Artist Talk: Shary Boyle

January 23 @ 6pm
MoCap Studio, North Building, rm 285

Boyle works across diverse media, including sculpture, painting, set design, installation, and performance. In 2016, she was awarded a public art commission for the Gardiner Museum in Toronto, and exhibited her work in Ceramix, ceramics and art from Rodin to Schutte, at Cité de la céramique Sèvres et Limoges, and La Maison Rouge, Paris. In 2015, she performed at Luminato Festival and the National Gallery of Canada, installed a commissioned sculpture for the Musée des Beaux-Arts de Montréal, and presented Universal Cobra with artist Shuvinai Ashoona at Pierre-François Ouellette art contemporain, Montréal. Boyle represented Canada with her project Music for Silence at the 55th Venice Biennale in 2013. In 2017, she will present the exhibition Earthlings at the Esker Foundation in Calgary, and participate in the Gyeonggi International Ceramic Biennale in Korea.

The Visual Art Forums are presented by Emily Carr University of Art + Design’s Audain Faculty of Visual Art + Material Practice.

Plaza Projects: Peer Pressure

January 14 – February 20, 2017

Though the narratives of art history often provide tidy tales of artistic practices and progressions, the realities are often messy and ambiguous. Artists derive their influences and inspirations in their experiences as much in dialogue with each other as the world at large. This exhibition features works by artists from the art space, Duplex. It is a site where sometimes conflicting activity of artistic production and exhibition making are embraced, a site for the production works and a platform for other artists to find their voice.

Peer Pressure is an important part of the formation for artistic discourse. The influences of one’s peers as interlocutors to argue against enriches and enlivens the artist’s practice even if it’s seldom acknowledged. Peer Pressure celebrates the contestation of differing practices, of conflicting ideas. A riotous cacophony, a nod to ever present productive affinities and antagonisms.

Plaza Projects
Unit 2370, Aberdeen Mall, 4000 No.3 Road, Richmond, 778.835.5850
Hours of Operation: Tuesday to Sunday, 12 – 5pm

Jimmy Robert: Wanna talk about reading?

January 20 – March 4, 2017
Opening Reception: Thursday, January 19 @ 7pm
Performance: Tuesday, January 24 @ 7pm

Bringing together recent works that span photography, video, drawing, sculpture, and performance, Jimmy Robert’s solo exhibition for Western Front centres on conversations between images and text, text and movement, performance and objecthood. Through these works, Roberts positions reading as the central gesture to move through these relationships. Here, reading happens across language, image, and material as elements present in the works in the gallery. Extending from these, the exhibition places Robert’s practice in conversation with the history of movement art practices at the Western Front. Through dialogues with original Western Front member Jane Ellison, Robert will develop a new performance to be presented in the gallery.

Western Front
303 East 8th Ave, Vancouver, 604.876.9343
Hours of Operation: Tuesday to Saturday, 12 – 5pm

Dustin Brons: Views

January 18 – February 19, 2017
Opening Reception: Wednesday, January 18, 6 – 9pm
Curated by Steffanie Ling

CSA Space is positioned pretty much in between two new developments, Independent and Ellsworth. “The centre of the city just shifted” is the slogan from the Independent, and “Get centred here” is an excerpt from Ellsworth’s slogan (the full phrase is “Just minutes from everywhere. Get centred here.”) A pair of videos are taken from the Views sections of each of the developments’ websites. These are screen captures that show a cursor dragging the landscape around on the 360 degree viewing interface. Brons presents these imminent views of the city as something to be controlled at will, almost like a plaything. It anchors the user as the centre of the urban universe, making them stationary while moving the landscape around them.

#5-2414 Main Street, Vancouver

Casey Way: 69 Years in a Day

January 6 – February 3, 2017

Casey Wei’s 69 Years in a Day (every single David Bowie album from start to finish) considers the level of grief a fan can experience over the death of their idol. For the duration, Wei listens to the complete discography of David Bowie on chronological order, but the video itself contains no audio. It is a gesture displaying her adoration while it is also an act of endurance. Reminiscent of video works from the seventies and eighties, Wei’s work combines the private, intimate qualities of Bas Jan Ader’s I’m Too Sad to Tell You, with the time ad perseverance documented in Tehching Hsieh’s Time Clock Piece.

