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Disgruntled: Other Art – Conversation between Venge Dixon and Olga Alexandru

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grunt gallery has had the pleasure of meeting and working with a great number of fantastic volunteers who have contributed their time to various projects at our space – and who have subsequently become important members of grunt gallery’s community.

We’re happy to share a conversation between two of grunt gallery’s archive volunteers, Olga Alexandru and Venge Dixon, about DISGRUNTLED: Other Art, grunt’s first eBook that commemorates the 30th anniversary.

Venge has worked with grunt gallery for many years – volunteering, editing and establishing the very tiny base of what was to become grunt’s extensive, wonderfully well-staffed project, Activating the Archives (ATA). Venge Dixon is a visual artist, musician and occasional composer. These days she is working on the first book of a long planned comic book series.

Olga first started as an archival intern for the ATA project and went on to become the database manager. She co-created educational study guides for high school students using material from the archives. She has also sat on the curatorial committee. She is a poet & zine-maker who now resides in Bristol, UK.

Online Messaging Conversation occurred on July 15, 2015 –
Venge:  Would you like to begin with Polly Bak, or would you like to begin with a less dense text (and by that I mean wordy, not excessive)?

Olga:  We can start with Polly Bak. It’s the first essay I read and I was so glad that I did because it definitely helped frame the conversation in my head.

Venge:  Sounds good. How did it help you frame the conversation? I seem to be still without one—[a] frame, that is.

Olga:  Well, for me everything related to grunt has to do with identity: the identity of who I was as a woman starting my art career, the cultural identity of the artists shown at grunt, and the implications of how we create identity or how it’s created for us. And reading Polly’s essay seemed to confirm a lot of those themes.

Venge:  I admit to finding this piece both hectoring and yet full of content with which I do or have identified within myself. She asks questions and provides answers.

Venge:  One of my favourite things about grunt is that it provides many, many questions in its exhibitions but does not define an absolute answer, if any answer at all.

Olga:  Yes! I agree completely. It presents ideas and makes you think of the implications of certain things but it stops short of telling you what you should think or do as a result. And that, I think, is the making of a great institution. I think it’s a place where things never feel clichéd or like some lesson is being taught.

Venge:  Yes. I do think that this is intentional. grunt is open to ideas – many, many ideas. Shows happen because a diverse group of people decide that they suit the space, often because the voice of that particular artist on that particular subject has not been heard. The decision isn’t necessarily that a voice must [be heard], only that it has not been and is therefore worth discussing.

Olga:  Exactly. I think they probably pick artists who kind of align with that way of thinking. Showing rather than telling. I feel like Polly does that in her essay. She talks so forthrightly about having White privilege. I like how she makes fun of herself and other “well-meaning” White people, especially by choosing the tongue-in-cheek title “A Good-Hearted White Girl’s Search for Identity.” The section she talks about guilt leading people to hate and fear the thing that makes us feel guilty was so on point. I had to stop for a long time and think about that. It was so simple but it’s so true.

Venge:  I had difficulty with some of that “tongue-in-cheekness” – perhaps it is there to lessen the blow, [but] to me it seemed more defensive than matter-of-fact. That does not lessen its impact. The damage done by white shame is real and pervasive. Many of us, including my younger self, sometimes this older one, would rather swallow fire ants than acknowledge that this guilt has/does haunt us and therefore the society in which we live.

Venge:  I used to say “but I am only first-and-a-half generation Canadian” or “I didn’t grow up here” or some other “Not My Fault” silliness. This was fueled by fear and a sense that the rage native people might feel towards Whites was somehow mine to shoulder.

Venge:  When she speaks about listening being the way to understanding, about her responsibility towards other Whites – in terms of educating them – I am both drawn to the ideas and yet feel, at the same time, that ‘something’ is missing and too much decided.

