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!

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Spark Artist Talks

The return of Spark Artist Talks!
Featuring Ovila Mailhot on October 15, 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.

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.

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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.

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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 is partnering with both Vancouver Art Book Fair and Canzine for online events in October. More info coming soon!

-Whess Harman, Together Apart project manager

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

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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.

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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.

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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.

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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

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Mount Pleasant Community Art Screen


grunt gallery is proud to announce the launch of the Mount Pleasant Community Art Screen (MPCAS). The MPCAS is a 4×7 metre outdoor urban screen showing art-only content by and for the Mount Pleasant neighbourhood of Vancouver, and officially went live on December 5th, 2019.

The MPCAS reflects its neighbourhood through artwork by local and commissioned artists, with a special focus on works exploring the area’s history, its current vitality and its future. This art-specific urban screen brings new digital technology to Mount Pleasant and the City of Vancouver with an inaugural year of non-commercial programming around the theme of PLACE, presenting a diverse range of visual and media art by over fifty artists, community members, and community festivals reflecting on what it is to live in a changing Mount Pleasant neighbourhood.The MPCAS will feature new commissioned work by Paul Wong, Amanda Strong and Kevin Lee Burton as well as special curated content by Justin Ducharme, Sebnem Ozpeta and Lianne Zannier! The screen will also feature original Digital Stories created by local residents specifically for MPCAS through a series of workshops led by artist Lorna Boschman. With over 6 hours of digital art, photography, video, time-based media, animation, performance, interactive art, GIFs, super 8 film, storytelling and more, our community programming further includes work by: Elizabeth Milton, Emilie Crewe, Margaret Dragu, John Allison, Russell Wallace, Hank Bull, Steven Thomas Davies + Jeanette Kotowich and Cheyenne Rain LeGrande. Learn more about the MPCAS and its inaugural programming here.

The MPCAS is produced by grunt gallery and generously supported by the Vancouver Foundation, RIZE Corporation, Canada Council for the Arts, Creative BC, and the City of Vancouver. The MPCAS is part of the City of Vancouver’s Public Art program.

Location: Intersection of Broadway & Kingsway, Vancouver, on the east side of the Independent Building
Screen Hours: Sunday to Thursday: 9AM to 9:30PM / Friday & Saturday: 9AM to 10:30PM

For more information:  visit mpcas.ca or email communications(at)grunt(dot)ca

Follow the Mount Pleasant Community Art Screen on Facebook, Instagram, and Twitter to stay in the loop!

Image: Amanda Strong, Ghosts, stop-motion animation, 6 minutes, 2018.

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Job Posting: Engagement Coordinator – The Blue Cabin

Job Description

Position: Engagement Coordinator
Project: Blue Cabin Floating Artist Residency
Location: Throughout the Lower Mainland
Reporting to: Blue Cabin Committee

Hours: $25-$27/hour, 18 hours per week. Some evening and weekend work. Flexible schedule.

Start date: July 29, 2019
Application Deadline: Thursday, June 27, 2019 @ 5:00pm

Project Description:
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 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 “deck 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 Engagement Coordinator works with staff, contractors, volunteers, and membership to develop contacts, programming and strengthen relationships between the Blue Cabin Floating Artist Residency (BCFAR) and its partners in the community. This is a professional position that reports to the Blue Cabin Committee and associated staff.

The Engagement Coordinator is a planner, implementer, and relationship builder who is responsible for developing this new initiative in conjunction with multiple and diverse communities across the Lower Mainland. They are also responsible for developing strategies around programming, retention and recognition of audience members, volunteers and other communities, as well as strategies for outreach. This is NOT a fundraising focused position.

The Engagement Coordinator will work within the communities the facility inhabits making connections and strengthening bonds between stakeholders and increasing visibility and access. A major focus will be on the heritage and cultural communities, and the position will require the incumbent to familiarize themselves with the many different heritage stakeholders in Vancouver and on the North Shore including community groups, non-profits, government departments, universities and museums and archives. The Engagement Coordinator will work with these groups to develop programming for the BCFAR in the form of lectures, panels, open houses, exhibits and discussions around the Blue Cabin that are part of the project’s broader curatorial activities.

The Engagement Coordinator will work with the Blue Cabin Curatorial Committee to maintain relationships within the three Indigenous host nations; as the BCFAR will move throughout waterways in the region, we are committed to strong relationships with Musqueam, Squamish and Tsleil-Waututh (MST). The incumbent will play a fundamental role in continuing our conversations with the MST, and continuing to build strong relationships and opportunities for collaboration. The Engagement Coordinator will maintain relationships within the infrastructure of the cities of Vancouver, North Vancouver and the District of North Vancouver, including targeted relationships with stakeholders at Northeast False Creek, the North Shore and Port Metro.

The Engagement Coordinator is expected to work independently while maintaining a strong connection to the overall project and curatorial planning.

Required Competencies:
Collaborative Reliable
Committed Independent
Community Minded Tolerant
Creative Flexible
Social Resourceful

General Responsibilities:
● Work with staff and committees to develop and enhance contacts within the identified communities.
● Develop strategies for outreach and active community development.
● Produce and develop programming at the BCFAR engaging the Heritage and cultural communities
● Design and implement a community plan that builds strong, long-term, and loyal relationships with audience members, supporters and communities.
● Forge relationships within the heritage and cultural communities across the Lower Mainland, and explore opportunities for co-programming, cross-promotion and outreach.
● Continue to develop relationships with Indigenous partners and collaborators from the host nations (Musqueam, Squamish and Tsleil-Waututh) as well as the wider indigenous communities of Vancouver.
● Explore engagement opportunities from other communities as necessary, and in conjunction with the Blue Cabin Committee’s vision for programming and the residency.
● Produce a news feed around community engagement that is aligned with BCFAR’s social media, website and newsletters focusing on their respective membership and community activities.
● Collaborate and communicate with neighborhood organizations to develop activities that promote the BCFAR’s role in the community (eg. community events and festivals).

Required Skills and Education:
● Superior networking skills for arts and cultural-based environments.
● Strong knowledge and commitment to bridge-building within diverse community frameworks.
● Good understanding of artist-run culture.
● Post-secondary education in an arts related program, educational program or a relevant discipline is an asset.
● Previous experience (work or volunteer) in an arts organization, community centre, educational centre or activist organizing is an asset.
● Demonstrated supervisory and interpersonal skills; ability to perform well in a team environment and collaborate with others.
● Strong written and oral communication skills; ability to target events outreach materials to varying audiences and age groups.
● Strong organizational skills, able to identify and prioritize tasks with minimal supervision, work independently, and take initiative.
● Experience with youth/adult education programming an asset.
● Working knowledge of Social Media, e.g. Facebook, Twitter and mass email systems;
● Resourceful, hands-on and pro-active.
● Previous experience in developing and maintaining strong internal and external relationships.
● Demonstrated success with strategy development, implementation and evaluation.
● Proven ability to act in an assertive but professional manner and to represent oneself and an organization in a positive manner.
● Ability to work flexible hours.
● Ability to travel throughout the Lower Mainland.

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 Sunshine Frere by email < sunshine (at) othersights (dot) ca >

Application Deadline: Thursday, June 27, 2019 @ 5:00pm

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