READ Books, Charles H. Scott Gallery
1399 Johnston Street, Vancouver

Amie Siegel: Quarry

January 12 – March 11, 2017

Amie Siegel’s moving image work Quarry (2015) proceeds from the vast underground caverns of a Vermont marble quarry to the material’s high-end destination: the opulent sales galleries for Manhattan’s newest residential skyscrapers.

SFU: Audain Gallery
149 West Hastings Street, Vancouver
Hours of Operation: Tuesday to Saturday, 12 – 5pm

Featured Exhibitions at The Contemporary Art Gallery

January 13 to March 19, 2017

Harzoon Mirza – Entheogens
The Contemporary Art Gallery presents the first solo exhibition in Canada by British artist Harzoon Mirza. Mirza is internationally acclaimed for his work that tests the interplay and friction between sound, light waves, and electric current. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations in which he describes his role as a composer.

Erdem Taşdelen – Wild Child
A two-part video installation which takes as its starting point, An Historical Account of the Discovery and Education of a Savage Man by Jean-Marc Gaspard Itard, a physician who decided to care for a feral boy found in Aveyron, France in 1798.

CAG – The Contemporary Art Gallery
555 Nelson Street, Vancouver
Hours of Operation: Tuesday to Sunday, 12 – 6pm

Vancouver Special: Ambivalent Pleasures

December 3, 2016 to April 17, 2017

A feature of works by 40 artists produced within the last five years – Vancouver’s post-Olympic period. The exhibition includes many emerging artists as well as those who are more established but whose ideas were prescient. Some are recent arrivals to Vancouver, while others are long-term residents who have already made significant contributions. Others are nomadic, less settled in one place and are working energetically between several locations.

Vancouver Art Gallery, 750 Hornby Street, Vancouver, 604.662.4719

DIM Cinema: Experiments in Education

Wednesday, October 26, 2016 – 7:30 pm
The Cinematheque
1131 Howe Street. V6Z 2L7

Programmed by Melanie O’Brian and Michèle Smith

The second program in relation to Andreas Bunte’s Erosion considers architecture  as an experimental laboratory. Beginning as a campus tour and ending with a reenactment of Michael Asher’s influential “Post-Studio” class, Redmond Entwistle’s Walk-Through explores the site, design, and philosophy of the California Institute of the Arts in Los Angeles as a starting point for wider questions about pedagogical models and their relationship to emergent forms of social, political, and economic exchange since the 1970s. Raphael Bendahan’s Rochdale College, shot inside an 18-storey tower in downtown Toronto, is a contemporary document of a failed experiment in free education and communal living. The University of Scarborough’s Brutalist campus doubles as the “Canadian Academy of Erotic Inquiry” in David Cronenberg’s slim first feature, Stereo. Filmed without synchronized sound, it follows seven volunteers in a parapsychology experiment whose telepathic abilities allow them to slip out of the control of their overseers.


Introduced by Aiofe MacNamara, Dean of the Faculty of Communication, Art and Technology at SFU

Walk-Through | Redmond Entwistle/Great Britain 2012. 18 min. DCP
Rochdale College | Raphael Bendahan/Canada 1970. 21 min. 16mm
Stereo | David Cronenberg/Canada 1969. 65 min. 35mm

Advance Tickets:

VAST 320/420 : Meanings and Misunderstanding

The Yucatan Peninsula’s name is derived from a 16th century encounter between Spanish explorers and the local Mayan population. Upon being asked the name of the region, reports indicate that the Mayans answered either, “I do not understand your speech,” or, “Hear how they talk.” Misunderstanding their response, the Spanish explorers took these statements of incomprehension as the name of the place: Yucatan.

What is the role of misunderstanding in the production of knowledge? Drawing on this question, we will collectively consider ideas of “art” and “research” and the matter which populates the space between these two terms. Through lectures, readings, discussions, presentations, screenings and studio projects, we will investigate the concepts of noise, contingency, ambiguity and confusion as they impact the production of meaning in artistic and cultural practices.

Taught by Raymond Boisjoly .

