2016

Sausage Factory by artists Weronika Stepien and Stephen Wichuk
Essay written by Alla Gadassik:  Sausage Factory publication

análekta by Merle Addison
Essay written by Dana Claxton: analekta publication – FOR WEB

2015

Catastrophe, Memory, Reconciliation by Osvaldo Ramirez Ostillo.
Exhibition essay by Alexis Hranchuk.

Eraser Street by Henri Robideau
Exhibition essay written by Clint Burnham.

Ahmad Tabrizi exhibition and curatorial essay by Lorna Brown and Makiko Hara.
View exhibition info.

2014

Julia Feyrer texts by Vanessa Kwan
Part 1 – History creeps: the grunt kitchen and Julia Feyrer
Part 2 – Recordings
Part 3 – Notes
View exhibition info.

Hyung-Min Yoon exhibition essay by Lorna Brown
View exhibition info.

Laura Moore exhibition essay by Luke Siemens
View exhibition info.

2013

Jayce Salloum exhibition essay by Keith Wallace
View exhibition info.

Ian Forbes exhibition essay by Noah Becker
View exhibition info.

Laura Lamb exhibition essay by Anakana Schofield
View exhibition info.

Cal Lane exhibition essay by Robin Peck
View exhibition info.

Adrian Stimson exhibition essay by Elizabeth Matheson
View exhibition info.

David Khang exhibition essay by Koan Jeff Baysa M.D.
View exhibition info.

Ali Ahadi exhibition essay by Ahmad Tabrizi
View exhibition info.

grunt gallery is pleased to announce the exhibition of Gutter Snipes I by Canadian artist Cal Lane. Gutter Snipes I is an aluminum coated steel sewer pipe that is carved away into an ornate collage of figures and organic designs. This positive relief sculpture reveals a collision between the damned and the divine.

The definition of “guttersnipe” refers to a street urchin in the slums of a city or a person of the lowest cast in society. Within the patterns of Cal Lane’s Gutter Snipes I, cityscapes emerge amongst clouds of curls and vines; angels cradle fanged animals while small creatures nip at the heels of silhouetted figures. Those that appear to be falling within the cutout sculpture could be ascending within the reflection of softened shadows.

“I like to work as a visual devil’s advocate, using contradiction as a vehicle for finding my way to an empathetic image, an image of opposition that creates a balance – as well as a clash – by comparing and contrasting ideas and materials.” – Cal Lane, artist statement.

Gutter Snipes I juxtapose industrial materials and tools often used in blue-collar, masculine environments, with designs commonly used in textiles, such as lace, veils or tapestry, referencing feminine practice and use. This compare and contrast relationship is evident with Cal Lane’s sculpture which creates a multi-dimensional environment that spans from the expansive steel-cut object to the furthest reaches of the sculpture-lit shadows.

Currently based out of New York, Cal Lane grew up in Saanichton, British Columbia. This is her first exhibition in Western Canada. Gutter Snipes I will run at grunt gallery from Feb 15, 2013 – March 23, 2013.

Bio:

Cal Lane was born in Halifax, Nova Scotia, grew up in Saanichton, British Columbia. She received her diploma in Painting from Victoria College of Art, Victoria, British Columbia in 1994. She went on to earn a second B.F.A. in Sculpture from Nova Scotia College of Art and Design in 2000 and completed her M.F.A in Sculpture from State University of New York in 2004. Lane lives and works in Putnam Valley, NY. www.callane.com

Articles:

http://akimbo.ca/akimblog/?id=664

Andante (a walking pace) at Richmond Art Gallery has an opening reception on Feb 2nd, 2013 (3-5pm).

The group show includes work by Cheryl L’Hirondelle, Mike Andrew McLean, Haruko Okano, Ruth Scheuing, and UWHAH (Until We Have a Helicopter). Adante (a walking pace) features a work by Cheryl L’Hirondelle that was originally commissioned by grunt gallery.

