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Three Indigenous Project Sites

grunt gallery wishes you a happy Aboriginal Day!

grunt has a rich history of working with indigenous artists, check out some of these project sites that archive text, images, video and more.

1) Indian Acts: Aboriginal Performance Art
A website that grunt gallery curated for Activating the Archives, it chronicles a performance art conference that took place in Vancouver in 2002.
Check out essay’s written by Tania Willard, Dana Claxton, Daina Warren, Archer Pechawis and more…

 

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2) Nikamon Ohci Askiy (songs because of the land)

In December 2008, artist Cheryl L’Hirondelle made daily journeys throughout Vancouver and “sung” the landscape she encountered. These encounters were captured by mobile phone by the artist and whatever other technologies are made available by participating viewers/audience (video, photo, audio). Check out this interactive website that includes sound bites from L’Hirondelle’s recordings.

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3) Beat Nation

The little exhibition that could. Some might not realize the humble beginnings of Beat Nation and how it began as a youth project website between grunt gallery and Native Youth Artist Collective. Check out the website that was originally created in 2009, the amount of emerging artists who have since built tremendous careers is inspiring.

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Check out all of grunt’s project websites here.

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Kitchen: Part 1 – History creeps: the grunt kitchen and Julia Feyrer

[grunt had]… an embryonic beginning that was a toss-up. It could have ended several times, but the people who believed in it stuck around. There was always a coffee pot going (and a kettle for tea) to converse over, whether supportive or argumentative. The people were a diverse lot with a multitude of practices. There were musicians (jazz to folk to Cage), writers (Haikus to great epics), visual artists (from drawing and painting etc., to performance art, video and theatre); it wasn’t New York or Paris but just grunt. In its own way, for the community, more important. A safe place that accepted and cross- pollinated a great diversity of creative thought and people.
– Merle Addison, grunt founding member

The show that you’re standing in is part of a larger conversation. At the time of writing I can see a white fridge, a non- working stove, a set of second-hand Ikea cabinets, a pile of 2x4s, an old coffee maker, an arborite table, a chop saw. It is as yet unresolved—and will continue to evolve throughout the run of the exhibition, building in dimension and playing host to events, discussions and small gatherings.

The artist – Julia Feyrer – has been working in the archive for months now, pulling images and ideas out of binders and cupboards, watching videos and running slides. Central to her research has been images of the grunt kitchen, often mined from the background of documentation of openings, fundraisers and board meetings of years past. Faces, overexposed from a 90s-era flashbulb, laughing/ smiling/ smoking/ drinking in the grunt kitchen. Like so many archival investigations, this one is about filling in blanks—pulling information from the literal backgrounds of the collection.

…Read the entire text here.

kitchen 1


PDF Download | Part 1 – History creeps: the grunt kitchen and Julia Feyrer

Exhibition info.

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The Book of Jests | Essay by Lorna Brown

titlepage

The Book of Jests began in an antiquarian bookstore in Vienna where Hyung-Min Yoon found and purchased a 1922 edition of Albrecht Dürer’s illustrations. The book, Marginal Drawings for the Prayer of Emperor Maximilian I, was bound in grey cloth with beveled edges, and contained illustrations created for the margins of a prayer book. Originally created in 1515, Dürer’s illustrations were used in the mass publication and distribution of a single Christian prayer to multiple language groups, leaving blank the centre of the page, onto which the texts of different languages could be printed. For an artist whose work has explored the ‘imperfect path’ of translation, the interpretation of images across cultural contexts, and the history of printed text, this central unmarked ground must have seemed an almost overwhelming space of possibility.

The illustrations, inked in green and orange and sepia, are familiar biblical themes – mass produced extensions of the sacred manuscripts illuminated by hand in Medieval times. Horned devils perched on filigree, winged dragons and architectural flourishes, charging mounted knights and mythological beasts: what might these have meant to the readers of some forty-three languages of the polyglot prayer book?  What universalities were assumed to reside in the scrollwork embellishments, allegorical arrangements and fantastical landscapes? What process of translation transformed the meaning of these renderings placed next to such diverse scripts?

Vilém Flusser’s The Gesture of Writing is a typed work from 1991. It describes in fine, methodical detail the act of writing through its phenomenology. Written in English, it is an example of his practice of translating and retranslating his writing as a way of mining his own thought: seven versions were produced in four languages.  He begins by analyzing handwriting:

“It is a gesture of making holes, of digging, of perforating. A penetrating gesture. To write is to in-scribe, to penetrate a surface, and a written text is an inscription, although as a matter of fact it is in the vast majority of cases an onscription. Therefore to write is not to form, but to in-form, and a text is not a formation, but an in-formation. I believe that we have to start from this fact if we want to understand the gesture of writing: it is a penetrating gesture that informs a surface.”

