Position: Residency Coordinator (contract position)
Project: Blue Cabin Floating Artist Residency
Reporting to: Operations Director (grunt gallery) and General Manager (Other Sights for Artists’ Projects)
Hours: $27/hr 18 hours per week. Some evening and weekend work. Flexible schedule.
Start date: July 2, 2019
Application Deadline: Thursday, June 13, 2019 @ 5:00pm
The Blue Cabin Floating Artist Residency (BCFAR) is a collaboration between grunt gallery Other Sights for Artists’ Projects and Creative Cultural Collaborations. The collaborating organizations have formed the Blue Cabin Committee to oversee the ongoing management of the BCFAR.
About the Blue Cabin:
The BCFAR provides artists with a unique opportunity to live and work in a completely restored and outfitted heritage cabin/studio with deep historical roots in both the foreshore past of North Vancouver on the West Coast of British Columbia and the early years of Vancouver’s contemporary art scene. Situated on a floating platform and anchored in a marine environment, the residency features a state of the art, self-sustaining “tiny house” as accommodation. Responding to the unique environment, landscape and heritage of the region, the BCFAR will be a central feature of the selected artists’ experience. This is an artist–centred residency space that welcomes local, regional and national participants as well as international guests.
The BCFAR is open to artists in all disciplines and supports the creative development of all kinds, for artists at all stages of their careers. It is intended to support artists who wish to undertake research, reflection, contemplation, production or presentation activities. Artists are asked to propose a program of public engagement as the only outcome required of the residency.
General Description of the Position:
The Residency Coordinator is charged with the administration, management and maintenance of the BCFAR as well as working with a variety of individuals and groups to coordinate and schedule all programming and artist in residence stays.
The Residency Coordinator organizes all aspects related to the residency, including support of the artist application process, support of the artist in residence, and ensures that the facility is safe and well maintained and that the ongoing maintenance plan is implemented.
The Residency Coordinator is responsible for the day to day operations of the BCFAR and the management of associated special projects. The Residency Coordinator reports directly to the Operations Director at grunt gallery and the General Manager at Other Sights for Artists’ Projects.
Project Management Communication
Time Management Collaborative
Committed Community Minded
• Develop and maintain the day to day administration of the BCFAR.
• Help maintain the BCFAR’s public presence through the Blue Cabin website, social media channels, e-newsletters, and in print, in conjunction with other communications’ staff.
• Organize and lead the artist application process, assist the Blue Cabin Committee with artist selection, and coordinate all aspects of the residency including resource documents, contracts, communication with artists, fees, programming events, etc.
• Provide logistical and technical support to artists in residence.
• Organize field trips, studio visits, public presentations and other research and engagement activities.
• Develop a maintenance plan around the cabin facility for maintenance, janitorial and facility upkeep.
• Oversee the work of contractors implementing the maintenance plan.
• Oversee the residency budget, in conjunction with other staff and contractors.
• Provide budgets and expense reports to the Blue Cabin Committee at regular intervals.
Required Skills and Education:
• Strong familiarity with arts administration.
• Good understanding of artist-run culture.
• Preferably, post-secondary education in an arts-related program or a project management program.
• Previous experience (work or volunteer) with an artist residency programme an asset.
• Demonstrated supervisory and interpersonal skills; ability to perform well in a team environment and to collaborate with others.
• Strong written and oral communication skills.
• Strong organizational skills, ability to identify and prioritize tasks with minimal supervision, work independently, and take initiative.
• Experience with youth/adult education programming an asset.
• Strong knowledge and commitment to bridge-building within diverse community frameworks.
• Working knowledge of social media, e.g. Facebook, Twitter and mass email systems.
• Resourceful, hands-on and pro-active.
• Proven ability to act in an assertive but professional manner and to represent oneself and an organization in a positive manner.
• Ability to work at and travel to multiple sites throughout the Lower Mainland.
• Ability to work flexible hours.
Business Ethics and the Workplace:
• Must promote and set the example for ensuring a friendly, courteous, respectful and professional work environment.
• Must maintain the confidentiality of all personal, private, and professional information obtained within the course of employment.
• Must not accept any gifts, loans or anything of value from any individuals with whom contact is had during the course of employment.
To apply: Please send cover letter and resume to Meagan Kus by email < meagan(at)grunt.ca >
Application Deadline: Thursday, June 13, 2019 @ 5:00pm
Welcome to the May edition of Hedy Wood’s Pet Peeves! Read on as Hedy chats with grunt founder and current editor, Hillary Wood (no relation), and the investigation takes a turn toward the possibly paranormal…
Of course I believe that Hillary has a part-time cat named James. I also believe that James comes to visit by walking across two balconies, and that he stays for a couple of hours and naps on the bed and all the rest of it. Hillary Wood is a founding member of grunt gallery and is currently the editor there. She is definitely not some crazy person making up things in order to get me to write about her and some imaginary pet. And, I would like to add, you don’t see me standing around with my index finger pointed at my temple making that little twirly motion. You just don’t! I believe in James completely!
I believe in the existence of James, the part-time cat, so thoroughly that I went over to interview him and see what he had to say about Hillary.
Food bowls left out for the elusive cat-like creature, James.
After standing around on Hillary’s balcony for about half an hour, yelling for James and jiggling my bag of cat treats, I felt like it might be time for a drink……there was no sign of what I was beginning to think was a mere fig newton of Hillary’s imagination and I had a powerful thirst building. Also my yelling JAMES, JAMES!!! was starting to annoy the neighbors.
The interview went something like this:
Me: So, how about we crack open some of this pickle juice, and you tell me all about James who I believe in and know exists?
Hillary: You’re starting to make him sound like God or something! He does exist, and he comes over here every single day! I think all of your yelling has put him off, that’s all.
Me: Ha ha! Where are the glasses? Oh JAMES, you can come over any time now!!! Because I know you’re real!!!
Me: Come on James!!! Sit on the bed, eat some stuff, come and visit. Oh JAAAAAAMES!!
Definitely, it was time to crack open a bottle of wine. If nothing else, I could ask Hillary about James, and how he has come to be her part-time cat. Apparently, James is actually owned by a neighbor two balconies over, but he prefers to spend a lot of his time at Hillary’s. He’s sort of a cat-share cat, like a timeshare condo I guess….
So Hillary and I settled in and had a glass or two. Occasionally I would get up and go and yell for James out on the balcony. I only actually stopped doing this when I could see that it seemed to be causing Hillary psychic pain.
Hillary Wood and James the cat? Photo by Merle Addison.
I also began to make little jokes and then laugh at them really loudly, then explain the jokes and laugh some more. You know, as you do. When I reflect on it, Hillary really must have the patience of a saint.
The afternoon wore on, and there was still no sign of the alleged James. He was beginning to seem like Bigfoot or Ogo Pogo, I mean, maybe there’d be a sighting or maybe not…..but I do tend to believe in them, so what could possibly be the harm in hanging about for a bit longer? Also, around this time, another bottle of wine kind of fell out of my purse. Maybe it would be smarter to take a different approach to this particular pet interview. I decided to direct my questions to Hillary and stop yelling and treat rattling for James.
Me: So, what would James likely have to say about you? You know, if he actually existed? Oh sorry, I mean, really, what would his complaints be do you think?
Hillary: Well, he doesn’t like it when I move my feet when he’s sleeping on the bed. It makes him attack my feet.
Me: More wine?
Hillary: And he’s very protective about the balcony. He doesn’t even like it when I go out there!
Now this was beginning to seem like a pretty detailed description of imaginary cat behaviour. It was like if someone was saying, But no! The unicorn’s horn is actually sort of a pearly colour!! And the hooves have rainbows!!! Sooner or later, you have to suspend your disbelief.
Me: So how did you and James first meet then?
Hillary: James started coming over for visits when he was a tiny, shy kitten. He would creep around the corners of my place, but now, he feels very at home here. He’s here every day, usually. Probably he is scared of you being here…..and all the yelling…..
Me: Well, I never! Yelling indeed! I’ll show you YELLING little missy. JAAAAAAMMMMEEEESSSSS! JAAAAAMMMMEESSSSS!
Hillary: Would you please shut up?