“Integral and common to the artworks in this group exhibition is the seemingly ordinary activity of walking. The title, Andante, draws from this tempo marking to mean – “at a walking pace” – a moderately slow pace that enables us to be attentive to our surroundings, literally and imaginatively. The works comprising Andante (a walking pace) are conceived as a conceptual practice, a process from which emerge diverse narratives reflecting artists’ responses to the various urban and rural landscapes they move in and consider.

The history of walking is an intriguing one with the capacity for narratives that hold cultural, political, social and spiritual meanings. From aboriginal rituals, religious and political pilgrimages, to intrepid explorers, artists, writers, and folk simply moving from one place to another, walking has inspired, challenged and been the subject of artistic investigation.

The artists presented in this exhibition explore the theme of walking to examine our surroundings, literally and imaginatively, in a range of media including photography, woven textiles, audio-visual media, sculpture, and installation.”

Visit the website for more information.

Hybrid identities in archived art

ART / (queer) intersections remembers pivotal 1990s performances

Monday, December 10, 2012
Written by Erin Flegg

Vancouver has a reputation (at least among those of us not born here) for playing hard to get. A diverse range of political and artistic communities has long thrived here, but they aren’t always easy to find.

A new series of online exhibits called Activating the Archive, from the grunt gallery, aims to draw out the vibrant histories of often marginalized groups and reacquaint Vancouver with its often radical past.

Interdisciplinary artist and scholar Christine Stoddard curated one of the exhibits, titled (queer)intersections.

The exhibit, made up of essays, video and photos, focuses on queer identity politics expressed through performance art in the 1990s.

“The ’90s for me was really when that notion of queer started to emerge as a political and identity category,” she says. “It’s taking the lesbian/gay movement and way of thinking about your sexuality and identity, and kind of opening it up to a less rigid category.”

Stoddard came to Vancouver toward the end of the 1990s, moving here with her first girlfriend to do a master’s of fine arts at Simon Fraser University. She got a job at the lesbian bar Charlie’s (“Oh god, I was a terrible server!”) and started to meet women who were also interested in exploring queer feminisms and with whom she would perform.

“That was the first time I really felt like I belonged here. It sounds sort of cheesy, but it’s true, I did.”

The grunt’s Halfbred cabaret series, featuring Oliv (above), marked an important moment in Vancouver’s queer art history, says Christine Stoddard.(grunt archives)At the time, she says, she didn’t consider herself a very radical queer. She grew up in the relatively small city of Halifax and says she was just looking for some kind of reflection of herself.

When she came out to her parents as bisexual, they had a hard time understanding, she says. They probably would have had an easier time had she used the word gay or lesbian, she reflects.

“It does confuse people when you don’t fit into a nice delineated box.”

CLICK HERE to read the entire article at Xtra West…

“Holding Our Breath” by Adrian Stimson, is a large-scale installation based on the artist’s first hand experiences and observations at a military base in Kandahar, Afghanistan. The work is informed by conversations Stimson had with soldiers, some of which were First Nations, and his impression with daily life occurring at the military base situated in the vast Middle Eastern landscape.

“…This exhibition brings together drawings, photographs, video and sculptural installations that explore the ambiguities of war by linking personal history with wider cultural and political issues. Although this work reflects on the complex situation in Afghanistan, Stimson deflects the focus away from the truncated newsreel moments to daily life affirming moments.” – excerpt from, “Holding Our Breath: The Work of Adrian Stimson” by Elizabeth Matheson.

The work includes the Stimson’s own personal perspective of serving in the military as well as his family’s history serving in the Canadian military as soldiers and historically as Blackfoot warriors. These experiences, in addition to Stimson’s time spent in Kandahar, allows the artist to approach these topics from a perspective that questions the essence of conflict and how this links between personal, cultural, and military identity.

The artist will be in attendance at the opening reception on Friday, January 4th, 2013. This exhibition will run until Saturday, February 9th, 2013.