Flusser traces the movement from writing by hand as a sculptural form, forward to typing, a process that removes irregularities and unwanted incidental marks, in which “we no longer engrave with a stick, but with a series of hammers”. Placing the gesture of writing into an historical context, he notes that the practice of typing ultimately transformed how we define writing, that is, as a conceptual gesture processed through a rigidly formed technology, a template.

The Gesture of Writing contains strikeovers and typos, and moments when the hammers glanced unevenly. Reading it (so odd in PDF form!) thus also requires care and a certain level of translation, of filling in, or working to discern the author’s intent. The text lightly abrades our reading of it, a distant echo of Flusser’s process of translating and re-translating. But his process, while arduous, was not endless:

“Theoretically I could go on translating the re-translating ‘ad nauseam’ or to my exhaustion. But practically I find that the chain of thoughts is exhausted in the process long before I myself am exhausted. Thus the process of translation and re-translation provides a criterion for the wealth of the thought to be written: the sooner the process exhausts the thought (the sooner it falls into repetition), the less worthy the thought is of being written.”

Dürer’s lithographs, inscribed and re-inscribed over centuries, are now subject to a new interpretive maneuver, moving from their 14th century European Christian context to the present day. What sort of profane texts might occupy the space intended for the sacred?

The artist looks to the role of the Jester, an ancient figure found the world over, and found in close proximity to power. Able to speak the unspeakable, the Jester claims an uneasy space of intimacy and exclusion, whether in a monarch’s court or, these days, on late night television. The Jester draws and re-draws the line between insult and adulation, using flourishes, oblique angles and sidelong curves in his speech. Jokes – like prayers – are most often spoken.

TheBookOfJests_web

Transposing the method of the polyglot prayer book, Yoon sought out political jokes in English, Italian, Hebrew, Hindi, Spanish, Korean, Mandarin, Russian, Japanese, Arabic, German, Greek and Czech from friends and associates. They address classic themes such as hypocrisy, corruption and oppressive bureaucracy yet riff on the culturally specific paradoxes and absurdities of power. Certain formats – light bulb jokes, doctor jokes, and the like – repeat across nations, historical moments and regimes. Using a font developed in Dürer’s times, Yoon letter-pressed these jokes into the Terra nullius at the centre of the illuminated pages. By indexing the landscapes, forms and figures of the illustrations to the content of the jokes, new meanings are constructed. Emil Hácha, the President of Czechoslovakia during Nazi occupation, becomes a hooded monk waiting for dinner; German Chancellor Angela Merkel is seen as the Virgin Mary, no less, and Berlisconi becomes King David.   Bound in deep magenta, the photo-lithographs with their letterpress texts form a new volume of flagrant iconoclasms – and in the case of the Arabic scripts, near-blasphemies. Yoon’s method proposes the artist as editor, as publisher of a trans-historical, multilingual anthology, in a finely crafted limited edition.

In the gallery, in addition to the book, framed prints reproduce several two-page spreads. These particular excerpts are often in a left-page question, right-page answer format, or one printed page weights the blankness of its neighbour. In the archive area behind the exhibition space, a video records the artists’ hands turning the pages of the book. She takes care to time the page-turning correctly: in comedy timing is everything. This video of the silent reading, along with Yoon’s process of photographing and photographing the pages, as well as the framing and reframing of the letterpress jokes remind us of Flusser, translating and translating again.  From one medium to another and back again, Yoon re-works her thinking along Flusser’s chain, to the point when all possible meanings have been extracted, seeking exhaustion.

Lorna Brown
August, 2014

 DOWNLOAD| The Book of Jests, an essay by Lorna Brown.

 

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Crafting an experience of Art-making: Valerie Salez’ Play, Fall, Rest, Dance

Written by Anastasia Scherders

Valerie Salez’ installation project Play, Fall, Rest, Dance, exhibited at grunt from June 2 to July 5, 2014. Over the course of one month, the gallery space was continuously transformed. You could anticipate that, in visiting grunt, you’d witness Salez’ effort to facilitate art-making that was full of possibilities, and you’d get a glimpse of the experience of artistic exploration and uninhibited creativity of four children with disabilities: Amelie, Deshik, Henry and Isabelle.