It must have been around this time that I realized I had better go home. I still had no evidence that James actually existed anywhere on planet earth, and Hillary and I were on the verge of our first fight. Plus, I had the hiccups.
As I was collecting myself and preparing to leave, did I see a flash of white fur whisking by out on the balcony? Did I hear a faint and slightly ghostly meow? I can’t say for certain, but when I got home and the drinker’s remorse began to set in, I found I had a different feeling about James. I believed in him truly and I knew he really did visit every single day and all the rest of it. Honestly, I don’t know why I ever doubted him……now the only thing was to check in again with Hillary and see if she was also suffering from a kind of big headache….
The fourth installation of Pet Peeves is here! Can you believe it? Join us as grunt’s Gallery Assistant, Hedy Wood, continues her investigation of the grunt gallery staff by interviewing their pets.
Pets prefer a Scottish accent, period. You can say, “Whooooooo’s got those dog pants? Whooo’s got those PANTS?!” until your head expands like a melon, but really, it’ll get you nowhere. Likewise, “Where’s that pretty kitty cat CAT?!” Totally useless.
No, if you want to befriend any pet, any time, a simple Scottish burr is the way to go.
Example: “Och, aye, what a bonnie wee laddie/lassie ye are.” Boom, done, they melt like butter.
I was putting this theory to the test when I went to visit Kate Barry, Freddie and Moe. Not that I was exactly in the greatest mood for belting out a bunch of fake Scottish lingo, due to the heatwave, fifth-floor apartment and broken elevator, but I was doing my best.
Now Kate Barry is a bit newer to grunt, her job title is Screen Coordinator for the Mount Pleasant Community Art Screen, and I have to say she is one of the few interviews that I’ve done where a refreshing SNACK was provided. I think other pet owners might want to have a little think about that…
Freddie greeted me when I arrived at the apartment. I was sweaty, breathless, and talking a bit too much about arthritis. He was actually so adorable, my Scottish theory went right out of my mind.
Me: Oh hi Kate. Now who’s THIS? Is that the Freddie dog?! The little Freddie dog DOG! Whooooo’s the pupparazi? Well, that’s you, yes it is!
So, as you can see, pretty much a total failure of interview technique AND nothing Scottish whatsoever. I have to give Freddie extreme credit for rolling with all this nonsense in a very gentlemanly way.
Freddie: Why hello there Hedy, how charming to meet you, please, have a seat. Yes, that’s good, right there. I will jump up and sit right beside you. What could be more pleasant? Well, a small dog snack would really make this a perfect moment, wouldn’t it?
(I found out that Freddie, who looked perfect to me, is on a doggy diet. Some cruel and unusual vet has decided that Freddie needs to lose 3 pounds!)
Me: So, Freddie, how did you and Kate meet? How did she get so lucky?!
Freddie: Well, actually, I was on an online pet dating site, looking for a positive change in my relationships, and that’s how I met Kate. I didn’t know at the time that I was to become part of this beautiful, blended family, here with Moe. I LOVE Moe so much.
At this point in the interview, Kate did a little cat conjuring magic with a can of tuna, and Moe appeared from his upstairs man cave.
Me: Hello Moe! You are a CATLY cat!! Who’s got those whiskers?!!
(As you can see I had by this point pretty much gone completely cuckoo because Freddie and Moe are just so exactly the kind of pets anyone would love to have. Moe is a large luxurious tabby, and Freddie a perfect mix of Shitsu and Poodle, what’s not to love?
Moe: Are you by any chance here to interview me about that dog? Maybe you would like to talk about my perfect lovely life before SHE brought HIM home?! Everything was perfect until he came along, and now he just LOVES me so much all the time! He’s all LOVE LOVE LOVE every day, all day! What is wrong with him?! It gets on my very last nerve. Honestly, why exactly does he live here? We were FINE before he came along. AND he’s getting fat.
Moe: And what kind of breed is he?! A Shit Poo, that’s what I call it, heh, heh, heh…..get it? Shitsu and Poodle.
Me: Oh………dear……well, now Moe, surely there must be some benefit to having Freddie around? He seems like a very sweet dog to me. Surely you must have gotten fond of him over these last couple of years?
(I think it was at about this point in the interview that Freddie jumped out of his chair and ran over to lick Mo’s nose. That sent me into cuteness overload, and I swear I saw a tiny Cheshire grin on Moe’s face.)
Moe: There! You see? That’s just a perfect example of what he’s like! LOVE! Barf! If he wasn’t so darn cute, I’m sure I would have killed him by now….little cutie….little shitty poo poo….
I began to sense a bit of a game or pattern going on between these two. Much as Moe repeatedly stressed his general loathing of Freddie, I could see a real bond and genuine caring between them. This, combined with the gracious hosting by Kate, and the general ambience of warmth and happy pets and all the rest of it, began to annoy me. I ended my little visit as politely as possible and went on down the five flights of stairs and out into the summer heat. Always easier going downhill, that’s what I say….
The thing is, I was thwarted once again in my quest for pet peeves. My quest which had in actual fact, mainly become about discovering bad behaviour ANYWHERE at all, on the part of any of the grunt staff, or their much loved pets! Everything was just a bit too peachy keen everywhere I went, and, as Moe would say, it was getting on my very last nerve!
#callresponse, co-organized by Tarah Hogue, Maria Hupfield and Tania Willard, began at grunt gallery in 2016. The exhibition has toured across Canada and the US for two years and recently came to a close at TRUCK Contemporary Art and Stride Gallery in Calgary. To mark the end of the tour, grunt’s curatorial interns, Whess Harman and Nellie Lamb, chatted with Tarah about #callresponse and the roles of collaboration and mentorship in her practice.
Ursula Johnson with Charlene Aleck and Cease Wyss performing at the #callresponse opening in 2016. Photo by Merle Addison.
NL: Can you start by briefly describing #callresponse?
TH: #callresponse takes as its starting point five projects that were commissioned by Indigenous women-identifying artists based across Canada and into the US. The invitations were extended to these artists in particular because they are all very much enmeshed in working with community in different ways and their practices are all quite diverse, ranging from performance to ceremony to new media. The context that we asked those initial five artists to respond to was around reconciliation but in a roundabout way. We thought about how the projects that these artists are already committed to working on have a really transformative capacity, and looked at that as a starting point in order to turn that settler-nation-state-to-Indigenous relation within reconciliation on its head. We then asked each of those artists to extend that invitation to a collaborator or respondent to create these dialogues between practices. We were thinking about this call and response structure, but the artists took that in so many different directions. Christi Belcourt and Isaac Murdoch decided to work together and position the land as their respondent, so there’s different degrees of collaboration or mentorship or response throughout the project.
WH: I was just reading over everything on the website again and the initial outset of how the project was described and, as an artist and someone at grunt now, it stood out so much how present these questions still are, not just as institutions but as artists. One of the questions I had about that is, how do you think institutions now are responding to this idea of reconciliation? Do you think that’s changed a lot or do you think #callresponse could just keep going until institutions responded in a meaningful way?
TH: [laughs]…until decolonization?
WH: [laughs] Yeah, until we achieve decolonization!
TH: That’s an interesting question because the experience of working with all of the institutions that we partnered with was very different and demonstrated where different organizations are in that relationship-building process. Like at Blackwood Gallery, we were in the context of an academic institution—they’re at the University of Toronto Mississauga—and part of what we did when we were there was to meet with university faculty and talk about their efforts to indigenize the academy, which is something that was a relatively new path for them at that time, or at least was new in terms of the university recognizing the work that Indigenous faculty were already doing in a systematic way. And then at a place like AKA Artist Run Centre in Saskatoon we were building upon work that they had already been doing within the community there, so it was really just about how we could give our resources over to the work that was already happening. I think that because the project doesn’t centre that settler-Indigenous relationship within reconciliation in the same way, that it could keep going on for a long time. Not that I don’t think that other projects that privilege that relationship aren’t important but it’s also like, who’s benefit is that for?
WH: It’s a heavy load on Indigenous artists. I feel, again speaking as an artist, being asked to do that, it’s like, I don’t have the answer and that’s what so many of these projects seem to frame like: “We’re going to have a reconciliation project and we’re going to have an answer!” But you are not! It’s going to be exhausting and I might be kicking and screaming by the time you’re finished.