Olga:  Going back to the first thing you said, I only read some parts of the essay as tongue-in-cheek, I think because her tone was difficult to categorize. But what you say makes a lot of sense. At times it does seem quite defensive. But I think that’s probably the point. Because she includes herself as one of the problematic people. Her line “I am one with the murderers and the slaughtered” was very striking. I agree with you though: it’s only part of the solution. I think the narrative around issues of race now is to let POC speak for themselves and not to interrupt with our opinions, which I think it one of the ways forward. I think this segueways nicely into Kamala Todd’s essay about Jeff Thomas’s “A Study of Indian-ness.” His exhibition is a way of reclaiming the representation of Aboriginal people by self-made images. It’s a way to create a more realistic narrative than the fantasy of the empty land and dying Indian that the dominant culture has created.

Venge:  Agreed! Not attempting to speak for others does seem to be one of the ways forward. Kamala Todd’s essay speaks of a visible/visibility, presenting a truth about colonial separation within its dominant culture (of which I am a privileged member), between its version of history and the reality that stands before it, clear and no longer silent.

Venge:  I think that Jeff Thomas’s work provides us with a clear place from which to watch, listen and not insert our White/ colonial/thieving sense of things into the frame.

Olga:  Yeah. I remember while working on ATA I came across the photo of his exhibition that showed all the cheesy romance novels with the really chiseled Native Warrior characters on the cover and I thought “Man! I wish I had seen that exhibition”. Here’s the photo.

Olga:  It was just such a jarring thing because you can see it from an outsider’s point of view. It looks super cheesy and stereotypical. And then you realize, well so are things like the Edward Curtis photos Kamala references, yet somehow one has become way more acceptable as reality.

Venge:  Wow, these are great; thanks for the link, Olga! And yes, that moment it takes to realize that you have seen the “joke” in high school history books, public art galleries, train stations, court houses presented with great serious… and, oh, crap! Did I understand those ‘jokes’? Probably not. Do I understand Thomas’s? Probably not.

That’s “seriousness.”

Olga:  Yeah, like it’s kind of crazy that kids are still being taught some bullshit colonial reworking of history. There’s an amazing part of Polly Bak’s essay that talks about 1492 and how the land was in fact not empty: “By 1492 this land had been transformed by many, many generations of settlers and builders, mounds, temples, towns, cities, dams, farming, hunting, logging, fishing; the land was lived on, fought over, buried in. There were parents and children. Places had names. Full, the land was full.” When you see that it’s so hard to listen to any justification for why history is still taught through colonial lenses.

Venge:  It has become increasingly deliberate, the Colonial ‘lie as history’. Does anyone still believe it? Is there a reason to? Yes. We are living on land that does not belong to us, creating an overlay of impossible steel and glass structures, hoping that by our excess our thievery will go unnoticed.

Olga:  Yeah, I’m not really sure how the lies are still believed to be true. I think it’s really similar to what’s happening in the US with the treatment of Black people, especially young, Black men. The country has been in denial for a long time as to the treatment towards Black people. And now only through self-made movements like #BlackLivesMatter is the truth being exposed. And it is making everyone super uncomfortable. Because they’d rather not know. Because then they have to do something about it or be complacent. And if they’re complacent and still allowing systemic injustices to occur then they don’t know what that says about them as human beings.

Venge:  I think that #BlackLivesMatter and the increased public awareness of Black lives not seeming to matter is the truth being re-exposed. The dominant culture opens one eye, closes the other, and then, over a decade or so/or less, closes the other. This is not the first time African Americans have had to yell very loudly to make us White people listen, this is not the first time native peoples of the world have had their lives paid lip service to. Will we go beyond half sight/ half hearing? Will we be hearing and seeing the very same outrages committed in the names of Whites everywhere and acting surprised all over again? I do not have much faith in us… I listen, see, and I haven’t actually done a damn thing.

Venge:  Or is that, perhaps, what I need to do?

Olga:  Yeah, I’m definitely not trying to say I have answers, because I sure as hell don’t. I think you’re right. It comes and goes out of season for the dominant culture to care about POC. It’s fucked up that their fights get picked up and dropped according to the flavour du jour. I mean not to be cheesy but I think this is the role of art. To bring these issues to the forefront, to make people uncomfortable in an environment they didn’t expect it. Maybe people are tired of politics. Maybe the fight needs to move into a different arena.