Upon meeting Salez, the first thing she told me about Play was there are no rules. This is one of the philosophies that underscored the project; and with those words I was encouraged to let go of my own assumptions surrounding art and art making, and the limitations that we often impose upon creative expression and creator. With Play, she facilitated a kind of freedom in art making, providing the materials, tools, and guidance for children to create within a safe and accessible space.

Salez invited me to sit in on an art-making session with 12-year old Henry, who is autistic. The three of us sat cross-legged on the floor, surrounding a large piece of particleboard where pieces of chalk, charcoal, and a hammer and glue gun lay. Henry, who loves working with the hammer, had broken some of the chalk into fine powder. Valerie pushed the powder around with her fingers, smudging it onto grey cardboard while Henry carved small details into a piece of yellow chalk with a razor blade. “Like any good artist, he will try anything,” says Salez.

Photo by Valerie Salez

Scattered next to me was a collection of Henry’s drawings that he brought from home – highly detailed pencil-drawn characters crowded each page. Salez explained to me that Henry, whose bold and energetic painting dominated the gallery wall behind us, draws all the time. The white wall seems almost limitless compared to the confining boundaries of a piece of paper. Through Play, Henry has experimented with new forms of artistic expression.

Elisha Burrows, grunt’s Exhibition Manager who was video recording this session with Henry, asked Salez if the art world is pretentious. “It can be,” replied Salez. “It can be a world of criticizing and classifying; I don’t like to see my work in those ways. I want my work to be accessible.”

Play, Fall, Rest, Dance followed Salez’ residency at Open Space Gallery last summer where she worked with children for the first time. “Open Space invited me to do whatever I wanted. At that moment, I wanted to have fun and create art with children without intellectualizing or conceptualizing it,” said Salez. “Kids go to art galleries, see the work of adults, but aren’t allowed to touch anything. Now, they are the artists, able to touch everything.”

And no two sessions were alike. Some days they’d listen to music or spend most of their time talking. Some days they wouldn’t talk at all. Some days the kids got stuck. Salez felt the biggest challenge came from the children’s inhibitions, which she deeply empathizes with. Since childhood, Salez has suffered from severe, sometimes life-threatening, depression and is familiar with the debilitating feeling that comes from a lack of self-esteem and confidence. “It has really been a mirror for me. I am observing them and observing myself – my insecurities and fears, and theirs,” she says.

Photo by Valerie Salez

Throughout the process, Salez talked to the children about failure and would ask them what is the worst that can happen if we fail? “Kids need freedom, but it is hard for children to feel free. They are so worried about making mistakes, about doing right or wrong. They don’t feel comfortable making decisions. I want to empower them to make decisions, I want the kids to feel confident and brave, but I don’t want to influence them too much. It’s a fine balance.”

Salez emphasizes that Play is about her and the children spending time with materials in a space. She spent four sessions with Amelie, Deshik, Henry and Isabelle, allowing time to develop a rapport and build trust to support an experience of teaching and learning, exploration and discovery. Salez feels they came to understand one another through constant learning and negotiation. “I had all sorts of assumptions,” she says. “They’ve all been blown out of the water.”

When asked about curating the space and removing some of the children’s work over the course of the exhibition, Salez says it felt natural and intuitive. “That’s my playtime. The kids are okay when I erase their work. They will just make something else.”

Once the art making part of Henry’s session was over, we worked together to clean up the materials and sweep the floor. While I pushed around a broom, Henry transformed his straw broom into a ninja’s baton, stopping it firmly in midair, then spinning it in every direction. Henry spun around the room in circles, too. Witnessing Henry’s re-imagining of this object, it seemed that the most striking quality of Salez’ work is the way in which it has nurtured beautiful and ephemeral moments of uninhibited imagination, creativity and play.

Photo by Henri Robideau

“The kids are okay with doing something for the sake of doing it,” says Salez. “They are okay to walk away with nothing except the experience.” Unlike the end of a school day, the kids of Play do not take home an object they have crafted. Instead, they take home the most challenging and delightful experience of having worked to create something.


About the Project:

Play, Fall, Rest, Dance occurred at grunt gallery from June 2–July. Artist Valerie Salez blogged the entire process. Read the exhibition press release here.

About the Writer:

Anastasia Scherders, who moved to Vancouver in 2012 from Brantford, Ontario, began volunteering at grunt gallery in November 2013. She holds a bachelor’s degree in English and Theatre & Film from McMaster University.