Born in Sault Ste. Marie, Ontario, Adrian Stimson is a member of the Siksika (Blackfoot) Nation in southern Alberta. His work includes installation, painting, performance, video, and photography. Performances at Burning Man on the Black Rock Desert, Nevada, have created “Buffalo Boy” as well as the “Shaman Exterminator” who seeks to explore the myths, falsehoods and realities of Shamanic being. He lives and works in Saskatoon, Saskatchewan.

http://adrianstimson.com

Articles:

AMSSA Article: Artist get the experience of a lifetime in Kandahar

Satellite Gallery Blog: Adrian Stimson Has Us Holding Our Breath

White Hot Magazine: February 2013, Adrian Stimson at Grunt Gallery

Read the Essay:

Holding-Our-Breath-The-Work-of-Adrian-Stimson

Please join us for a fabulous event to celebrate the festive season, before winter really sets in, with an early offering of glamour, spectacle and party! grunt gallery is pleased to be bringing from New York City, the infamous burlesque performance artist, Chicava Honeychild, renown for her seductive work with Brown Girls Burlesque, and, from Los Angeles Stacy Dawson Stearns aimed to rouse our somatic senses and intrigue new experience of dance, movement and theatrics. There will also be a rare appearance by Vancouver’s own Brown Brother Posse as well as Vancouver’s virile rock band AB/CD.

A special fundraiser not to be missed!! Cocktails, prizes, swag, and much fun will be had!

Saturday, December 1, 2012
Doors: 7pm | Show: 8pm
Location: RUSSIAN HALL, 600 Campbell Street, Strathcona, Vancouver

When you sign up for our newsletter, it includes a totally free grunt membership.

Why is membership free?

At grunt we consider all economies, and we strive to make our programming accessible to anyone who wishes to participate. It’s much more important to us to have a large and lively membership than it is to generate revenue from membership fees.

Why is membership important?

A lively and active membership demonstrates grunt’s vitality as an artist-run centre to our funders, as well as to our present and future audiences.  Building grunt’s membership ensures that the gallery continues to function as a dynamic, artistic, educational, and community resource that is respected and valued.

What is the role of a grunt gallery member?

A member’s main responsibility is to enhance the governance of an organization.  Our members also help grunt maintain and grow a community of artists, and pursue new projects that are in our interests. So tell us about the artists and art projects you’d like to see more of!

What are the perks of membership?

– Voting rights at the Annual General Meeting
– 20% off all grunt merchandise and publications
– Newsletter with updates about our upcoming exhibitions, events, projects and activities
– Opportunities to get involved at grunt as a volunteer, board member, committee member, audience member, or even a staff member!

Volunteers are an important part of grunt. Gain experience at working in an artist-run centre by volunteering in the following areas:

Activate the Archives (ATA)

ATA is an online and physical archive of the work that has happened at grunt gallery. grunt is dedicated to activating it’s archives and in the past we have worked with volunteers and interns to produce curated sites and study guides.

grunt would like to thank all of our current volunteers:

Syr Reifsteck
Syr works in the archives, digitizing material for our online database and cataloguing books for the grunt library.

Audrey MacDonald
Audrey has been working on digitizing material for Activating the Archives.  She was a co-curator/editor for DISGRUNTLED: Other Art (grunt’s eBook).

Fiorela Argueta
Fiorela works in the archives, digitizing material for our online database and cataloguing books for the grunt library.

Kiku Hawkes
Kiku works in the archives, digitizing material for our online database.

Mallory Gemmel
Mallory works in the archives, digitizing material for our online database.

Venge Dixon
Venge works in the archives, uploading material and maintaining our online database.

grunt is extremely thankful for all of our past volunteers and the work that they’ve done. Some have gone travelling or moved or transitioned into new organizations. Without their help, many projects and activities over the years would not have been possible.

We wish everyone the best and we hope all of our volunteers and friends stop by grunt to say hello the next time they are in the neighbourhood!