Venge:  I think you’re right, not cheesy: art has the ability to challenge, to bring up the well-hidden, obvious failings of the society in which it persists. Persists despite funding losses, proscription, mockery, derision. Art is powerful, and its power belongs equally to all who participate. I don’t mean that all galleries are open to all artists… I mean that art and artists have a voice outside of absolutes, outside of societal ‘truths’. It is sometimes possible to hear another better when you are silent in the presence of their creation.

Venge:  This seems like a very good time to talk about Paul Wong’s poem from 1999. He is speaking of a time of great creative upheaval and willingness on the parts of artists and audiences alike to leap into the unknown.

Olga:  Yeah, I love the poem; that’s why I wanted to talk about it. I think I first saw it in one of the other publications grunt did and I remembering chuckling to myself. I didn’t know anything about performance art before I started working at grunt, so it was amazing to learn about the performance scene in the ‘90s. I think the poem is kind of what people say about performance art, either against it or as a way to defend it.

Venge:  Yes. It a celebration of the form, the adventure, the confusion and, oh yeah, heavy drinking and the cigarette break!

Venge:  There was also this sense that anyone might be a part of the experience. That maybe our purpose one the planet was to make art – with our bodies, our stamina, our loud and quiet voices and our outrageous chutzpah!

Olga:  Yeah, looking back at the photos and seeing the footage of the performances and even hearing people’s stories made me wish I had been there. You know, like people say they wish they’d been in New York in the ‘80s or whatever. But I think grunt managed to channel that feeling into the gallery as a whole. From the first time I went there, to a solstice party, everyone was so friendly and welcoming. We kind of created this family out of that place. I know it’s been around for 30 years, so I’ve seen the different iterations of the family, but man! it feels great to have been a part of it. To still be a part of it even though I live far away now. I feel like grunt will always be a place I can go home to, you know?

Venge:  What is on the walls or installed in the room, the people who come for a while and stay forever: it all feels like a part of a wonderous spiral, ever-changing and yet always moving back towards itself and away again. It has been a privilege for me to be a small part of that and a thrill to have met so many amazing people. I’m with you: near or far, I will be there.

Olga:  Wow. That’s so beautiful Venge. That place opened up so many things in me. Not to get all existential, but it really changed the way I thought about myself. I think working there finally gave me the confidence I needed to pursue the things I loved. The people I met there definitely changed my perception of what normal is. I think it allowed me to be myself and to grow into myself as well.

Venge:  I think there is more to be said about everything we have spoken about – way more. But I do have to shave my head sometime this afternoon and am wondering: are there things we left unsaid which we should have mentioned? Are there points you really wanted to make that you have left unstated? Where are you in this process now?

Olga:  I think it’s mostly been said, to be honest. I thought we could maybe share a couple of our favourite moments from our time there to end it?

Venge:  Sounds good. I’ll leave out the crying. You start.

Olga:  Haha! Oh, there were definitely tears of frustration! There’s no denying that. But somehow it was all worth it. So, one of my favourite things was the first solstice party I went to. There was a photo of me standing next to Lawrence Paul and I totally freaked out when he got tagged in it because I had learned about him in school and there I was just casually standing next to him, not knowing. Everyone thought it was hilarious that I didn’t know it was him and that I was freaking out about it. It was a crazy experience. And probably every time after I talked to him I was like, “OMG. I’m talking to Lawrence Paul. Why am I saying all these stupid things?”

Olga:  My other favourite thing was probably standing in the corner at the openings talking to you, Jessica, or Diana. It became such a running joke between me and Jessica that “the corner” was our thing.

Venge:  One of my early memories of grunt was standing in the gallery at Fiona Mowatt’s opening of her Giant Condoms exhibition: all these exquisitely drawn representations of the ordinary made extraordinary by context. That was a long time ago and, at the time, was taken by many as feminist and political statement.