Course link :



Rove Grey is the first segment of a combined body of work that will carry itself out between two spaces. This first installment, visual work by Jordan Milner, will take place at Index in response to a short fiction provided by Alex Bovril. The reverse oscillation will follow shortly after at Spare Room as an inversion of creative roles. The combined exhibitions perform as a single wave both collapsed and amplified between two parallels:

Read the story here

Jordan Milner is an artist based in Vancouver. He graduated from Emily Carr in 2014 with a BFA in painting. Recent projects include ‘Hapt in the Organ Felt’ at Dynamo Arts Association, ‘Three Point Turn’ at Eastvan Studios, and ‘To Emit Thought Time Ought To’ at Yactac Gallery. He is also a part of the collaborative project Avenue Gallery.



DIM Cinema at The Cinematheque: Wednesday, 25 February, 7:30 pm

The World Question Center: James Lee Byars

Programmed by Michèle Smith

“Could you offer us a question that you feel is pertinent in regards to
your own evolution of knowledge?” asks the voice at the end of the line.
It’s James Lee Byars calling, the American performance and installation
artist “whose idiosyncratic, Zen-influenced blendings of Minimal and
Conceptual art stressed questions over answers, absence over presence, and
a lush momentary experience of beauty over permanence” (Roberta Smith, New
York Times). Byars’s initial idea for this project was to lock 100
brilliant minds together behind closed doors and invite them to ask each
other the questions they were asking themselves. It evolved into The World
Question Center, a live broadcast on Belgian TV, during which the artist,
supported by a panel of guests (including Marcel Broodthaers) and a ring
of university students (the entire cast dressed in pink robes, but, alas,
filmed in B&W) telephoned thinkers, scientists, and artists with his
question. Filmmaker Jef Cornelis documented the proceedings: “That the
network even broadcast this adventure, let alone at 10 o’clock on a Friday
evening, is still a puzzle to me.”


James Lee Byars, Antwerpen 18 April — 7 Mei 1969 | Jef Cornelis/Belgium
1969. 32 min. DCP.
The World Question Center | Jef Cornelis/Belgium 1969. 63 min. DCP

Images: Courtesy of Argos Centre for Art and Media

The Cinematheque
1131 Howe St. Vancouver BC Canada
Screenings are 18yrs+
Tix $11/$9+ $3membership75 Hats 37577399919cc40a7b77e35818426ffa-500x375 Antwerpen Byars CRI_213184 jamesleebyars_1-72 dpi worldquestion_005_72dpi

Opening Tonight: Geometry of Knowing @ Audain Gallery


Opening Reception and event with Jeneen Frei Njootli and Kara Uzelman
Wednesday, JAN 14, 2015, 7pm
Audain Gallery

Part 1: SFU Gallery, Burnaby, JAN 15 – FEB 28, 2015
Part 2: Audain Gallery, Vancouver, JAN 15 – FEB 28, 2015
Part 3: SFU Gallery, Burnaby, MAR 21 – MAY 15, 2015
Part 4: Audain Gallery, Vancouver, MAR 19 – MAR 28, 2015

Geometry of Knowing is a group exhibition that investigates approaches to the acquisition of knowledge in the full mind-body-spirit sense of intelligence. Organized in four parts and presented across two galleries located in a post-secondary pedagogical institution, the objective of the project is to investigate the way in which artists engage tactics of fieldwork, embodiment and materiality in a manner that reveals or instigates a process of knowing. In this moment of increasing standardization and specialization regarding how people learn, art is a space for innovative thinking and experimentation outside given frameworks.

No Monologue @ 221a

“Did we just collaborate?” (2014) found Craigslist image and caption for No Monologue

No Monologue is a group exhibition of works by Dustin Brons, Gabi Dao, Scott Kemp, Kara Hansen, Emma Metcalfe-Hurst, Ellis Sam, and Zebulon Zang. Regarding the long table as an inherently social fixture in light of the changing politics of congregation and the increasingly idealized collaborative impulse, the artists will respond to a 24-foot long table installed in the gallery.


Happy New Year and Happy Spring from Adreas Slominski!