TH: I asked Maria and Tania to work with me because they’re two people who I look up to immensely, and we further invited other artists who we looked up to immensely. A lot of the artist-respondent pairings had that aspect woven into it. Some artists chose to respond more directly to that context of reconciliation, like Christi and Isaac saying we’re not ready for reconciliation; we have to reconcile ourselves with the land before we can do something else.
WH: On the [web]page there’s a little thing where you’re quoting Leanne Simpson that was something that stood out to me about the whole process. With reconciliation are tied in these concepts of recognition and those concepts of recognition are so different when Indigenous people are working with other Indigenous people—it strengthens those bonds.
TH: That idea of living as if, as if we have realized the realities that we want on the ground. I love Leanne Simpson.
NL: I really like this web-like, looking-in-multiple-directions-at-the-same-time idea. When I originally read about the project I understood it as starting with you and hopping over to these artists and then they hop to these [other] artists, but listening to you talk about it now, it’s not so linear.
TH: No it’s not. That web of relationships, I’m coming to realize, is part of my curatorial practice both unconsciously and consciously. Translating that way of working to working at the Vancouver Art Gallery is a little bit complicated. How do you maintain that? How the institution responds to that methodology is interesting.
WH: It must be hard with larger institutions. I imagine there is this unspoken thing about making things palatable for an audience but a project like #callresponse is asking, well, what’s palatable for an institution?
TH: That’s something that I’ve puzzled over about the exhibition in general as it’s travelled to different places, because the story of the project is so rich and all of the different in-person interactions and experiences are at the heart of the exhibition, and then you have a series of works that stay the same, that travel to each place with a few changes, like when Ursula did a new song line that would go into the gallery instead of the initial one that she and Cheryl did together. A lot of the works in the show point outside of themselves. Maria’s felt bag is an object that’s activated in performance and the plywood cut-out buffalo robe points to the fact that that original object is not there any more. I’ve always been curious throughout the process of the exhibition about how people experience that pointing outside of the gallery through these objects that are inside of the space. Allison Collins, when the show opened here, said that the role of imagination in looking at the exhibition was something that stood out for her right away. Thinking about what the stories of the objects were outside of the space. She said something along the lines of imagination is not valued as much in exhibitions as it should be.
WH: Initially I also had the same idea that this is a very linear project in many ways, but did you find overall that you were enmeshing more into things, into networks?
TH: Yeah, I would say so. It’s interesting to re-install a show over and over again and see how it shifts in every location and every context and what kinds of conversations come out of those contexts. The most enmeshed aspect of the project was me, Maria and Tania working together. That kind of coordinating but also curatorial conversations around each project—it was really thinking about, in each context, what projects we could activate or what artists we could bring in that would speak well to that context. Really it was about being responsive to that set of conditions, but sort of diving deeper into the projects each time.
NL: Do you have an example of one install or experience of install that changed really drastically or in an important way?
TH: Ursula’s project is a good example of that. Her project, The Land Sings, was in existence before #callresponse started. She had already done three or four song lines, so the project was a way of building on that work and acknowledging that work. We did song lines here, in Mississauga, New York, and Halifax. It moved from the East Coast to the West Coast and then back again over the course of the tour. In each case Ursula is working with singers, hand drummers, and language speakers in that area, and thinking about the relationships between the gallery and the closest First Nation community. That project shifted each time. In New York the song line was mapped onto the skyline of the city as something that’s such a defining feature there and is overlaid on top of Indigenous space and closely follows historic travelling routes that Indigenous Lenape would have travelled along.
NL: That site-specificity seems like such an integral part of the project.
TH: I think so. The initial five commissions were asked to be “locally responsive”; we didn’t really use the term “site specific.” I guess it started by thinking about how all of these artists are committed to doing the work that they’re doing in their own communities. That community is differently defined by everyone. It’s not about an ancestral or reserve community. It can be a shifting context that the artists are all responding to. Also, when we approached galleries for the first time we always asserted that this is a partnership. So the galleries need to take the lead, developing programming that makes sense in their context. We’re not just going to parachute in and do this exhibition; it wouldn’t be in line with how the project began or how it developed. It’s all the context; the responsiveness to context has always been a really central aspect to the project.
WH: Did you find some resistance from some places that didn’t understand where the project was coming from?
TH: No, luckily our partnerships were formed well in that way. Certainly some institutions had much more active, or ongoing or in-depth conversations than others that just rolled with it in their own way. Or [with] some people, it was a really collaborative coming to understand what needed to happen. I think that most of our partners understood for the most part what we were trying to do. There were challenges along the way. I think once we had done the first few, you kind of figure out what questions to ask, what kind of conversations need to happen at the beginning in order to get to what needs to happen. There’s always going to be a set of possibilities that we are responding to and another set of considerations that can be discussed with the partners.
WH: It seems like a difficult thing to do something like an exhibition, which is very administrative just by nature of being attached to an institution, [and] to also have it sincerely engage with the people that are going to see it. A thing I think about a lot when I’m asked to do a workshop is, well, what’s actually beneficial to you? To stop you from just dropping in and being like, “These are my ideas!” and then peace-ing out and ending the dialogue.
TH: I think that a lot of relationships were formed through the project. The participating artists are variously involved in communities where the show went to, so we were able to build upon those relationships a little bit.
WH: I was never able to make any of the performances just by nature of always travelling myself. I just remember each time there was a performance there was a spike in the hash tag and just feeling this intense feeling of FOMO. But also, going through the comments and seeing everyone else who couldn’t make it, there’s this weird outside community that wasn’t able to attend.
TH: Speaking of spider webs and networks, right? The amount of people who have followed the project online and through its various iterations has been pretty spectacular. It’s been really heart-warming in that respect. All of the artists, especially the five initial artists, they’re all such powerhouses. Huge amazing forces to be reckoned with. That was apparent always throughout the exhibitions.
WH: What curatorial projects are you inspired by outside of your own?
TH: Because I’m now working at the Vancouver Art Gallery I’m looking more intensively at what other large-scale institutional work people are doing and always puzzling to myself how they pulled that off. The work that Jamie Isaac and Julie Nagam are doing at Winnipeg Art Gallery, it’s very clearly connected to the community there and has enlivened the space when they activate it through their work and also their ethic and methodology. The way that they work together is really something I admire. And one of the best shows that I’ve seen in the last couple of years is We Carry Forward by Lisa Myers. I saw it when I was in Ontario. It was a group exhibition that just really floored me. She’s a really smart curator. And Lorna Brown at the Belkin, I was thinking about Lorna and Lisa together because they both play upon the meaning and structure of language and then extrapolate that into the artworks that they include.
NL: I’m just thinking about #callresponse ending: it recently wrapped up at its last stop at Stride and TRUCK Gallery in Calgary. Is there a story or a feeling about the impact of the project—maybe something in your own practice—as it comes to a close? How are you reflecting on the project?
TH: Two things come to mind: the scales of intimacy and really public-facing discourse that have both been really fulfilling. I think that’s encapsulated at Stride and TRUCK Gallery in Calgary. We worked with youth from Tsuu T’ina First Nation, which is a program already established with those galleries. A dozen kids came from the rez and we had pizza lunch,we gave them a tour of the show, Maria let them mess with her performance objects, and then we did a pirate radio broadcast in the gallery at TRUCK, which would have a radius of about a block. And the kids, like, played Drake songs and told jokes and we ate chips. It took a few hours before, right at the very end, everyone’s warmed up to each other and we’re chilling and it’s natural. It’s a little different with kids, but there’s a number of moments throughout the project that are small scale and focused on that kind of moment. And then there’s a moment, like opening the exhibition in New York and doing a round table to a packed house, attended by arts workers from around the city. And you recognize that you’re part of a dialogue that people really need to be hearing there and need to be having, because it doesn’t happen enough and the ways that [it] happens aren’t always Indigenous-led. It is a small moment, but you just feel like you’re connected to something that’s wider and urgent. Those nodes of the project are what will resonate with me for a long time to come.