Venge:  When I went to Glenn Alteen in the early thousands, after many visits to the gallery and some actual participation, very much in need – as a crazy woman on disability – of a volunteer position, he was completely non-judgemental. He made it so easy and so ordinary. I will always love him for that.

Olga:  I agree. Glenn is the most unpretentious art dude ever!

Venge:  grunt has been a home for me, a hiding place, a meeting ground, an argument, a celebration of life and continues ever to be a place of profound learning. I feel very lucky to have worked there, to share connections with the people there and to have met you, Jessica, Diana, Kendra, Steven and so many great people, including Lawrence Yuxweluptun!

Olga:  Hear hear! Also I loved talking to Demian about robots. Let’s not forget that.

Venge:  Oh those robots! They are here, Demian, you were so right: they are taking over!

Olga:  Haha! Well, Venge, it has been lovely taking this stroll down memory lane with you. And getting fired up about social justice. I feel like the conversation doesn’t really end here, does it? We’ll always be talking.

Venge:  That’s very true and also cool: we’ll be talking ‘til we can’t.


Download the 30th Anniversary eBook here.

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Announcement! Inaugural Vancouver Independent Archives Week in 2015

July 24, 2015 (Vancouver, BC) – 

grunt gallery, Western Front, and VIVO Media Arts Centre are excited to announce that they have received funding from the Vancouver Foundation to host an inaugural Vancouver Independent Archives Week in November of 2015.

This initiative will build direct community awareness and interaction with artist-run centre (ARC) archives in the City of Vancouver. grunt gallery, Western Front and VIVO Media Arts Centre will collaborate in hosting and organizing a series of free community education and engagement activities and events. Participants can expect programming such as archive tours, performances, public talks, screenings, and hands-on art and archive activities for families and youth. Vancouver Independent Archives Week will showcase how non-institutionalized archives operate as a community memory for cultural histories.

“This funding announcement for Archives Week is fantastic news and we’re excited to collaborate with Western Front and VIVO – two organizations that share an invested interest towards their archives. This partnership will bring a needed focus from the public to see the greater value of arts-based archives and the vibrant history they contain.”
– Glenn Alteen, programming director and co-founder for grunt gallery.

We greatly appreciate the support from Vancouver Foundation and look forward to releasing more information regarding this event in the Fall of 2015.

grunt gallery | Western Front | VIVO Media Arts

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Upcoming Exhibition: ARCTICNOISE



Exhibition Title: ARCTICNOISE
Artist: Geronimo Inutiq
Curators: Guest curated by Yasmin Nurming-Por and Britt Gallpen, produced in conjunction with International Symposium of Electronic Arts (ISEA); Glenn Alteen and Tarah Hogue (grunt gallery); and Kate Hennessy and Trudi Lynn Smith (Ethnographic Terminalia)
Exhibition Dates: Aug 5 – Aug 22, 2015
Reception: Monday, August 17 (7–10pm)
July 20, 2015 (Vancouver, BC) – grunt gallery, Ethnographic Terminalia and the 21st International Symposium on Electronic Arts (ISEA) are excited to present anexhibitionpanelworkshop and a performance for ARCTICNOISE. The exhibition is located at grunt gallery and runs from August 5 to August 22, 2015 with an reception on Monday, August 17 (7–10pm).

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

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

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

A curatorial essay written by Yasmin Nurming-Por and Britt Gallpen will be available at the exhibition. This essay will also be included in the forthcoming publication forARCTICNOISE.

grunt gallery | Address: Unit 116 – 350 East 2nd Ave, Vancouver, BC V5T4R8

Additional Programming –

Terminus: Archives, Ephemera, and Electronic Art
Saturday August 15 (9:30 am to 5:30 pm)
at VIVO Media Arts |
2625 Kaslo Street, Kaslo St, Vancouver, BC V5M 3G9

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

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

Saturday, August 15th @ 8:00 pm
at the Vancouver Art Gallery |
750 Hornby St, Vancouver, BC V6Z 2H7

Arrive by 8pm to watch a performance by Geronimo Inutiq (madeskimo) – the artist behind ARCTICNOISE.

