions, special projects and public programming with a focus on practices and perspectives that have, since the beginning, questioned established values in contemporary art production.

grunt was formed in 1984 by a group of 8 artists as a venue for artists and their work. Since then the organization has worked within local, national and international artist communities to provide an inclusive and supportive environment for the development of innovative and provocative contemporary art. Very early on grunt began collaborating with other organizations to realize projects otherwise beyond a single organization’s capacity.

In the early 1990s grunt began working with Indigenous art communities to provide a venue for contemporary production. This relationship has done much to define the organization since that time. grunt has not only been a significant venue for Indigenous production in Canada and internationally, but has had continuous participation on the staff and board team throughout this history. We have also provided an ongoing opportunity for residencies for Indigenous curators, researchers, writers and artists. We have similarly been guided by ongoing relationships with BIPOC and queer/ LGBTQIA2S+ arts communities.

grunt has been invested in ideas of ‘decolonization’ and intersectionality long before these terms were widely in use. Our experience working with artists and communities of diverse perspectives is well-known across the country and we continue to build capacity within the organization to grow in the service of this core mandate of diversity and creative innovation. These priorities comprise the fabric of our organization – and we strive to remain self-reflexive and evolving in the expression of them. Currently the organization is engaged in a 5-year process evaluating the accessibility of our systems and programs from an anti-oppression framework. This involves all levels of the organization.

Our programming scope has grown significantly over the years from a facility that primarily supported exhibitions, publications and performance to one that produces a wider range of activities, including: multi-partner collaborative projects, online project sites and expansive digital resources, site-specific artist projects, artist-residencies, public art projects, international artistic exchanges and a vital, growing archive. While our facility is modest – we operate from a 1400-square foot office and gallery space in East Vancouver – our reach is expansive.

Our recent and upcoming programming reveals a strong international component, with reciprocal opportunities for Canadian artists. We have in recent years considered how to improve the nature of exchange – beyond the presentation of isolated events or exhibitions abroad. As is more fitting to our mandate and way of working, we have been developing longer term relationships with colleagues internationally, and seek to provide reciprocity – that is, a culture of exchange that acknowledges the importance of opportunities created over time and via embedded networks, and those that disseminate resources both at home and abroad.

About the curatorial position
The Curator works in tandem with the Program Director and alongside grunt staff, contractors and volunteers to support the creative vision of the gallery and its public presentation. As detailed above, we support a wide range of activities, and applicants should have an interdisciplinary knowledge of/ interest in contemporary practice – and an appreciation for works that are produced both in and beyond a gallery context. This could include installation art, public works, digital media, screen-based production, writing/ publishing/ zine production, sound installation, socially-engaged works, podcast production, performance, community and frontline organizing, collective practice and so on.

Interested candidates should note that much of grunt’s programming is submissions-based and determined by committee. This does not preclude a more traditional authorship or singular curatorial voice, but we feel this is an important thing to note – ‘curator’ can mean many different things, and here as elsewhere it’s very influenced by the culture of the organization. At grunt the Curator is a central creative role and while our mandate and work culture is well established, we invite you to bring your own experience fully to the position. This strong sense of agency, in tandem with the collaborative nature of the programming and the expansive range of activities, offers a unique opportunity that emphasizes both collective access to resources and a demonstrated belief in the individual and what they can offer.

The Curator role will focus primarily on the exhibitions program, as well as our new Mount Pleasant Community Art Screen. There will be ample opportunities for creative thinking in both. Required skills and competencies are listed below, and disciplinary knowledge is important, but core to this position will be a passion for working with artists to support their vision. The Curator is at base level a bridge builder – you will act as the translator between the organization and the artist, and you will steward the presentation of the work to the public; your ability to communicate well and build relationships will be key.

As an employer we welcome your voice and your ideas, and we value equally your ability to listen and take time.