The sculptures of Andreas Slominski (b 1959 in Meppen, Germany) were first noticed in the early eighties. While his works dating from that time were the size of fairly small sculptures, in recent years they have grown into often voluminous installations. From the start, Slominski sought direct dialogue with the viewer. His so-called “traps” are absurd-looking baits, somewhere between sculpture and functional object. Similarly to Duchamp, he integrates everyday objects into the context of art in order to visualise the process of artistic perception. His work includes bicycles, windmills, found objects and materials taken from everyday life, showing components of his ironic universe along with a tribute to dadaist ideas.

#Currently: Beginning the Shape @ Or Gallery

Beginning the Shape 
Kristen Abdai, Maya Beaudry, Scott Kemp, Mel Paget
December 6, 2014 — January 31, 2015, 2014
Reception Friday, December 5, 8PM
Curated by Madison Killo

Morphogenesis (deriving from the Greek morphê) is a biological term used to explain the genesis of cells and cellular differentiation. It describes the process that causes an organism to develop its shape. Acting as a metaphor for artistic and curatorial production, the exhibition propagates a process of morphogenetic character. It alludes to the invisible influences that develop the shapes of forms. This genesis of form is seen as an ‘open ended becoming’ that is both nonlinear and dynamic. The works in the exhibition enter a playing field with no hierarchical divisions–they and the viewer exist as equal occupant bodies. Existing as a simulation of a body without organs, the result is a morphogenesis of a distinct experiential essence.
Including sound, video and sculpture–the works in Beginning the Shape create a singular installation. These three disciplines lend themselves to a shifting of experience and a total investment in presence. All of the works reference a method of placing the self, emphasizing perception to create a multiplicity through their unification.

Included is a video by Mel Paget that calls to being an evolution of renderings and shifting alterations through a number of softwares. Maya Beaudry’s installation shares with the viewer a constant recycling of shape through repetitive gesture, taking form again and again in tandem with the surrounding exhibition. Scott Kemp’s austere constructions shift space and place through clean-lined reappropriation, derived from the shapes found in both Paget and Beaudry’s work. Kristen Abdai’s sound piece creates a symphonic matrix with the surrounding installation, constructing and enhancing spatial awareness through its subtle presence. The echoing of the sound installation through different areas of the gallery exalts the nuances of the experience morphogenetically formed in its wake. It smoothes the fractured object that is the exhibition, as morphogenesis creates an undercurrent through the show with its culmination of immanent assemblage.

Exhibition Opening | When Sky was Sea: Shimabuku @ CAG

“The Contemporary Art Gallery presents the first large-scale survey exhibition in North America of work by renowned Japanese artist Shimabuku. Demonstrating the breadth of the artist’s practice, works reveal an essential correspondence to things elsewhere in a wider world, insisting on our grasp of the continuity that exists between art and (non-art) life. As he travels the world, interacting with strangers, and conversing with nature, Shimabuku instigates moments of poetry, humour and surprise.”

November 21, 2014 to January 11, 2015
Read more here:

Artist Talk: Garry Neill Kennedy

“We are pleased to present a artist talk with Garry Neill Kennedy. He will speak about his current exhibition, A Cloudy Moment in American History, in the context of his conceptually based practice. Please join us for an intimate evening with this iconic figure.

Throughout his career Kennedy has employed innovative formal strategies in the service of political critique. Recently, these strategies have emphasized the political implications of colour and their naming, a central element in the two bodies of work included in this exhibition.

In addition to his politically astute explorations in conceptual art, Garry Neill Kennedy is renowned for his contributions as a pedagogue and mentor. Born in St Catharines Ontario he obtained an associate degree of art from the Ontario College of Art, 1960, a BFA from the University of Buffalo, 1963, and MFA at Ohio University, 1965. He was selected just two years later to helm Nova Scotia’s College of Art (NSCAD) where he served as President until 1990. Following the tradition of experimental education established by Josef Albers at Black Mountain College and Walter Gropius’s Bauhaus, Kennedy’s NSCAD became one of North America’s most experimental and influential art institutions in the world. In the recent past Kennedy has presented solo exhibitions at Portikus, Frankfurt; Canada Gallery and Printed Matter, New York; Goodwater Gallery and MOCCA, Toronto; and nearly every large public gallery in eastern Canada. His works have been placed in many public collections including the National Gallery of Canada, Art Gallery of Ontario and the Vancouver Art Gallery.”