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

Wednesday, August 19 (6:30 pm to 8:30 pm)
at Native Education College |
285 E 5th Ave, Vancouver, BC V5T 1H2

This event will include an artist talk by Geronimo Inutiq, a discussion of the curatorial process by Britt Gallpen and Yasmin Nurming-Por, and a presentation by Christine Lalonde, Associate Curator, Indigenous Art, National Gallery of Canada. These will be followed by responses from two local respondents (TBC).
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Media Contact for the exhibition:
Karlene Harvey, grunt gallery | 604-875-9516 or,

Media Contact for ISEA programming:
Maria Fedorova |

Funding Acknowledgments:

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


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Globe & Mail Article: Al Neil & Carole Itter’s Cabin

Saved from demolition, historic Vancouver cabin needs a new home

Almost five months after it was due to be demolished, an artists’ cabin perched on the edge of Cates Park on Vancouver’s North Shore was instead being prepared for a move on Monday – a hard-won victory for the group of artists who fought to save it. Now they have a new challenge: finding a permanent home for the historic structure.The cabin has been used by Vancouver artists Al Neil and Carole Itter for decades, but after a land sale to Polygon Homes – which is developing the property – the cabin became endangered. An eviction notice was issued with a deadline of Jan. 31.

Read the whole article here.

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Curated Reading Lists via ArcPost

Tarah Hogue Reading List

Click here to read more about Tarah Hogue’s Curated Reading List.

Visit ArcPost to view all of the Curated Reading Lists.

PAARC has collaborated with the grunt gallery, the Or Gallery, VIVO Media Arts Centre, Open Space and Alternator Centre for Contemporary Art to commission curatorial research drawing from the print material indexed in the Repertoire of BC ARCs’ Publications. Lorna Brown, Lucas Glenn, Tarah Hogue, Robin Simpson, and Benjamin Willems were commissioned to produce thematic curated readings lists and accompanying essays highlighting particular moments and orientations specific to BC’s artist-run histories. Through the publication of these reading lists, we hope to stimulate renewed interest in the practices and histories of BC ARCs from the particular perspective of their publishing activities.


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Launch: Curated Reading Lists from the Repertoire of BC ARCs’ Publications

[From the ArcPost website]

PAARC has collaborated with the grunt gallery, the Or Gallery, VIVO Media Arts Centre, Open Space and Alternator Centre for Contemporary Art to commission curatorial research drawing from the print material indexed in the Repertoire of BC ARCs’ Publications. Lorna Brown, Lucas Glenn, Tarah Hogue, Robin Simpson, and Benjamin Willems were commissioned to produce thematic curated readings lists and accompanying essays highlighting particular moments and orientations specific to BC’s artist-run histories. Through the publication of these reading lists, we hope to stimulate renewed interest in the practices and histories of BC ARCs from the particular perspective of their publishing activities.

Tarah Hogue, curatorial resident at grunt gallery, has developed a reading list entitled, Indigenous Women Artists in Artist-Run Centres.
Read her essay and list here.


This Saturday June 6 at 5pm, attend the launch of the Curated Reading Lists from the Repertoire of BC ARCs’ Publications project at VIVO Media Arts Centre.

5 PM: Panel discussion with participating curators
6 PM: PAARC social with refreshments and snacks!

The Pacific Association of Artist Run Centres will launch the Curated Reading Lists from the Repertoire of BC ARCs’ Publications project, realized in collaboration with the grunt gallery, the Or Gallery, VIVO Media Arts Centre, Open Space and Alternator Centre for Contemporary Art.

Project collaborators include:
Lorna Brown (commissioned by the Or Gallery), Lucas Glenn (commissioned by Alternator Centre for Contemporary Art), Tarah Hogue (commissioned by the grunt gallery), Robin Simpson (commissioned by VIVO Media Arts Centre), and Benjamin Willems (commissioned by the Open Space). These curators have been commissioned by partner organizations to produce thematic curated readings lists and accompanying essays highlighting particular moments and orientations specific to BC’s artist-run histories.