Required Competencies:

Collaboration                           Commitment                           Written Communication
Community                              Conceptual Thinking              Negotiation
Creativity                                  Flexibility                                 Mentorship
Reliability                                 Programming                         Grant Applications

General Responsibilities:

  • Working with the grunt Program Director and other grunt staff to determine overall program vision for exhibitions and programs on Mount Pleasant Community Art Screen (MPCAS);
  • Liaising with artists to determine programming and exhibitions within grunt’s exhibition space and beyond the physical facility;
  • Liaising with artists to determine media programming for the MPCAS;
  • Working in tandem with the Program Director to manage and organize the programming committees for exhibitions (annual) and MPCAS (bi-annual);
  • Working with the Program Director, MPCAS Engagement Coordinator and other grunt staff to create and maintain public outreach activities;
  • Writing and editing for publication, press releases, didactic materials, web and online promotion and other venues as necessary;
  • Organizing, hosting and managing events, online presentations, and other public programs;
  • Research and development of projects involving exhibition, artist residencies, community engagement, event and publication components;
  • Outreach, promotions and relationship building for grunt gallery, locally and internationally (via travel, networking and professional development opportunities);
  • Ongoing participation in grunt activities and programs, including committee meetings, curatorial research and development, staff/programming meetings;
  • Grant writing for present and future projects;
  • Evaluation of annual programming in collaboration with grunt staff.

Required Skills and Education:

  • Critically relevant curatorial experience with knowledge of diverse communities;
  • Strong sense of local context, including an investment in creating and maintaining relationship to the region’s host Indigenous nations (beyond acknowledgement);
  • Proven success with visual arts programming and an excellent reputation within the art community, built on previous success and rapport with artists;
  • Post-secondary education in an arts related field (or commensurate work experience);
  • A working intercultural skill-set to effectively work with a diverse group of staff, artists and community members, and a history of engagement with Indigenous, LGBTQIA2S+ and BIPOC communities;
  • Experience with or active interest in anti-oppression frameworks and how they relate to accessibility in the arts;
  • Strong technical awareness with regard to screen-based, online and interactive media;
  • Excellent understanding of artist-run centres;
  • Excellent writing skills;
  • Exceptional communication and coordination skills to ensure knowledge and comprehension of complex project planning;
  • Ability to work collaboratively;
  • Proven ability to write grants;
  • Highly organized, detail oriented and committed to quality;
  • Able to work independently with minimal supervision;
  • Able to work flexible hours.

grunt gallery offers a competitive salary and benefits package, along with a flexible work schedule, opportunities for education and development, and a very comfortable, creative, harmonious and positive work environment. grunt is an equal opportunity employer and welcomes all applicants.

 

Comments Off on Job Call: Curator

COVID-19 Gallery Protocols

As we prepare to re-open the gallery to visitors on September 25th, 2020, please be advised of our current protocols to help ensure the health and safety of all during the COVID-19 pandemic:

  1. Maximum 4 people in the gallery at a time (excluding staff)
  2. Please do not enter the gallery if:
    • you have traveled outside Canada in the last 14 days
    • you have had contact with a person confirmed to have COVID-19
    • you have any symptoms such as fever, chills, coughing, loss of taste or smell.
  3. Masks are mandatory while inside the gallery (if you don’t have your own, we will provide one)
  4. Please use the hand sanitizer provided upon entering and upon leaving the gallery
  5. Please practice social distancing (minimum 2m between visitors)

Please feel free to contact communications[at]grunt[dot]ca if you have any questions.

Thank you!

Comments Off on COVID-19 Gallery Protocols

Spark Artist Talks Online!

The return of Spark Artist Talks!
Featuring Ovila Mailhot on October 22, 2020

 

Our long running Spark Artist Talk series, featuring emerging Indigenous artists with diverse art practices, returns this fall in a digital format! Spark Talks are held from 12:15-1pm on the third Thursday of the month. A live Q&A will be held after each one, hosted By Alanna Edwards.

Join us online from wherever you are via this link: https://zoom.us/j/96996717456

Ovila Mailhot is a Coast Salish artist originally from Seabird Island, British Columbia. He carries roots from Nlaka’pamux & Stó:lō Nation. Mailhot is “thankful for the opportunity to share the beauty of Coast Salish art” and expresses himself by utilizing elements of Salish art that have been passed down through generations. Believing that carrying on the tradition of this work is necessary for his culture and for healing, Mailhot works primarily in graphic design, adding to a cultural continuum that, as he mentions, still has not been actualized or received by mainstream culture.

Image: River Woman by Ovila Mailhot.

Comments Off on Spark Artist Talks Online!

Cool Indians on Main Street

Cool Indians on Main Street
on the Mount Pleasant Community Art Screen

grunt gallery and Cool Indians On Main Street have teamed up on a project for the Mount Pleasant Community Art Screen! Charlene Vickers and Neil Eustache, the co-founders of Cool Indians on Main Street benchin collective have invited Indigenous artists to make an open ended statement about Indigenous presence and benchin. What is benchin one may ask? Benchin is the act of gathering socially to sit on a bench to people watch, share ideas, stories, and just be together. Moving through the uncertain times of a pandemic, benchin is redefined and expressed differently. Benchin happens in individual moments, alone or within one’s  social “bubble.” Benchin is expressed via face-time chats, or by sharing benchin pics on social media, or by a regular phone call.  This summer Charlene Vickers organized a dream team of Cool Indian benchers to create a series of digital media works for the Mount Pleasant Community Art Screen as the next iteration of what “benchin” could become.