Anastasia Scherders
Anne Riley
Anton Cuunjieng
Adrienne Greyeyes
Alex Pimm
Ayaz Kamani
Ann-Kathrin Spring
Allison Thompson
Bernadine Fox
Cecelia Vadala
Chiara Fabbri Colabich
Cynthia Bronaugh
Diana Zapata
Genevieve Michaels
Gizem Sözen
Henna Gabriel
Heather Shields
Jessica Mach
Kendra McLellan
Luna Perdriel
Madeleine Tan
Matthew Ward
Michelle Lin
Olga Alexandru
Robin Lynch
Rae Leitch
Desiree Leal
Rachael Stableford
Stephen Long
Vinny Gibson

Mounira Al Solh, The Sea Is A Stereo, 2007- ongoing (Courtesy of Sfeir-Semler gallery Beirut and Hamburg)

Exhibition Title: “The Sea Is A Stereo”
Artist: Mounira Al Solh
Opening: Thu, October 11, 2012, 7-10pm
Dates: Thu. 11 October 2012 – Sat, 1 December 2012

Description:

“The Sea Is A Stereo” by artist Mounira Al Solh, introduces us to a group of men who swim daily at a beach in Beirut, Lebanon. This practice of swimming takes place despite varying circumstances relating to weather, the change of seasons, and the conflict of war and politics. The work is made up of several elements that use video, photographs and audio-recorded interviews. While these men are connected through their swimming ritual, Al Solh further connects these men to their surroundings, practice and socio-political issues by means of a visual and audio-based installation. This exhibition will take place in the main front room at grunt gallery.

“…Every day they turn their back to the city where they live to dive in the sea. As if they voluntarily wait on a threshold, finding a comfortable place for themselves between emigration and immigration.”
– Mounira Al Solh speaks about “The Sea Is A Stereo.”

The exhibition will also include a newly created work by Mounira Al Solh, entitled, “A Double Burger and Two Metamorphoses: a proposal for a Dutch Cat, a Dutch Dog, a Dutch Donkey, a Dutch Goat and finally, a Dutch Camel”. An ongoing project created in 2010, the artist forces herself to be locked inside an empty house for three days while she communicates through scripted conversations. Al Solh talks both as herself and as different animal personas: “We speak about the difficulty of reading different philosophers and thinkers like Rousseau, Lyotard, Taussig and Multatuli. And also about the impossibility to dance slow, or to get a hug or a kiss when most needed, for instance.” Through this theatrical process, Al Solh finds a method to refer to the process of waiting for residency through video and the construction of cuckoo clocks, which operate as an Entr’acte, meaning “between the acts.” This project will be exhibited in the gruntKitchen Media Lab.

The exhibition will run at grunt gallery from October 11th to December 1st , 2012. This exhibition is a part of the Institutions by Artists week; Vancouver artist-run centres and community partners will present special projects that link to the themes of the Convention.

Bio:

Mounira Al Solh studied painting at the Lebanese University in Beirut (LB), and Fine Arts at the Gerrit Rietveld Academy in Amsterdam (NL). Al Solh is currently doing a research residency at AIR in Antwerp for making the third NOA magazine issue. She has had solo shows at Sfeir-Semler Gallery in Beirut and at Kunsthalle Lisbon in Portugal. Among many others she has exhibited at New Museum, New York in 2012; Haus Der Kunst, Munich; Manifesta 8, Murcia, Spain; The Guild Art Gallery, Mumbai; Stedelijk Museum Bureau Amsterdam, The Netherlands; and Al Riwaq Art Space, Manama, Bahrain – all in 2010; and at Arizona State University Art Museum, Tempe; the Galerie Nord, Kunstverein Tiergarten, Berlin; and the 11th International Istanbul Biennial in 2009. Her video Rawane’s Song received the 2007 jury prize at VideoBrasil. Her video installation As If I Don’t Fit There was part of the first Lebanese Pavilion at the Venice Biennale in 2007. (http://www.mouniraalsolh.com/)