Curated Reading Lists can be found on ArcPost.

Facebook Event info.

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Eraser Street Talk

Exhibition Info | Facebook Event

Visit grunt gallery on Saturday May 9 from 1–4pm for a roundtable on housing and photography in Vancouver. This talk occurs in relation to Henri Robideau’s Eraser Street, currently showing at grunt gallery.

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

Participants in the roundtable include Audrey Siegl, Wendy Pedersen, Lorna Brown, Eugene McCann, Jeff Derksen, Henri Robideau and Clint Burnham. The event will be facilitated by Clint Burnham and is free to the public.

Read the exhibition essay:
Henri Robideau: the Photography of Dispossession
Written by Clint Burnham

——- Bios: ——-

AUDREY SIEGL (sχłemtəna:t in her ancestral name) is a Musqueam activist. She ran as a candidate for Vancouver city council for COPE in the November, 2014 municipal elections, and was active in supporting the Oppenheimer Park tent city. She lives on traditional Musqueam territory at the mouth of the Fraser River and works with the language and cultural department to revitalize the hən̓q̓əmin̓language. Siegl was also active in the Idle No More movement and in organizing the protection of the c̓əsnaʔəm (Marpole Midden) in 2012.

WENDY PEDERSEN is a well-known community organizer who has lived in the Downtown Eastside for more than twenty years. Formerly involved in the Carnegie Community Action Project, she has been part of protests and organizing of residents around the Pidgin restaurant, the Chinatown Height restrictions, DTES gentrification, the Downtown Eastside Local Area Plan (DLAP), and in support of the Oppenheimer Park tent city.

LORNA BROWN is a Vancouver artist and curator who has been producing work for the past 30 years. Active in the Association for Non-Commercial Culture in the 1980s and ‘90s, she was curator of Artspeak from 1999 to 2004. Her curatorial projects include Set Project, a series of exhibitions, performances, and events focusing on rehearsal and re-enactment in contemporary culture, and she was the project curator for Group Search: art in the library, a series of site-specific artists’ projects in the spaces and systems of the Vancouver Public Library (2006-2008). Brown’s art has been exhibited and collected locally and nationally, and since 2009 she has been on the board of Other Sights, a public art initiative, for whom she co-curated (with Clint Burnham) the Digital Natives project in 2011.

EUGENE MCCANN is an associate professor in the Geography Department at SFU. His research interests focus on urban drug policy, urban policy mobilities, urban development and urban politics, and the relationships between urbanization and globalization. Recent and forthcoming publications include Urban Geography: A Critical Introduction (co-ed. with Jonas, A. E. G., & Thomas, M, Wiley-Blackwell), and, with Miewald, C., “Foodscapes and the Geographies of Poverty: Sustenance, Strategy, and Politics in an Urban Neighborhood” (Antipode, Vol 46, Issue 2).

JEFF DERKSEN is an associate professor in the English Department at SFU. His areas of special interest are national cultures and the role of the state in the era of globalization; cultural imperialism and the politics of aesthetics; the poetry and poetics of globalized cities; the emergent global cultural front; culture and gentrification in global-urban spaces; architecture and urbanism; cultural poetics, cultural studies, and cultural geography. Recent publications include The Vestiges (Talonbooks) and After Euphoria (JRP Ringier/ECUAD).

HENRI ROBIDEAU ( is a Vancouver artist and photographer who has been exhibiting locally, nationally, and internationally since 1970. His work has appeared in group and solo exhibitions in Vancouver, Comox, Kelowna, Quebec, York (UK), Washington, Paris, and Mexico City, and is in collections in Houston (Museum of Fine Arts), Ottawa (National Gallery), Seattle (Seattle Art Commission), Surrey (Surrey Art Gallery), Vancouver (Vancouver Art Gallery), and the Canadian Museum of Contemporary Photography, among others.