Cool Indians Benchin Dream Team:
Lacie Burning
Robert Chaplin
Neil Eustache
Jeneen Frei Njootli
Whess Harman
Maria Hupfield (with collaborators Ester Neff, IV Castellanos)
Janine Island
Jenny Irene Miller
Casey Koyczan
Manuel Axel Strain
The Human Nature Collective (Daina Warren, Kirstin Snowbird, Robert Snowbird, Theo Pelmus, with Kevin McKenzie)
Tania Willard
Charlene Vickers

Images, from top left: Wavers by The Human Nature Collective; Alas and Forsooth by Whess Harman; The Labour of Protecting by Manual Axel Strain; Cool Indians design by Neil Eustache; Prayers by Lucie Burning; We Practice Our Culture Because Our Parents Were Not Allowed To by Casey Koyczan; Swaying Praying by Tania Willard; Canuck the Crow by Robert Chaplin.

Comments Off on Cool Indians on Main Street

New Issues of Together Apart Zine

(Insert something about COVID-19, uprisings, compounding crises and the mental and emotional toll). After much delay but plenty of patience and care, Together Apart Zine will be doing a double-issue launch this month of the final two issues of Brandi Bird’s editorial term. The themes of these issues cover Home and Water.

Brandi has brought together exceptional work through their term, and I feel so grateful to have worked with them on this project. This kind of work, though it is small by nature, feels especially crucial to do in these moments where it has been the hardest to carry through. TAZ could have asked for no better accomplice than Brandi Bird. Who, just in case you’ve forgotten, has a splendid book, I Am Still Too Much. Check with your local booksellers!

And now, Together Apart Zine is stoked—nay—honoured to be welcoming Kaya Joan as our term two editor. Kaya was an open call contributor to the third issue of TAZ, Indigiqueer Firsts, and sent in the cutest dang story about a night out on punk town. We look forward to bringing issues 7, 8 and 9 with them this Fall/Winter term!

Together Apart Zine is available for purchase through the grunt gallery online bookstore!

-Whess Harman, Together Apart project manager

Images: Untitled by Kaya Joan; Issue 5 cover by Lacie Burning; Issue 4 interior art by Jaime Blankinship.

Comments Off on New Issues of Together Apart Zine

ONLINE LAUNCH | New Documentation & Response by Tobias Ewé for Recollective: Vancouver Independent Archives Week 


Photo: Quivering by Hong-Kai Wang

“When an earthquake’s sonic event oscillates through the air – rolling over the earth – it absorbs all objects in its wake. The sonic outline of every object in the path of the sound wave is inscribed into its signature. An earthquake produces rumbling imperceptible infrasounds that alter the geological make-up, as well as deep bass frequencies that offer up new modes of understanding the malleability of geological strata. Movements are world-makers. As sound moves, worlds are created. As the earth quakes across its surface, new lines are drawn up.”   – Tobias Ewé

Recollective: Vancouver Independent Archives Week announces the web-launch of “On Hong-Kai Wang’s Quivering,” a newly commissioned text by Tobias Ewé in response to This is no country music, a performative lecture hosted at Artspeak on November 1, 2019, and Wang’s exhibition Quivering which was on view at Artspeak from October 26–December 7, 2019.

Read Tobias Ewé’s response and view the event and exhibition documentation on the Recollective website.

Recollective: Vancouver Independent Archives Week is a series of free public events that highlight artist-run centre archives, artists working with archives, and the intersections between contemporary art practices and social movements in Vancouver and beyond. Recollective commissions original response works to our programming from a variety of artists, writers, and activists. Stay tuned for more Recollective responses and programming at archivesweek.ca!

BIOS
Tobias Ewé
is a Danish experimental theorist currently based in Vancouver, BC. He is writing a PhD on inhuman psychoacoustics in the Department of Art History at the University of British Columbia. His research focuses on the epistemology of listening in modernity, and its symptoms in the sonic arts at the nexus between vibrational inhumanism and speculative aesthetics. His most recent work appears in Holger Schulze, ed (2019), Handbook of the Anthropology of Sound, London: Bloomsbury; and Laboria Cuboniks (2018[2015]), Xenofeminisme: En politik for fremmedgørelse, trans. Tobias Ewé, Copenhagen: Passive/Aggressive. Tobias has exhibited/performed diagrams and sonic fictions in Germany, Canada, Denmark, Italy and online.