#TONIGHT: The Visitor Vegetable @ Skylight Gallery

“The exhibition will question what the body is for when placed in a disparate territory. Questioning the invisible landmarks called borders: states of minds, cultural differences, territories etc. Questioning the act of putting yourself in an alien place. What manifests when your previous ideologies collide with the unlearned environment.

The Visitor Vegetable show is questioning the boundaries of human nature and the encompassing infrastructure. On a rim of a mirror, we stare in, hoping to look back, forward or perv after someone else. How to reach to freedom and identity presuming to be part of the solution. For that we are transforming, taking body and actions after them – the extraterrestrials. You open up to the different species like a matryoshka or cracked chocolate egg when you discover that your surprise was a vegetable constructor. You find the instructions how to cook it, but in some foreign language that you cant read. These seemingly invisible lines called differences and weird alien habits we need to adapt now. We sit quietly in observation, tracking the unrevealed. Trying to figure out the system of our inner territories and theirs. What is our own role in ourselves and what do I need to do with this body?
“After all what is human in the nature? Compared to infinity nothingness, compared to nothingness macrocosm; Center in between nothing and everything. Endlessly far from understanding extremes – both, end and beginning of things are unobtainable, hidden with impermeable secret; equally powerless to see the essence, where its been torn out and the infinity where its going to be swallowed” – Blaise Pascal “

#COMINGSOON: Isonomia by Michael Lachman @ Amazing Gallery

“Amazing Gallery is pleased to present ISONOMIA, a collection of new airbrush drawings by Michael Lachman.

The drawings comprise a lush constellation of flora and fauna from diverse walks of life. Icons and dust-bunnies alike are assertive of their distinctly indulgent agenda. This promiscuous gathering disturbs individual significance and seems to implode any hierarchy, leveling the playing field for all participants — such activity seems to point towards the intense, attention deficient banality of modern life.


Amazing Gallery is an exhibition space operated by undergraduate visual arts students at Emily Carr University and is situated on the 4th floor of the south building. Amazing Gallery’s programming is initiated through the participation of current students. Our mandate is to support new forms of artistic practice in emerging artists and to promote dialogue and critical reflection.

Amazing Gallery is open to the public during openings from 7-10 pm, and by appointment all other times.”

#COMINGSOON: Interior(s): Film, Video & Installation Art @ Western Front

“Join John G. Hanhardt, Senior Curator for Media Arts, Smithsonian Museum for American Art, for a critical discussion about the history of the moving image in contemporary art. Hanhardt is one of the foremost curators of film and video, having worked at MoMA, the Walker Art Center, The Whitney Museum of American Art and the Guggenheim Museum throughout the course of his long career. His talk, in part inspired by Roland Barthes’ “How to Live Together. Novelistic Simulations of Some Everyday Spaces”, will look at how interior spaces are imagined in work ranging from John Ford to Isaac Julien.”

#COMINGSOON: Conversation between Kelly Lycan and Liz Magor @ Presentation House Gallery

“Please join us for a conversation between Vancouver artists Kelly Lycan and Liz Magor about Lycan’s installation, Underglow, preceded by a short walk-through tour by the artist. The discussion will consider the concepts that informed the exhibition in relation to Lycan’s and other artist’s practices.

Underglow is a response to Presentation House Gallery’s architecture and history. The installation – entirely in shades of black and white – transforms the gallery spaces to bring the past into dialogue with the present. The artist reflects on the growing impact of digital imagery on the display and reproduction of photographs.

Underglow features a full-scale replica of Gallery 291 that operated in New York between 1905 and 1917. This now iconic photography gallery, initially conceived to promote the medium as home to the Photo-Secessionists, was the first exhibition space to profile photography as art and introduced many European modernist artists to America, including Matisse and Duchamp. Lycan’s structure mimics a black and white photograph taken by Alfred Stieglitz of a 1906 exhibition at 291, itself built as an imitation of Victorian décor and Arts and Crafts design. Viewers are invited to walk through a simulation of the photograph, complete with decorative details and a foliage bouquet –everything except pictures on the walls. This illusionistic set is paralleled with Lycan’s reconfiguration of the white cube gallery space. In this disorienting arrangement of grainy black and white photographs taken in modernist New York museums, abstracted convex and concave spaces merge into the existing gallery architecture. The exhibition also includes slight alterations to Presentation House Gallery’s architecture. Based on the artist’s research in the Gallery’s photo-documentation archive of exhibition installations, Lycan references past techniques of exhibition display, drawing out the impact of display methods on the reception of art. This exhibition extends Lycan’s ongoing investigations of the ways that décor and the armatures of display determine the meaning of objects, and draws attention to the interplay between systems of representation and perceptual experience.