Particles completes grunt’s exchange with organizations and artists in Seoul, South Korea. This international program began in 2018 with Instant Coffee’s project Pink Noise Pop Up , which saw curator Vanessa Kwan, artist collective Instant Coffee and Vancouver-based artists Jeneen Frei Njootli, Casey Wei, Krista Belle Stewart and Ron Tran mount an exhibition and a series of events at two partnering organizations in Seoul. This year’s program includes an artist residency, an exhibition and a curatorial visit.
Artist: Yaloo, April 18th – May 17th, 2019, Western Front Media Arts/ grunt gallery
Talk: Animation Show and Tell Featuring Yaloo, with Howie Tsui and Lianne Zannier
April 25th, 7 PM.
Location: Grand Luxe Theatre at the Western Front.
Produced in collaboration with Western Front Media Arts
Curators: InYoung Yeo (Art Space One, Seoul) and Soojung Yi (National Museum of Modern and Contemporary Art, Seoul).
May 8th – 17th, 2019.
Curator’s Talk and Open House
InYoung Yeo and Soojung Yi with Yaloo
May 13th, 6:30 PM
Location: Grand Luxe Theatre at the Western Front
At this Curator’s talk, Seoul-based curators InYoung Yeo (Art Space One) and Soojung Yi (National Museum of Modern and Contemporary Art) will discuss digital technologies, art and urbanism. Yeo and Yi will address the conditions of production, collaboration and presentation in Korea and the influence of digital technologies on arts communities and the public realm. The event will also showcase the latest work in progress by Yaloo, developed while in residence at Western Front.
EXHIBITION dot.dot.dot. Artists: Sejin Kim and InYoung Yeo.
Curated by Vanessa Kwan with InYoung Yeo
May 10 – June 22, 2019. Opening Reception: May 9, 7 – 10 PM. Location: grunt gallery
dot.dot.dot. brings together Seoul-based artists Sejin Kim and InYoung Yeo for their first presentations in Canada. Working at the intersection of media and installation, Kim and Yeo’s practices explore the omnipresence of interactive technologies and their varying effects on human experience. Far from decrying the advance of ‘the digital’ the artists represent an embedded yet critically engaged position. Their works contend, as we all must, with an embodied perspective in a technological environment that, in both promise and imperfection, is intertwined with our survival.
We gratefully acknowledge the financial support of the Province of British Columbia through the Ministry of Tourism, Arts and Culture. Particles: Seoul to Vancouver is produced in partnership with Western Front Media Arts, the Banff Centre for the Arts and Pacific Crossings
Yaloo is a media artist currently based in Seoul and Chicago. Her work creates poetic narratives that explore regionalism, consumer culture and digital interactivity using transcultural icons such as corn, ginseng, and cosmetics. Via alternative video imaging technologies such as video projection mapping, sublimation transfer techniques and virtual reality, intimate relationships between consumerism and regionalism are mediated in spectacular, multi-faceted digital landscapes. She completed an MFA (2015) and BFA (2011) from the School of the Art Institute of Chicago with a focus on digital image-making and digital installation. She was the first recipient of Lyn Blumenthal Memorial Scholarship by Video Data Bank (VDB). Since 2009 she has shown her work internationally, including exhibitions in Seoul, Malmö, Frankfurt, Brooklyn, Seattle, Columbus, and Chicago. Her work is often site-specific with a strong research component, and recent residencies include the Bemis Studio Art Centre, Fukuoka Asian Museum of Art, Headlands Centre for the Arts, and High Concept Labs, Chicago
InYoung Yeo is an independent curator and director. With a background in English Literature, Illustration and Fine Art in countries including UK, US and Korea, she founded Space One, an independent artist-run space, in Seoul in 2014. Since then, she has put together various collaborative exhibitions, working and experimenting with emerging artists and art spaces from Korea, Japan, Taiwan, Germany, UK, US and Canada, among others. Some of her recent curatorial projects and exhibitions include Intersections of Common Space and Time supported by Seoul Art Foundation, Goethe-Institut Seoul; Gender Hierarchy supported by Geothe-Institut Singapore in collaboration with Grey Projects Singapore; A.I.MAGINE Seoul City, Seoul National University commissioned, Seoul Digital Foundation, Seoul Data Science Lab Project; a three-way dialogue with the Seoul Biennale of Architecture and Urbanism 2017; East Asia Goethe-Institut project ‘A Better Version of 人’ programs in Korea.
Soojung Yi was born in Busan, Korea. Yi worked for Daejeon Museum of Art as Curator of Media Art and worked for Art Center Nabi (Seoul) as a creative director, where her focus was the production of media art for the public realm. There she researched the rising number of media façades in urban space and its interaction with the public. She joined the National Museum of Modern and Contemporary Art (Seoul) 2012 and has been working for the exhibition and projects related to media arts. Her previous projects include The Future is Now! New Media Collection from MMCA, Korea, Younghae Chang Heavy Industries (2013); Shirin Neshat (2014); Infinite Challenge-Women Media Pioneers in Asia, Anechoic Project-experimental films and music performances (2014); and William Kentridge (2015).
Sejin Kim received her MFA in Fine Art from Slade School of Fine Art in London and MA in Film/TV from Sogang University in Seoul. She works with a variety of media apparatuses, including documentary realism and cinematic language to explore relationships between individuals and contemporary cultural systems. Her work has been shown internationally including selected solo exhibitions: The Chronology of Chance, Media Theater, Seoul; Prizma Residency #1, Prizma Space, Istanbul, Turkey; The Proximity of Longing, Cultural Station 284, Seoul. Selected group exhibitions include The Arrival of New Women, National Museum of Modern and Contemporary Art, Seoul; Galaxias Maculates, Museo de Arte Contemporaneo de Valdivia, Chile; Future is Now!, La Friche Belle de Mai, Marseille, France; The Shade of Prosperity, INIVA, London; Bloomberg New Contemporaries 2011, ICA Gallery, London & S1 Art Space, Sheffield, UK; Life Stage, Art Centre Nabi, Seoul; The 4th Gwangju Biennale: PAUSE. She is the recipient of the Songeun Art Prize, Bloomberg New Contemporaries), and The 4th DAUM Prize and she has participated in artist residencies at HIAP-Helsinki international Artist Program, SeMA Nanji Art Studio, Seoul, ISCP-International Studio & Curatorial Program, New York, Seoul Art Space_Geumcheon, Seoul, Goyang National Art Studio, and Taipei Artist Village, Taiwan.
Together Apart has been envisioned as a way of making and holding space for 2SQ/Indigiqueer folks to come together and to be in dialogue with one another so that we might centre the conversations we’d like to hear or that we feel have been absent in our communities. However, our intentions are also simple: to celebrate and enjoy one another’s creativity and dedication to our practices, and to recognize one another in such a way that speaks across the distances we experience in our living and movement through our worlds.
Together Apart will be held in a series of both public and 2SQ/Indigiqueer events only, as outlined in our schedule. Please follow us on the Facebook page and on Instagram for updaes.
FRIDAY, APRIL 19
Event: 2SQ/Indigiqueer Nature Walk w. Cease Wyss
Time: 11:00 – 12:00PM
Location: Native Education Centre, 237 E 5th Ave, Vancouver
*Closed to 2SQ/Indigiqueer participants only
Participants will join together with Cease Wyss to open our event by spending some time on the land together; though many of us are navigating urbanized living, the urban landscape still lays atop lands that deserve attention, acknowledgement and respect. Cease will lead participants through spaces where the land is more evident and discuss some of her on-going community projects.
Event: Keynote Address by Lindsay Nixon (followed by Poetry Readings) Time: 7:00 – 8:00 PM
Location: grunt gallery
*Free and open to the public Our keynote address will be presented by Lindsay Nixon, a Cree-Métis-Saulteaux curator, award-nominated editor, award-nominated writer and McGill Art History PhD student studying Indigenous (new) feminist artists and methodologies in contemporary art. They currently hold the position of Editor-at-Large for Canadian Art. Nixon has previously edited mâmawi-âcimowak, an independent art, art criticism and literature journal. Their writing has appeared in The Walrus, Malahat Review, Room, GUTS, Mice, esse, The Inuit Art Quarterly, Teen Vogue and other publications. nîtisânak, Nixon’s memoir and first published book, is out now through Metonymy Press.
Born and raised in the prairies, they currently live in Tio’tia:ke/Mooniyaang—unceded Haudenosaunee and Anishinabe territories (Montreal, QC).