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[Announcement] gruntCraft

gruntcraft

grunt gallery is excited to announce a new youth arts engagement project entitled, gruntCraft

The project uses the popular computer game Minecraft as a tool and studio to create new and incredible structures in a virtual world. Youth participants will be mentored by professional artists to explore their creative processes and discover new ways to approach art making through a collaborative, online, video game environment.

Follow the development of the virtual studio by subscribing to gruntCraft’s YouTube site. As part of the studio program, youth studio members (aged 11-18) will have access to professional artists feedback and mentorship, 3D printing workshops, and opportunities to participate in studio open houses at grunt gallery.

gruntCraft will occur from July to December 2014 and is led by artist and project manager, Demian Petryshyn. Please visit gruntcraft.ca for more information and project updates.


We’re on the lookout for youth participants and volunteers.

Feel free to check out the studio server at: 50.23.129.103. If you are interested in becoming a youth studio member (aged 11-18) or would like to get involved as a volunteer, please contact Demian at gruntcraftvancouver@gmail.com or visit gruntcraft.ca for more info (coming soon).

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Play, Fall, Rest, Dance Blog

Attend the closing reception for “Play, Fall, Rest, Dance” on Thursday June 26 (7-10 pm) at grunt gallery. More details here.


Valerie Salez began her project at grunt gallery in late May, these are blog posts on the first week of work created by the youth:


Week 1

1st Day – Deshik (Click to read more…)

With a long white piece of paper and a blue marker he asked me to name birds…any kind.

Deshik knows every kind of bird. He would draw them quickly with appropriate distinguishing features while all the while citing facts about that specific bird.

1st Day – Amelie (Click to read more…)

Amelie has an extremely shy disposition yet there is a fierce strength to her.

Her style was fragile yet focused and determined.


1st Day – Isabelle (Click to read more…)

Isabelle was very overwhelmed with all the supplies and materials.

I asked her to quickly choose four things that she finds interesting.

She chose all things black, white, red and clear glass.


1st Day – Henry (Click to read more…)

Henry did not talk the whole time.

Not a word.

We played Glenn Gould and he set to work immediately.

Guest Artist – Solange

Solange participated in the PLAY FALL REST DANCE project last summer at Open Space Gallery.


Week 2

2nd Day – Deshik (Click to read more…)

Deshik does not have any pets.

Yet all he talks about and draws are animals and birds.

I promised I would bring my dog (Negrita) to the gallery so Deshik could meet her.

2-3 Day – Amelie (Click to read more…)

Soon she feels lost. “I dont know what to do now?”
She seems uninspired or bored.  We had talked about various options earlier.

I said, “I am not going to tell you what to do. It has to come from you. “
She fell silent and looked discouraged.

I said we can just sit here and if she is done with the project then we can just quit and the wall work is enough.

Before I could finish my sentence she said, “I want to paint one of those cubes.  Can I paint all over it?”

2nd Day – Isabelle (Click to read more…)

Isabelle is the dedicated sculpture / assembler of the Grunt group.

She loves colour, shape, pattern and texture.

2nd Day – Henry (Click to read more…)

I was speechless at his frenetic painting style and the re-visioned work.

And then Henry started to talk to me for the first time.

He took my hand, turned around to the opposite wall and walked us over to Amelies wallwork.

“Thats good.” Henry said.


3rd Day – Henry (Click to read more…)


The subject matter was that of any typical 12 year old……sci-fi, comic, warrior, fighting, robot beings.

But there was an intensity about the way he attacked the lines.

Also these were a few of many hundreds of drawings. Henry draws ALL THE TIME.

But only with pencil.


3rd Day – Deshik (Click to read more…)

Questions like, “Is the rattler hollow like a music rattler?”

Like, “What is the oldest animal alive?” & “What is the youngest?”

We did some research online.

He was fascinated with the still living, primitive fish the STURGEON.

It was only logical, to Deshik, that he BECOMES the STURGEON.

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grunt Board // David Khang: Wrong Places

David Khang is a board member at grunt gallery. Check out his upcoming exhibition in Toronto, Ontario.


Wrong Place / Mauvais Endroit / Lugar Incorrecto /틀린 장소

UPCOMING exhibition @ A Space Gallery
401 Richmond St., Suite 110, Toronto Ontario, M5V 3A8, (416)979-9633, Tuesday to Friday, 11-5, Saturday 12-5.