CLINT BURNHAM teaches in the English Department at Simon Fraser University and has written the catalogue essay “Henri Robideau: the Photography of Dispossession,” which accompanies this exhibition. He is presently writing books on Slavoj Žižek and digital culture and on Fredric Jameson and Wolf of Wall Street. His essays on art have recently been published by the Kunsthalle Wien and on In the winter of 2014-15 he completed a residency with the Urban Subjects collective in Vienna.

——- Exhibition Essay: ——-
Henri Robideau: the Photography of Dispossession
Written by Clint Burnham

——- Exhibition Info: ——

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An Evening in the Archive with Henri Robideau

An Evening in the Archive with Henri Robideau
A Fundraiser for the grunt Archive

Saturday April 25, 2015

at grunt gallery
Drinks at 6:30 pm, Dinner at 7:30 pm
Tickets: $50 | Purchase Tickets here.

You are cordially invited to grunt gallery’s “An Evening in the Archive with Henri Robideau,” a tribute to Henri’s work as a photographer over the past 45 years with special emphasis on his focus on history and the archive. Our fundraising tribute and dinner will coincide with and celebrate Henri’s upcoming exhibition, Eraser Street – Hubris, Humility and Humanity in the Making of a City!, running from April 9 to May 16. Marian Penner Bancroft will speak about Henri’s contributions, as an artist, to Vancouver. Please join us for this special dinner where a selection of digitized videos from our archives, produced for our 30th anniversary, will also be screened.

Over the past five years, grunt gallery has focused on developing its archive and archival projects such as Robideau’s Eraser Street and the recent MAINSTREETERS – Taking Advantage, 1972 – 1982. Since 2010, our special initiative—“Activating the Archives”—has released archival materials in the context of new curatorial projects, commissions, and scholarship, working to create sites such as Ruins in Process–Vancouver Art in the 60’s (2009); ATA – Activating the Archive (2012); Ghostkeeper (2012), celebrating the digital and performance work of Ahasiw Maskegon Iskwew; and Background/ThisPlace (2013).

This fundraiser will focus on grunt gallery’s archival activities and the importance of producing work based in or around archival research. “An Evening in the Archive with Henri Robideau” is  the first of several events highlighting our archive—and other archives—celebrating the work being produced by artists engaged with archives throughout the city.

There will be opportunities to donate to specific programs and projects related to our archive. We look forward to telling you about our upcoming initiatives. grunt’s Archivist, Dan Pon, will be available to present a tour of the archive and share some of his recent initiatives.

For more information contact Karlene Harvey at

grunt gallery | 604-875-9516
116 – 350 East 2nd Ave, Vancouver, BC, V5T 4R8


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After Hours – Photo Exhibit @ Mainspace

CAPIC (Canadian Association of Professional Image Creators) presents- “After Hours”- a photo exhibit showcasing what professional commercial photographers enjoy photographing during their own personal time. A juried exhibit for our members with the mandate: What is your secret passion? What is it you  photograph when you are free to photograph whatever you want?

Organizations Mandate
CAPIC Vancouver is a chapter of the National organization that is the collective voice and advocate for professional photographers, illustrators and digital artists
in Canada. We work hard to maintain industry standards, create a community, fight for copyright protection, and much more. Our work helps all the professionals in our industry. As a professional association, CAPIC’s mission is to promote quality and creativity as well as good business practices. CAPIC continues it’s efforts to support image creators through the creation of resources such as fee schedules and business practice surveys which are designed as a necessary reference for any Illustrator or Photographer getting started in the Industry.

Name and Address of Venue
Mainspace Gallery
350 East 2nd Ave, Vancouver, BC

Date and Time
Opening Reception is April 9 from 7-10 pm the the show will be open 12-5 April
10, 11, 12. please enter through the grunt gallery next door.

This exhibition coincides with Eraser Street by Henri Robideau at grunt gallery. 

Organization or Event website

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