Stay for our Poetry Reading event with fabian romero, Demian DinéYazhi’ and Storme Webber following directly after the keynote after a short break.
Event: Poetry Readings
Poetry Readings with fabian romero, Demian DinéYazhi’ and Storme Webber
Time: 8:00 – 9:30 PM
Location: grunt gallery
*Free and open to the public
For our poetry reading night, we’ve reached out to some of our kin south of the colonial border to share their work about love, sexuality, settler colonialism, fighting white supremacy, Radical Indigenous Feminisms and the complicated networks of our many intersecting identities. This night will include queer poet, filmmaker and artist fabian romero (Purepécha), transdisciplinary artist and activist Demian DinéYazhi’ (Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) & Tódích’íí’nii (Bitter Water)), and internationally-nurtured poet, playwright, educator, and interdisciplinary artist Storme Webber (Alutiiq/Black/Choctaw).
SATURDAY, APRIL 20
Event: Beading & Reading w. Anne Riley
Time: 10:00 AM – 12:00 PM
Location: Massy Books, 229 E Georgia St, Vancouver
*Closed to 2SQ/Indigiqueer participants only
An informal reading event hosted by artist Anne Riley (Cree/Dene) inviting attendees to bring readings of works that have resonated with them or have produced themselves in a relaxed setting where we can work and speak together over beading/crafting projects within the Massy bookstore event space. The intention of this event is to hold space in which our conversations can feel unrestrained and without the scrutiny of non-Indigenous audiences that often forces a degree of performativity.
Event: Performance by Storme Webber and In Conversation with Afuwa
Time: 1:00 – 2:30 PM
Location: grunt gallery
*Free and open to the public
Storme Webber (Alutiiq/Black/Choctaw) will be giving an extended performance from her previous nights reading and will follow-up with an In Conversation Interview with artist Afuwa (Guyana) whose current projects have focused on re-imagining relations across the Atlantic diaspora.
Event: Readings and In Conversation with Demian DinéYazhi’ and fabian romero
Time: 3:00 – 4:30 PM
Location: grunt gallery
*Free and open to the public
Presentation with Demian and fabian consisting of short readings of their work, presentations of their interests/practices and a dialogue between the two as artists/writers/activists.
Event: Concert w. With War/Mourning Coup/Kerub
Time: Doors 8:00 PM, Show 9:00 PM (End 12:00 midnight)
Location: KW Studios, #10 – 111 Hastings St W, Vancouver Cover: $10-$15 sliding scale, no one turned away for lack of funds (sales from bar and door will be used to pay an honorarium for volunteers and then distributed amongst performers)
Three non-binary Indigenous performers, one face-melting night; we’ll start with Metis/Jewish electronic artist KERUB then fall into experimental electric MOURNING COUP aka Chandra Melting-Tallow (Siksika/mixed ancestry) and then top off the night with Portland vegan straight edge hardcore band WITH WAR, fronted by La Tisha Rico (Diné/Navajo) who in true straight edge form will also be giving a morning artist talk the following day.
SUNDAY, APRIL 21
Event: Artist Talk w. La Tisha Rico (of With War)
Time: 10:00 – 11:00 AM
Location: grunt gallery
*Free and open to the public
La Tisha Rico (Diné/Navajo) will present on their work as a musician and activist in decolonizing punk and DIY spaces within a queer and Indigenous identity that is beyond colonial definitions and limitations in colonial language.
Event: Community Discussion: Rural Indigiqueer Identities, hosted by Edzi’u
Time: 1:00 – 2:00PM
Location: grunt gallery
*Closed to 2SQ/Indigiqueer participants only.
Community discussion facilitated by performer Edzi’u (Tahltan/Tlingit) discussing queer Indigenous identities in rural situations; dating, isolation, mental health; will choose something from the archive to help centre the conversation by responding to how it does or does not reflect where we are now.
Event: Round Table Discussion: Intentions, with co-curators Whess Harman, Kali Spitzer and guests (TBD)
Time: 3:00 – 4:30 PM
Location: grunt gallery
*Free and open to the public
Round table discussion with co-curators Whess Harman (Carrier Witat) and Kali Spitzer (Kaska Dene) event discussing the interpretations and intentions in their practices and as programmers with several other artists/event organizers/curators.
Event: grunt Archive Screenings and Presentation with Lacie Burning
Time: 7:00 – 9:30PM
Location: grunt gallery
*Free and open to the public
In addition to a screening of several performances from the original Two-Spirit Cabaret held at the grunt gallery in 1993, Kanien’kehá:ka (Mohawk) and Onondaga (patrilineal) artist Lacie Burning will be presenting their response to Denise Lonewalker’s Dancing for our Ancestors. With this event, we will be looking back through the archive in an effort to root ourselves in our own history and give acknowledgement to those who’ve made space for us and look forward in how to look at how those spaces are changing.
Together Apart is supported by the First Peoples’ Cultural Council and the City of Vancouver Creative City Strategic Grant Program. grunt gallery acknowledges the ongoing support of the Canada Council for the Arts, the British Columbia Arts Council, the City of Vancouver, the Province of British Columbia, and the Audain Foundation for the Visual Arts.
ONE DAY ONLY! 10AM–10PM
Opening Reception: March 5, 2019, 7PM
Over the past two years, grunt gallery has been at work on the project Wordless – The Performance Art of Rebecca Belmore focused on her remarkable performance career. This legacy project begins with an all-day screening of, March 5, 1819, and the launch of her new website, rebeccabelmore.com
In 2008 Rebecca Belmore produced the video installation March 5, 1819 recreating the abduction of the Beothuk woman Demasaduit and the murder of her husband Nonosabasut by colonialist settlers in Newfoundland. This video installation is not a historical reenactment, rather the actors are in modern dress and Belmore questions what has changed over the past 200 years. March 5, 1819, was commissioned by The Rooms in St John’s and has also been exhibited in Ottawa and Toronto. Set at Red Indian Lake in central Newfoundland March 5, 1819 was filmed in Vancouver at Mount Seymour.
March 5, 2019, marks the 200th anniversary of these events. It was announced earlier this year that their skulls will be returned to the Canadian Museum of History from the University of Scotland. As we grapple with reconciliation it is fitting to remember the history that brought us to this place.
grunt will celebrate the re-launch rebeccabelmore.com, a website documenting Rebecca Belmore’s career over the past 32 years. The new site features content that spans Belmore’s career in all media, taking the user deep into the heart of her practice.
From July 2 – August 3, 2019, grunt gallery will also present a photographic exhibition of five new performance photographs, and a book launch of Wordless – The Performance Art of Rebecca Belmore, in collaboration with the Audain Art Museum and Information Office.
Funded through a New Chapter grant, Canada Council for the Arts, and the Audain Art Museum, this project celebrates the important career of one of Canada’s most iconic artists.
Wordless – The Performance Art of Rebecca Belmore is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada.
Spark: Fireside Artist Talks is an informal lunchtime artist talk series hosted by grunt gallery in the Native Education College’s longhouse on the third Thursday of each month. Featuring emerging Indigenous artists with diverse practices ranging from animation to street art, spoken word to sculpture. Bring a bag lunch or grab some home cookin’ from the NEC’s canteen and join in the conversation by the fire as we talk about what inspires artists to make work
Bonus – Spark Talk No.26 feat. Meagan Musseau
Thursday, April 27 grunt gallery 7 PM
Interdisciplinary visual artist Meagan Musseau (Elmastukwek, Ktaqmkuk territory –– Bay of Islands, Newfoundland) will be making a stop at the grunt gallery on April 25 as a part of her multi-city speaking tour funded by the Banff Centre. Musseau is the winner of the 2018 Emerging Atlantic Artist Residency, which includes an eight-week fully funded residency at Banff Centre for Arts and Creativity followed by the opportunity to travel across Canada to speak about her experience and project.