Based in Taipei, Taiwan, Hong-Kai Wang’s research-based practice confronts the politics of knowledge lost in colonial and diasporic encounters. Through experimental modes of sonic sociality, her multidisciplinary work seeks to conceive of other time-spaces at the intersection of lived experience, power and ‘listening.’ Wang’s work critically interweaves the production of desire, histories of labor and economies of cohabitation. She has presented projects at Asia Art Biennial 2019; Theater Commons Tokyo 2019; Sculpture Center New York; documenta 14; Taipei Biennial 2016; Liquid Architecture; and the Museum of Modern Art.

Comments Off on ONLINE LAUNCH | New Documentation & Response by Tobias Ewé for Recollective: Vancouver Independent Archives Week 

Limeflower Heterodoxy by Sharona Franklin: June 9 — July 3, 2020

Limeflower Heterodoxy
Sharona Franklin
June 9 — July 3, 2020
Window viewing hours at grunt gallery: Tuesday – Saturday 12pm – 5pm

Limeflower Heterodoxy is a new exhibition by artist Sharona Franklin featuring the slow decomposition of one of her signature gelatin sculptures. With this work, Franklin takes the viewer into an exploration of healing methodologies, contrasting the different approaches of psychedelic and plant based medicine intertwined within the pharmaco-industrial complex. The installation centers the experiences of childhood rural illness, contrasted with the alien and often dehumanizing experiences of cytotoxic and pharmaceutical systems. Referred to by the artist as bioshrines, the sculptures embody tensions and contradictions held for those whose treatments include both natural medicine and—sometimes ethically controversial—biopharmaceutical care.

Decomposition is an integral part of Franklin’s process, as she invites visitors to come back and revisit her sculptures over the course of an exhibition, witnessing their transformation in space, as time and organic matter collide. For the first time, a livestream video will grant the viewer real time access to the transformation at any moment of the day or night. The artist will also record the decomposition of her work, creating two time lapse videos over the period of a month.

The livestream and videos are available through Printed Matter, more information can be found here. The work comes at three different tiers: an unlimited livestream access, a 30min time lapse video filmed on Hi8, and a high resolution 60min video with textile edition. 100% of the profits of Limeflower Heterodoxy II, a Hi8 timelapse video, will be donated to COVID Bail Out NYC.

This installation is organized by Printed Matter (NYC), hosted at grunt gallery and produced with the support of VIVO Media Arts Centre.

Downloadable PDFs:
Limeflower Heterodoxy Recipe
Let’s Talk About Disability

Sharona Franklin b. 1987 is a Canadian multidisciplinary artist, writer and advocate.

Her work explores radical therapies, cybernetic craft, ecological systems, bio-ritualism, pharmacological and social inter-dependency disseminating mythologies of class and biocitizenship within disability.  Franklin’s visual media practice can be viewed through social media platforms @paid.technologies, @star_seeded and @hot.crip. Through ontological study and utilizing natural, salvaged, biodegradable, edible, print media and digital mediums, her psychedelic works invite the viewer into facets of biopharmaceutical investigations and educational community practice.

Recent exhibitions include Kings Leap, NYC, Unit 17, Vancouver, Canada, G44 Center for Contemporary Photography, Toronto, Canada, New Image Art Gallery Los Angeles, CA, and Flux Factory, New York, NY. Recent publications include Injustice in Biopharm, 2019, Cassandra Press and Rental Bod, 2016, Peace Library Publications.

Comments Off on Limeflower Heterodoxy by Sharona Franklin: June 9 — July 3, 2020

grunt gallery Founder Glenn Alteen Retires as of May 29th, 2020

As of  Friday May 29th 2020, grunt gallery’s founder Glenn Alteen, who served as the gallery’s Program Director for 37 years, has retired. The staff and board of grunt are incredibly grateful for the energy, ingenuity and spirit Alteen has given grunt since the very beginning; he has fostered an extraordinary community of artists, curators, and cultural workers that extends from Vancouver’s Mount Pleasant neighbourhood across Canada and internationally.