Kelly Lycan lives and works in Vancouver. Initially studying photography at Ryerson in Toronto, she received her Bachelor of Fine Arts from Nova Scotia College of Art and Design in 1992, and her Master of Fine Arts from the University of California, Santa Barbara and Los Angeles in 1998. Her work has been exhibited in exhibitions across Canada, the US and Europe, including solo presentations at SFU Gallery, Burnaby, 2014; Or Gallery, Vancouver, 2011 and Gallery TPW, Toronto, 2009. She is a member of Instant Coffee, a service-oriented artist collective.

Liz Magor has been exhibiting since the early 1970s and has participated in major exhibitions worldwide, including the 4th Biennale of Sydney, 1982; the Venice Biennale, 1984 and Documenta VII, 1987. She has studied at the University of British Columbia, Parsons School of Design and the Vancouver School of Art. Recent solo exhibitions include Triangle France, Marseille, 2013; The Mouth and other storeage facilities, Henry Art Gallery, Seattle and Simon Fraser University Gallery, Vancouver, 2008; and Liz Magor, The Power Plant, Toronto, 2003, among many others. Magor has received numerous prestigious awards, including the Audain Prize, 2009 and the Governor General’s Award, 2001. She is represented by Catriona Jeffries, Vancouver and Susan Hobbs, Toronto.”

#COMINGSOON: Nicolas Sassoon: Dream Homes @ Wil Aballe Art Projects | WAAP

Dream Homes
Opens Thurs, Nov 6, 2014 /// 7-9 p.m.
Exhibition: Nov 6 – Dec 6, 2014

Wil Aballe Art Projects | WAAP
528-2050 Scotia St.
Buzzer 189

Hours: Tues 6-9 p.m. /// Sat 1-5 p.m.
Parking available at back of building off alley

For inquiries, please contact Wil at 778 229 3458 or

Nicolas Sassoon’s first solo exhibition at WAAP features three recent projects navigating the artist’s current production of fantasized landscapes and architectures through the use of 3D modelling and computer graphics. The print series Homelands presents a set of computer generated landscapes inhabited by architectural figures. Each print formulates a topographical site for an architecture through the use of landscape generating programs and color-indexing image treatment. Using this process, the artist creates a large body of bare and secluded landscapes converging towards the sculptural and pictorial qualities of the geography in relation to the architecture. The project Homelands started as an exercise to render some of Sassoon’s father’s fantasized images of holiday homes. It later became a personal project as an ongoing enquiry on the digital manifestation of architectural fantasies.

The series Mansions features concrete castings of architectural shapes displayed underwater inside small aquariums. Each Mansion is a casted object borrowing its sculptural shape from a 3D model of a luxurious home found online, reduced to its most basic form as a dark sculptural shape. The 3d models are then 3D printed to produce a series of concrete castings submerged underwater. Mansions reflects on the notion of the dream home, its virtual existence and its unclear outcome as a virtual object. The project also aims to suggest parallels between the practice of 3D modelling and traditional art forms such as Suiseki, Bonsai and Saikei; contemplating on miniature sceneries and structures as domestic objects for contemplation.

Veils is a series of computer-generated animations of window curtains agitated by a slight breeze. Each crochet-like curtain is framed by a dotted line of pixels delineating the borders of an imaginary window. When projected, the animation transforms to a life-size architectural feature, evocating a passage way to the digital realm.