Spark: Fireside Artist Talk No. 25 feat. Kali Spitzer
Thursday, April 18, 12:15-1:00pm
Native Education College
285 East 5th Avenue
12:15 – 1:00 pm
Image: INDIGENOUS MOTHERHOOD (Erena and Padi) 2018
Kali Spitzer is Kaska Dena from Daylu (Lower Post, British Columbia) on her father’s side and Jewish from Transylvania, Romania on her mother’s side. She is from the Yukon and grew up on the West Coast of British Columbia in Canada on unceded Coast Salish Territory. She is a trans disciplinary artist who mainly works with film — 35mm, 120 and wet plate collodion process using an 8×10 camera. Her work includes portraits, figure studies, and photographs of her people, ceremonies, and culture. Her work has been exhibited and recognized internationally. Spitzer recently received a Reveal Indigenous Art Award from the Hnatyshyn Foundation and was featured in the National Geographic and Photo Life in 2018.
Spark: Fireside Artist Talk No. 24 feat. Alanna Edwards
Thursday, Mar 21, 12:15-1:00pm
Native Education College
285 East 5th Avenue
12:15 – 1:00 pm
Alanna Edwards is a multi-disciplinary artist of Mi’gmaq and settler descent whose work,
through the use of humour, explores themes of belonging, authenticity, and the
everyday. Interested in more than just making “funny native art” Alanna interrogates
what makes us laugh, why, and how humour is used as a strategy for resistance. Working
also with video, she explores familial relationships and the myths and stories we pass
down through generations. She has a BA in Political Science and Gender, Sexuality,
and Women’s Studies from SFU, a diploma in Fine Arts from Langara College, and is
currently finishing her BFA at Kwantlen University.
Spark: Fireside Artist Talk No. 23 feat. Anne & Jeane Riley
Thursday, Feb 21, 12:15-1:00pm
Native Education College
285 East 5th Avenue
12:15 – 1:00 pm
Jeane and Anne Riley are Dene/Cree twins and will be presenting their talk, Radical Softening: the practice of art and social work, speaking about their individual and collective practice(s) since graduating from the Native Education College where they both received a certificate in the Family and Community Counseling Program. The title of their talk is inspired by their most recent adventure together as participants in the Dene Nahjo Moose Hide Tanning Art residency this past September at the Banff Centre. As Dene twins they will share how the residency has impacted their ongoing practices in art, social work, and twindian dreams and conversations.
Anne Riley is an Indigiqueer multidisciplinary artist living as an uninvited Slavey Dene/Cree/German guest from Fort Nelson First Nation on the unceceded Territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and səlí̓lwətaʔɬ (Tsleil-waututh) Nations. Her work explores different ways of being and becoming, touch, and Indigeneity. She received her BFA from the University of Texas at Austin in 2012 and in 2016 she graduated from the Native Education College with a Certificate in Family and Community Counselling. She has exhibited both in the United States and Canada. Currently, she is working on a public art project commissioned by the City of Vancouver with her collaborator T’uy’tanat Cease Wyss. Wyss and Riley’s project- A Constellation of Remediation consists of Indigenous Remediation Gardens planted throughout the city decolonizing and healing the dirt back to soil.
Jeane Riley is from Fort Nelson First Nation and is of Dene/Cree/German ancestry. She currently works and lives as an uninvited guest on the unceded, traditional and ancestral homelands of the Coast Salish People, specifically the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and səlí̓lwətaʔɬ (Tsleil-waututh) Nations. Jeane attended the Native Education College and received a certificate in the Family and Community Counselling Program in 2013. Jeane then went on to complete her Masters in Social Work at The University of British Columbia and currently works at BC Women’s Hospital as a social worker. Jeane also works as a community based researcher and is currently working on a project regarding the child welfare system.
Spark: Fireside Artist Talk No. 22 feat. Krystle Coughlin
Thursday, Jan 17th, 12:15-1:00pm
Native Education College
285 East 5th Avenue
12:15 – 1:00 pm
I am a Selkirk First Nation visual artist residing in New Westminster, BC. I hold a B.F.A in Visual Art (2015); and a B.A. in Gender, Race, Sexuality and Social Justice from UBC (2013). I am currently an M.F.A. candidate at Simon Fraser University’s school of contemporary arts. My artistic practice blends different materials, methodologies, and symbols to create conceptual works. I am influenced by Indigenous feminism, post-structuralism, anti-colonialism, and activism. My work often addresses contemporary issues faced by urban Indigenous identity politics and personal experiences. I seek to challenge misconceptions of Indigeneity and Feminisms through visual mediums. My work employs Northwest First Nations design elements and practices with unconventional art materials. This year I was a finalist for both the RBC painting competition and the Philip Lind Prize for contemporary photography.
Spark: Fireside Artist Talk No. 21 feat. Chandra Melting Tallow
Thursday, November 15, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Chandra Melting Tallow is an interdisciplinary artist, film-maker, and musician of mixed ancestry from the Siksika Nation. In 2017 they produced a short film, composed a live soundtrack and an accompanying performance for Unsettling Colonial Gender Boundaries as part of Queer Arts Fest entitled, Rapture of Roses. They have directed, edited and filmed a number of music videos and experimental films including co-editing Coney Island Baby, a short film collaboration with Gabrielle L’Hirondelle Hill, Jeneen Frei Njootli and Tania Willard in addition to composing the soundtrack. Common themes throughout their practice involve confronting ghosts of intergenerational trauma and their relationship to the body and utilizing humour to subvert oppressive structures of power and surrealism.
Spark: Fireside Artist Talk No. 20 feat. Vi Levitt
Thursday, October 18, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
As a composer and producer Vi defines themselves as a ‘mixed race bastard musician in the intersections of tradition and contemporary’. As a burgeoning musician based out of Vancouver, their music features influences from the UK underground scene, their Jewish and Metis heritage, Classical Western and South Asian music, and a variety of artists around the globe. Having worked with Goth DJs, Folk singers and Jazz artists alike, Vi’s work focuses on creating a sound that merges the sounds that define their life and the futures they wish to live to see. As a relative newcomer to the Vancouver music scene, Vi has throughout their career been: a singer-songwriter, a choral composer, a classical musician, a member of the ‘New Wave of Indigenous Electronica’ and things in between. Rhyme and song, Vi’s work has been published in Matrix Magazine, and recently they took part in the New Constellations Digital Mentorship program.
Spark: Fireside Artist Talk No. 19 feat. Whess Harman
Thursday, April 19, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Whess Harman was born in Prince Rupert, BC and is from the Carrier Witat, Lake Babine Nation. Harman predominantly works in print, illustration, beading, and text. They completed their BFA at Emily Carr University in 2014 and received the Early Career Development grant from the BC Arts Council in 2016. Their work has been shown in recent group exhibitions such as the Language as Puncture show at Gallery 101 in Ottawa, ON and the Pushing Boundaries show at the Cityscape Community Artspace in North Vancouver, BC.
Spark: Fireside Artist Talk No. 18 feat. Levi Nelson
Thursday, March 15, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Levi Nelson is from the Lil’wat Nation located in Mount Currie, British Columbia. He is currently in his third year at Emily Carr University of Art + Design majoring in visual arts, with a focus on painting. Levi favours the medium of oil paint and has most recently taken an interest in print making, via silkscreen and lithography. His work can be described as contemporary First Nations art; fusing traditional North West Coast shape and form-line with conventional colours and composition. This past year Levi has exhibited his work in the Emily Carr University annual Aboriginal Art Exhibition, the Museum of Anthropology, the Talking Stick Festival and in the Pushing Boundaries show at North Vancouver City Art Scape.
Spark: Fireside Artist Talk No. 17 feat. Raven John
Thursday, February 15, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Raven John (Exwetlaq) is a First Nations, feminist, and queer artist from the Coast Salish and Stó:lō Nation in the Lower Mainland. Her work encompasses both her past and identity in many ways through mere existence, defiance, and the examination of colonialist, patriarchal and classist systems of value in art. She does this by activating space through sculpture, installation, and surreality. John is a recent graduate from both the Native Education College (Northwest Jewelry Arts Program) and Emily Carr University of Art and Design (BFA in Visual Arts and Social Practice And Community Engagement).
Spark: Fireside Artist Talk No. 16 feat. Lacie Burning
Thursday, January 18, 2018 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Lacie Burning is a Kanien’kehá:ka (Mohawk) and Onondaga (patrilineally) artist and curator raised on Six Nations of the Grand River located in Southern Ontario. They work in photography, video, installation, and sculpture and are currently in their third year of studies in the Visual Fine Arts program at Emily Carr University of Art + Design. Having come from a culturally and politically grounded upbringing, their work focuses on politics of Indigeneity and identity from a Haudenosaunee perspective.