Exhibition: May 16 – June 14, 2014
Opening reception: Friday May 16, 6 – 8pm
; Performance: 7pm

Exhibition essay by Dina Al-Kassim

Wrong Place / Mauvais Endroit / Lugar Incorrecto /틀린 장소 is an ongoing series of site-specific public works that are performative.
By researching geopolitical histories, seemingly disparate political events are ‘remixed’ – cross-culturally and linguistically. Performed in various international sites – Nicosia (Cyprus), Santiago (Chile), Valdivia (Chile), Mexico City (Mexico), Edmonton and Montréal – each iteration centres on an iconic public speech, which is translated, then enunciated in multiple languages.

The result, at once dissonant and consonant, is intended to question our historic amnesia, and to trigger a re-imagining of their historical interconnectedness and continuing relevance to contemporary culture and geopolitics. At A Space Gallery, the work becomes a multimedia installation based on the original performances: painted military fatigue, flag-like photographs, a bicycle-powered mini-tank, and videodocumentation of the original site-specific performances.

David Khang’s Website.

David Khang, Latitude 53, Visualeyez 2008
Tank_Tryptich
WrongPlacesWrong Place / Mauvais Endroit / Lugar Incorrecto / 틀린 장소 2014

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Canada Council: SANTA FE RESIDENCY FOR CANADIAN FIRST NATIONS/INUIT/MÉTIS ARTISTS & CURATORS

RESIDENCY FOR CANADIAN FIRST NATIONS/INUIT/MÉTIS ARTISTS AND CURATORS

Deadline extended for the Santa Fe Art Institute International Residencies Program New Deadline:
Friday, May 23, 2014

The Canada Council for the Arts Santa Fe Art Institute Residency is open to receive applications.

The International Residencies program supports professionals in the visual arts which include visual and fine craft artists, as well as independent critics and curators in furthering their artistic practice in an international context.

Santa Fe Art Institute, New Mexico (www.sfai.org) Santa Fe Art Institute (SFAI) is a nearly 17,000-square-foot complex located on the College of Santa Fe campus.
SFAI’s facility includes gallery/exhibition spaces, 5,100 square feet of studio space with skylights, housing for residents, a library, courtyards, laundry facilities, a full kitchen, and dining and living room areas.

Santa Fe is an historic hub of Aboriginal visual arts activities including the School of Advanced Research, which houses the Indian Arts Research Center as well as the Institute of American Indian Arts. It is also home to the Museum of Contemporary American Native Art, as well as the famous market place, the Indian Art Market.

This residency component is dedicated to Canadian Aboriginal artists and curators of First Nations, Métis and Inuit origins.
Two residencies are awarded to an Aboriginal visual artist and /or curator for a period of three months each:

• October 2014 to December 2014
• June 2015 to August 2015

The total grant amount of $15,000 applies to the resident’s expenses. Residency and accommodation fees, for single occupancy, are supported by the Canada Council for the Arts (Visual Arts Section and Aboriginal Arts Office) and Santa Fe Art Institute.

Your program of work should be limited to two pages maximum and include: your practice (previous and current work), the program of work you intend to undertake at the residency and the potential impact of the residency to your artistic practice. You must also include a résumé (three pages maximum).

For visual and fine craft artists, you must include visual support material: 15 digital images or one video (maximum 10 minutes long), or a combination of 10 images and one video (maximum five minutes long).

For independent critics and curators only submit three excerpts of your published texts, articles or catalogues (maximum of 10 pages for each excerpt). You may also submit visual support materials documenting your previous work and the work of the artists who will be the focus of your research.

For more information contact Program Officers:
Jennifer Cherniack
1 800-263-5588 ext. 4122
jennifer.cherniack@canadacouncil.ca
Jim Logan
1 800-263-5588 ext. 5266
jim.logan@canadacouncil.ca

You can submit your project by email until Friday, May 23, 2014 at jennifer.cherniack@canadacouncil.ca

Please indicate in your email what residency period you are applying for: October 2014 to December 2014 OR June 2015 to August 2015.
For more information, please go to:
http://canadacouncil.ca/en/visual-arts/find-grants-and-prizes/grants/international-residencies

VIEW PDF – Santa Fe Extension

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Play, Fall, Rest, Dance

playrestfalldance info new cover

About the Project

Artist Valerie Salez invites children to art-making sessions to re-imagine their environment. Every child is encouraged to use fabrics, paint and repurposed materials from Salez’ previous projects. The children respond to the imaginative spaces they create through movement, dance, sound and play. The artist thoughtfully guides the children to explore their creative processes.