Since grunt’s inception in 1984, Alteen has recognized the value in platforming diverse voices and supporting artists through their creative processes, and has been committed to providing resources for artists to exhibit work that might otherwise go unrecognized. His boundless generosity and bold approach has been instrumental in building the vitality of the gallery and relationships with many exceptional artists and curators, including Rebecca Belmore, Dana Claxton, Margaret Dragu, Aiyyana Maracle, Naufus Ramírez-Figueroa, Carole Itter, Adrian Stimson, Tania Willard, and Tarah Hogue. Throughout his career, Alteen has pushed boundaries with projects such as Queer City (1993), An Indian Act: Shooting the Indian Act (1997) by Lawrence Paul Yuxweluptun, and the co-founding of LIVE Biennial of Performance Art in 1999. Showing no signs of slowing down, in 2019 Alteen and grunt launched three of their most ambitious projects to date: Wordless: The Performance Art of Rebecca Belmore, the Blue Cabin Floating Artist Residency, and the Mount Pleasant Community Art Screen.

His connections to artists is truly unique, and his commitment to long-term creative relationships has built a community around grunt that spans generations, cultural communities and disciplinary boundaries. Dana Claxton recalls:

“I think I first met Glenn at the Pitt Gallery on Water Street in the late 1980s. Early on in the realm of programming NDN’ art work, he was committed, supportive, made enormous space and provided guidance in a way, he may not even be aware of the guidance he gave. Our early morning talks for many years, as he would dream up projects…he makes ideas become concrete. And it was never about him, but always what can happen for other people.”

Alteen has championed intuitive, organic and artist-driven creation, while simultaneously ensuring the continued growth and stability of grunt itself. By developing grunt’s programming archive, securing a permanent space for the gallery and the creation of an endowment fund, Alteen has cemented the longevity of grunt and contributed to the sustainability of artist-driven culture in Vancouver. He was awarded the Governor General’s Award in Visual and Media Arts in 2018 for his decades of exceptional contributions to the arts in Canada. Glenn Alteen has been a visionary for grunt gallery and Vancouver’s visual arts communities, and has left an enduring mark on the ways we work through, with and around art.

His unique perspective will carry forward into grunt’s future, and will continue to shape the organization. Incoming Program Director Vanessa Kwan, who has shared the role with him since last June, says:

“In so many ways, Glenn embodies what we hope for in a more compassionate art community. His leadership has taught so many of us about the importance of both resistance and care. His work proposes something no less than a revolution in how we understand a successful (dare I say legendary?) career in the arts: that ambition can be expressed as generosity, and that capital–cultural, financial and otherwise–is best shared widely rather than being kept to oneself.”

As grunt honours Alteen’s remarkable career and contributions to the art community, we are also proud to announce the re-naming of our endowment to the Glenn Alteen Legacy Fund, and we invite you to contribute to the future of the organization, and the furthering of its unique vision. More information can be found here.

Thank you so much, Glenn, for your audacity, persistence, disgruntlement and care.

 

Photo: Portrait of Glenn Alteen by Henri Robideau, Jaunary 1987.

Comments Off on grunt gallery Founder Glenn Alteen Retires as of May 29th, 2020

Update on submissions process due to COVID-19

The following is an update on grunt gallery’s submissions process this year:

Due to the COVID-19 pandemic and resultant closure of our gallery space we have been forced to reschedule a number of planned exhibitions. The impact on our programming schedule is such that we have made the decision as a staff to suspend our annual Curatorial Committee as we do not feel it makes sense to review and jury work for future exhibitions that we are not able to confirm. The substantial delays forced by the pandemic have made this a necessary decision in order to uphold our values of high quality service to artists and providing them a platform that facilitates actualization in practice.

While we will not be accepting submissions until further notice, we understand and regret the timing of this announcement, especially for those who have already submitted work this year. Out of respect for your labour in putting together a proposal we will hold your material on file until a time when we are able to restore our submissions and jury processes. You are welcome to modify, update, or replace work in your file at any time: the ongoing development of artistic practice has been another key consideration in our decision. We offer our humble apologies for any inconvenience or disruption this may cause you.

Our submissions call for the Mount Pleasant Community Arts Screen, a 4×7 meter outdoor public art display at Kingsway and Broadway, remains open and accepts proposals on an ongoing basis. If this is of interest to you we encourage you to apply — full details can be found here.

If you have any questions please feel free to contact us via submissions[at]grunt[dot]ca. We appreciate your patience and understanding as our programming model navigates a shifting landscape.

Take care,
the grunt gallery team

Comments Off on Update on submissions process due to COVID-19

Skip to toolbar