Spark: Fireside Artist Talk No. 15 feat. Madelaine McCallum
Thursday, November 16, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Madelaine McCallum graces the stage with her gentle yet powerful presence and takes her audience through an extraordinary journey of transformation and healing. Through dance and the spiritual teachings of her father, Madelaine has found a powerful way to share her culture. Her life story is all about discovering “the Fire Within.” When she left her home community her goal was to break the unhealthy cycles of addiction. Her story of survival leaves no one indifferent. She tells the story of how it took many years to break the cycle of violence and broken relationships to emerge changed, reborn, and aptly named Strong Earth Women.
Spark: Fireside Artist Talk No. 14 feat. Raven John
* POSTPONED TO FEBRUARY 15, 2018 * Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Spark: Fireside Artist Talk No. 13 feat. Cole Pauls
Thursday, September 21, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Cole Pauls is a Tahltan comic artist, illustrator and printmaker hailing from Haines Junction (Yukon Territory) with a BFA in Illustration from Emily Carr University. Residing in Vancouver, Pauls focuses on his two comic series, the first being Pizza Punks: a self contained comic strip about punks eating pizza, the other is called Dakwäkãda Warriors, which is about two Southern Tutchone Earth Protectors saving the earth from evil pioneers and cyborg sasquatches using language revitalization.
Spark: Fireside Artist Talk No. 12 feat. Anchi Lin
Thursday, April 20, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Anchi Lin is an artist of Taiwanese Atayal heritage who lives and works in Vancouver. Her work negotiates and interfaces with concepts such as language, identity, gender and cultural norms. Her heritage has served as a catalyst for her exploration of these concepts. Lin received a BFA in Visual Art from Simon Fraser University School for the Contemporary Arts. She was the recipient of the Vancouver Contemporary Art Gallery Emerging Artist Award and the Bob Rennie Undergraduate Award in Visual Art. She has exhibited at several galleries in both Vancouver, and Taipei.
Image: Anchi Lin, Tattoo on Faces, video performance (still), 2014. Courtesy of the artist.
Spark: Fireside Artist Talk No. 11 feat. Sarah Shamash
Thursday, March 16, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Sarah Shamash is a Vancouver based media artist and PhD candidate in the Interdisciplinary studies program at UBC. Influenced by cinema, her experimental projects typically explore identities and geographies as personal, political, feminine and dynamic, while critiquing and subverting fixed, colonial and hegemonic demarcations of the body, territory, and space. She is currently teaching a film studies course she designed on Latin American cinema at UBC and programming films for the Vancouver Latin American Film Festival. Her work as an artist, researcher, educator, and programmer can be understood as interconnected and whole; they all revolve around a passion for cinema.
Spark: Fireside Artist Talk No. 10 feat. Elle-Máijá Tailfeathers
Thursday, February 16, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Elle-Máijá Tailfeathers is a filmmaker, writer, and actor. She is Blackfoot from the Kainai First Nation (Blood Reserve) as well as Sámi from northern Norway and resides on the traditional, ancestral, and unceded territory of the xʷməθkʷəy̓əm, Tsleil-Waututh, and Skwxwú7mesh peoples. She is a recipient of the Vancouver Mayor’s Arts Award and a Kodak Image Award for her work as an emerging filmmaker. Her short documentary, Bihttoš, was included in the TIFF Top Ten Canadian Shorts, won the Grand Jury Prize for Best Short Documentary at the Seattle International Film Festival, and was also nominated for a Canadian Screen Award and a Leo Award for Best Short Documentary. She is an alumni of the Berlinale Talent Lab and the Hot Docs Accelerator Lab.
Spark: Fireside Artist Talk No. 9 feat. Dusty Hagerüd
Thursday, January 26, 2017 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Dusty Hagerüd has been obsessed with animated objects, moving illustration and storytelling from birth. From Ktunaxa, English and Norwegian heritage, myth, legend and fairytale is fuel to his creative fire. Creative director and founder of a company who designs and fabricates puppets, Color Sound Lab, Hagerud has worked in puppetry for over 18 years in western Canada. In theatre, film and television, his work with marionettes, hand and rod puppets, bunraku and shadow puppets has enabled him to apply modern approaches to a tradition that stems from one of the earliest forms of storytelling.
Dusty was a recipient of a 2009 Leo Award for Anachronism Pictures’ The Anachronism and 2015 Jessie Award for Monster Theatre’s production of The Little Prince. He is one of the co-founders of the Vancouver International Puppet Festival, which had it’s inaugural debut this past October to a resounding success.
Spark: Fireside Artist Talk No. 8 feat. JB the First Lady
Thursday, November 17, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Jerilynn Webster, aka JB the First Lady, is a member of the Nuxalk & Onondaga Nations. She is a Vancouver-based female hip hop/spoken word artist, beat-boxer, cultural dancer and youth educator. “using [her] words to go upwards/not backwards.” These are lyrics that describe what JB tries to convey in her music. JB has performed at over 500 hip hop shows, anywhere from auditoriums to Annual General Meetings for community organizations. She is spreading the words of empowerment & the perspective of urban indigenous women in Canada. Hip Hop is her chosen avenue of expression. JB’s music is lyrically motivated with depth, meaning, and positivity like none other. She has released 4 albums to date, “Indigenous Love” (2008); “Get Ready, Get Steady” (2011) and “Indigenous Girl Lifestyle” (2014) and the 2015 IMA winning album “Indigenized by Entertribal” in collaboration with Chief Rock.
JB is the 2015 winner of the Indigenous Music Award for Best Album Cover. She is a 5-time nominated artist at the Aboriginal Peoples Choice Music Awards, the only female to ever be nominated for Best Hip Hop Album (twice), and has been nominated previously for Best Pop Album & Best Album Cover.
JB wants young indigenous women to feel proud, inspired, and to see someone on stage that looks like them; representing indigenous women in mainstream media.
Spark: Fireside Artist Talk No. 7 feat. Rodrigo Hernandez-Gomez
Thursday, October 20, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Rodrigo Hernandez-Gomez was born in the valley of Anahuac (Mexico City) and raised near the Xitle, he is of Nahua/Mexican descent and currently lives in unceeded Coast Sailish Territory (Vancouver). He graduated in 2010 from the MFA program at York University and in 2013 was a co-organizer of the Decolonial Aesthetics Symposium in Toronto. His installations, new-media work, wearable art pieces and performative projects have been presented internationally, including contributions to the Hemispheric Encuentro in Sao Paolo, Brazil the National Museum of Art, La Paz, Bolivia and the Justina M. Barnicke Gallery, Toronto. Rodrigo is a founding member of AYOTZI 68; a cultural organization for supporting hemispheric indigenous sharing through anti-capitalist strategies and combining skills from the fields of contemporary art, radical education and food sovereignty movements. As a member of La Lleca Collectiva (Mexico City), E-fagia LA media arts (Toronto), AYOTZI 68 (Vancouver), and in his ongoing collaborations with other artists, Rodrigo speaks with actions in his commitment to a multi-linear artistic practice that is critical, intellectual and collective.
Spark: Fireside Artist Talk No. 6 feat. Bracken Hanuse Corlett
Thursday, September 29, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Bracken Hanuse Corlett is an interdisciplinary artist hailing from the Wuikinuxv and Klahoose Nations. He began working in theatre and performance 16 years ago, before transitioning to a practice that fuses digital-media, audio-visual performance, writing, painting, sculpture and drawing. His work combines traditional Indigenous iconography and history with new media and concepts that exist within cyclical space.
He is the co-founder of the Vancouver Indigenous Media Arts Festival. Over the last five years he has performed across the country as a member of the audio-visual collective Skookum Sound System and currently in the DJ/VJ duo See Monsters. He is a graduate of the En’owkin Centre of Indigenous Art and went to Emily Carr University of Art and Design for a B.F.A. in Visual Arts. He has also studied Northwest Coast art, carving and design from acclaimed Heiltsuk artists Bradley Hunt and his sons Shawn Hunt and Dean Hunt.