Looking For Youth

We’re partnering with KickStart Disability Arts and Culture to find youth with disabilities to participate in this exciting incarnation of Play, Fall, Rest, Dance. We are looking for four to six children between the ages 6–12 years old. The artist will work one on one with the child (with attendant or parent in attendance if needed).

Email Meagan Kus meagan@grunt.ca at grunt gallery if you have any questions or would like to register your child for this project, this is a free project and there is no associated cost to register. You can also reach grunt gallery by phone at 604-875-9516.

Where & When

The project will take place at grunt gallery. We’re located at 116-350 East 2nd street, Vancouver BC. We’re a few blocks from Main Street and a short walk away from the Main Street Skytrain station.

Sessions will happen one to two times per week, the artist will schedule sessions with the children based on their availability. The sessions will be 2-3 hours in length. Transportation support can be provided on request.

DOWNLOAD “Play, Fall, Rest, Dance” Information Booklet.

DOWNLOAD Poster.


About the Artist

Valerie Salez brings Play, Fall, Rest, Dance to Vancouver following a successful residency with Open Space (Victoria, BC) last year. At Open Space she worked one on one with over 20 children, guiding children to produce countless installations and performances.

Her experience with working with children and the arts includes:

>> Arts Reach (instructor: special large scale art projects in underfunded public schools- Vancouver Island)
>> Selkirk Montessori (artist in residence: work on art projects with kids with special needs and disabilities- Victoria, BC)
>> Victoria West Community center (artist in residence: working on art projects with small children- Victoria, BC)
>> Robert Service School, Dawson City, Yukon (artist in residence as special guest art teacher: two years working with at-risk and special needs First Nations children and youth)
>> Artist in the schools Victoria, BC and Yukon (special art projects in public schools in Victoria and all over the Yukon territory)
>> Canada Winter Games- National Artist Program – Whitehorse, Yukon (mentored youth in producing art works for large scale exhibition)
>> This Town is Small – Charlottetown, PEI (mentored youth artists to make work for outdoor art festival)

Learn more about Valerie and her art practice on her website.


grunt gallery

grunt.ca

grunt is an artist-run centre founded in 1984 in Vancouver, BC. We have a long history of supporting creative, challenging, and innovative projects and exhibitions. grunt hosts youth-based projects on an annual basis. In 2013, we worked with artist Desiree Palmen and 7 Aboriginal youth on the project MAMOOK IPSOOT (To Hide or Make Hidden). Learn all about it here: grunt.ca/projects/mamook-ipsoot. We are incredibly excited to host Salez and her incredible project Play, Fall, Rest, Dance.

Kickstart Disability Arts and Culture

kickstart-arts.ca

KickStart Disability Arts & Culture (formerly the Society for Disability Arts and Culture) was incorporated in November 1998 in Vancouver, British Columbia, Canada. Kickstart’s mission is to produce and present works by artists with disabilities and to promote artistic excellence among artists with disabilities working in a variety of disciplines.


Read more about Play, Fall, Rest, Dance on Open Space’s website:

“When a child arrives inside Salez’s studio, shouts of delight mingle with the occasional flute melody echo throughout the building, further enticing an audience to observe the young artist at work. Instead of a planned activity, Salez allows the children the freedom to select their own medium and materials. The child is left with limitless possibilities, encouraged to use their boundless imagination.”

http://www.openspace.ca/ReganShrummValerieSalezEssay

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Double Book Launch

Stop by grunt gallery to refresh your spring reading!

Thursday April 24 (6-8pm) at grunt gallery
dbl-book launch-01

Find yourself a copy of the ‘Mamook Ipsoot (To Hide or Make Hidden)’ book and Art Cards. The book describes how the youth project approached art-making through a conceptual lens and explores the relationship between indigenous youth and Vancouver’s landscape. It includes a foreword by Glenn Alteen and an essay by community arts coordinator, Jolene Andrews.
https://grunt.ca/projects/mamook-ipsoot/

Stop by to feast your eyes on the ‘Don’t Go Hungry – Be Hungry’ booklet. This publication features a new essay by Tania Willard and includes beautiful photos from the Don’t Go Hungry exhibition by Bracken Hanuse Corlett and Csetkwe Fortier.

We’ll be offering lots of great deals on past publications, check out our online store to see what we have available:
http://gruntgallery.bigcartel.com/

 


grunt YouTube:

Watch Bracken Hanuse Corlett and Csetkwe Fortier talk about, “Don’t Go Hungry”.

Learn all about the “Mamook Ipsoot (To Hide or Make Hidden)” project:

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