Some of his notable exhibitions, performances and screenings have been at grunt gallery, the Museum of Anthropology, Unit PITT Projects, Vancouver International Film Festival (Vancouver), Three Walls Gallery (Chicago), Ottawa International Animation Festival, SAW Gallery (Ottawa), Royal BC Museum, Open Space (Victoria), Winnipeg Art Gallery, Urban Shaman (Winnipeg), Sâkêwêwak Artists’ Collective, Mackenzie Art Gallery (Regina), Atlantic Film Festival, Tidal Force – Independent Media Arts Alliance (Halifax), Art Mur, Sommets du Cinéma D’animation (Montreal), ImagineNative, Toronto International Film Festival, Music Gallery (Toronto).
Spark: Fireside Artist Talk No. 5 feat. Amanda Strong
Thursday, April 21, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Amanda Strong is a Michif filmmaker, media artist and stop motion director currently based out of the unceded Coast Salish territory also known as Vancouver. She is the owner and director of Spotted Fawn Productions, an animation and media-based studio creating short films, commercial projects and workshops. A labour of love, Amanda’s productions collaborate with a diverse and talented group of artists putting emphasis on support and training women and Indigenous artists.
Amanda’s work explores ideas of blood memory and Indigenous ideology. Her background in photography, illustration and media extend into her award-winning stop motion animations. Her films Indigo and Mia’ challenge conventional structures of storytelling in cinema and have screened internationally, most notably at Cannes, TIFF, VIFF, and Ottawa International Animation Festival. Amanda has received numerous grants from the Canada Council for the Arts, Ontario Arts Council and the NFB. In 2013, Amanda was the recipient K.M. Hunter Artist Award for Film and Video, and most recently the recipient of the Vancouver Mayors Arts Awards for Emerging Film and Media Artist. Amanda is currently working on her latest short animation Four Faces of the Moon for CBC Short Docs. The story is told in four chapters, exploring the reclamation of language and Nationhood, while peeling back the layers of Canada’s colonial history, revealing Canada’s extermination agenda on the buffalo.
Spark: Fireside Artist Talk No. 4 feat. Cease Wyss & Hans Winkler
Thursday, April 7, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Archeological evidence suggests that Hawaiians came to the island of Kaho‘olawe as early as 400 A.D., and settled in small fishing villages along the island’s coast. For hundreds of years, Kaho‘olawe served as a navigational center, the site of an adze quarry, an agricultural center, and a site for religious and cultural ceremonies.
But as modern times rolled in, Kaho‘olawe began to undergo a harsh evolution. It would be used as a penal colony to exile prisoners from the general populace, for sheep and cattle ranching, until World War II when the island was occupied by the US military from 1942 – 1990 as a training zone for bomb testing and air warfare technology.
Sustained protest by the Hawaiian population and eventual litigation forced an end to the bombing, and after a 10-year period of artillery removal, control was transferred back to the state of Hawaii in 2003. The island is currently uninhabitable and accessible only to Native Polynesians, strictly within the context of cultural or spiritual purposes, restoration, planting work, and re-vegetation.
Hans Winkler gained access to the restricted island in 2013 and in 2014 Cease Wyss joined him to explore the possibilities of artistic projects. In this talk they discuss their experiences and plans for their projects. Wyss will discuss her project “Kanaka Ranch to Kaho’olawe Island: Ephemeral Canoe Art” which explores similarities between Hawaiian and West Coast BC canoe cultures, while Winkler will present “Zero Zone” his mapping project of the island.
T’uy’t’tanat Cease Wyss (Skwxwu7mesh/Sto:Lo//Hawaiian/Swiss). My work spans over two and a half decades, working with artists and communities on projects that utilize technology and community engagement as a means of sharing stories. Web-based works like Picto-Prophecy (2012) – with En’owkin Centre’s Ullus Collective – and public art such as Talking Poles (2009) – Surrey Cultural Capital Art Award – & the Stanley Park Environmental Art Project (2009) all take site specific inspirations and the stories of our past that inform us in the present, while looking towards the future and what part we play in the timeline of our ancestry. Culture and spirituality feed my soul and fuel my creativity. Throughout my life I have been training my spirit to reconnect to my ancestors and bring the stories back to my family and community that we lost through colonization and the Residential Schools. Whether I bring communities together through interactivity like geocaching games or building food security programs the art I engage in plays a significant role.
Hans Winkler (b. 1955) is an artist and curator who lives and works in Berlin and New York. Since 1999, he has been Visiting Artist and Lecturer at the San Francisco Art Institute. Winkler’s art projects include “The Escape of the Iceman/Ötzi” (2008) in collaboration with the Department of Archaeology at EURAC, Bolzano and the Museum of Modern Art; “Held Saga” (2005) at Adademie der Kuenste, Berlin. Recently co-curated exhibitions include “California Conceptual Art” (2010) with Paul Kos and Tony Labat at ar/ge kunst in Bolzano, Italy; and “legal/illegal” (2004) with Helen Adkins and Kai Bauer at NGBK, Berlin.
Spark: Fireside Artist Talk No. 3 feat. Larissa Healey
Thursday, March 17, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Larissa Healey (aka Gurl23) is an Ojibway mural artist and an inspirational leader for street youth drop-in cultural programs like the Museum of Anthropology’s Native Youth Program, one of Canada’s longest running First Nations programs.
Larissa’s artwork has been seen at The Vancouver Art Gallery, The Bill Reid Gallery, Power Plant Gallery, The National Gallery of Canada and The Museum of Anthropology, to name a few. You might also recognize her work from underneath the Granville Street Bridge at the entrance to Granville Island, among many other places.
Spark: Fireside Artist Talk No. 2 feat. Mark Igloliorte
February 18, 2016 Native Education College 285 East 5th Avenue 12:15 – 1:00 pm
Mark Igloliorte, our featured speaker for February, 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.
As an Inuk, Igloliorte’s work draws from his Labradorian background and communities of Happy Valley-Goose Bay and Hopedale. He has been recognized as a Labrador Inuit Role Model by the Nunatsiavut Government. In the summer of 2008 and 2009 he worked with several groups of Inuit Youth delivering painting and drawing workshops funded in part by The National Aboriginal Youth Suicide Prevention Strategy (NAYSPS).
He holds both a Bachelor of Education (Intermediate/Secondary) from Memorial University of Newfoundland and 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.
> Read an article about Mark and his works in BeatRoute.
Spark: Fireside Artist Talk No. 1 feat. Osvaldo Ramirez Castillo
January 21, 2106 Native Education College
285 East 5th Avenue
12:15 – 1:00 pm
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.
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.
grunt gallery’s Succession Plan for the transition of Program Directors
Program Director Glenn Alteen has worked with grunt since its inception in 1984 and in May of 2020 will retire after 36 years in the position. In early 2018 the board and staff of the gallery began activating our Succession Plan designed to provide as little disruption to the organization as possible during the transition of Program Directors. Our informed and active Succession Committee consisting of current and former board members and staff were tasked with addressing hiring in relation to leadership succession. After extensive work, the Committee has unrolled a timeline and hiring process for the transition. The Committee continues to refine this process on an ongoing basis and will address any succession planning issues as they arise.
A year-long transition period is being planned for the new Program Director in order to provide a seamless changeover and to download grunt’s programming and funding processes and allow for introductions to long-term artists, supporters and funders. grunt incorporated a Management Transition Reserve Fund into annual budgets since 2016 to facilitate this transition.
Formed in 1984, grunt gallery has built a reputation on innovative and dynamic programming: exhibitions, performances, artist talks, publications and special projects that showcase work by contemporary Canadian and international artists. grunt focuses on work and artists that would otherwise not be seen in Vancouver. We are proud of our ability to act as an intersection between various cultural groups based on aesthetics, medium or identity. With emerging programs such as the Blue Cabin Residency and the Mount Pleasant Community Art Screen grunt is expanding and developing its range, providing artists with new and exciting opportunities and audiences with unique and important experiences.
The Program Director job call will be released on Friday, January 18, 2019. You can access information from grunt gallery’s website grunt.ca and follow grunt gallery news through our monthly newsletter and social media channels: Facebook, Twitter and Instagram.
Meagan Kus , Director of Operations
email: meagan at grunt dot ca