Nicolas Sassoon is a French-born artist living and working between Biarritz, France and Vancouver, BC. Sassoon’s work makes use of various computer-based processes to generate fantasized visions of architectures, landscapes and domestic environments. While most of his work is published online as animated GIFs, Sassoon also materializes his screen-based practice into sculptures, prints, textiles, and site-specific installations, as well as collaborations with other artists, architects, music producers and fashion designers. Sassoon’s work often explores the contemplative dimensions of the digital, as well as the manner in which virtual space can (or cannot) be inscribed within the physical realm. Nicolas Sassoon has previously exhibited his work at the Victoria & Albert Museum (UK), Today Art Museum(CN), New Museum(US), 319 Scholes(US), Eyebeam(US), May Gallery & Residency(US), Contemporary Art Gallery(CA), Charles H.Scott Gallery(CA), Western Front(CA), PRETEEN Gallery(MX), the Centre d’Art Bastille(FR), Arti et Amicitiae(NL), MU Eindhoven(NL) , the Berlin Fashion Week (DE)) and the New-York Fashion Week (US). Nicolas is a member of the online collective Computers Club and a founder of the collective W-A-L-L-P-A-P-E-R-S.”

#COMINGSOON: place(me)nt @ ECUAD Concourse Gallery

“Please join us for the Emily Carr Student Exchange show this November at the Concourse Gallery. The show features 25 Artists and Designers who participated in the 2013 / 2014 Exchange program at Emily Carr University of Art & Design.

Food and beverages will be provided opening night Thursday, November 6th, 2014 at 7pm. “

#COMINGSOON:Big Beige Eyes @ 221a

“Opening Reception: Thursday, Nov 6, 7pm

Big Beige Eyes is a solo exhibition of work by Kalli Niedoba inspired by the upscale beige-tinted interior of a Los Angeles branch of Citibank. The bank has invested in interior design as a means to orchestrate social order; The bank seeks to meet the goals of finance. As people line up, they are accounted for as customers of varying class standing – and a pseudo-democratic welcome desk stands waiting as an artifice of infrastructure.”

#COMINGSOON: Balmoral 12-tone @ AVENUE

A symphony
conducted by Ellis Sam
Featuring work by artists that has previously been shown at Avenue.

Tommy Chain, Gabi Dao, Kara Hansen, Nick Howe, Scott Kemp, Eric Lowe, Emma Metcalfe Hurst, Jordan Milner, Chad Murray, Katrina Niebergal, Ingrid Olauson, Logan Sturrock, Allison Watters, Zebulon Zang

Opening Saturday October, 25th, 2014

7pm onward


“Addressing notions of shelter and protection, this campus wide exhibition features a range of works by Emily Carr University students who examine issues from affordable housing, and homelessness, to comfort and sanctuary. The selection of works showcases a variety of disciplines and levels of study. In addition to the Concourse Gallery, supplementary sites will function as exhibition space around the University campus. These include the library, the cafeteria, and a series of peripheral spaces.

With works by:

Alina Senchenko
Arielle Taylor
Bronwyn McMillin
Chelsea Yuill
Christian Zenga
Dan Brown Hozjan
Dylan Moffatt
Elizabeth Murdoch
Emile Rubino
Emily Cameron
Ezra Bloom
Gabrielle Strong
Ian MacDonald
Julianne Kozak
Leah Weinstein
Leo Lin
Michael King
Mieko Graham
Neil Manchon
Noah Friebel
Roberta Sciarretta
Ron Morrie
Terra Poirier
Tiffany Yang

The exhibition will run from October 10 until October 22 with a closing reception at 6pm in the Concourse Gallery.”

#COMINGSOON: Ex Nihilo Nihil Fit by Jamie Ward @ Maillardville Cultural Appreciation Society

The Maillardville Cultural Appreciation Society is pleased to present a solo exhibition of recent work by Jamie Ward. Ballpoint pen drawings on salvaged substrates, tape compositions and sound arrangements within the exhibition each present ubiquitous and disposable signage whose definition is eradicated by a cumulative energy that precludes the referential impulse. More than simply signs robbed of signification the works posses a musical sensibility, bypassing interpretation and moving instead toward immediate experience. Meaning is abandoned in favour of composition as direct exposure.


Exhibition info


Inter Tidal is an installation by Ryan Mathieson that exists in-between spacial orientations. Walking between the lines of the organic and the structural – as well as the scientific and the metaphysical, we as viewers we are called upon to contemplate the actual in relation to methods of display and formal functions. A quiet collection of objects, structures, sounds, and smells, the installation acts as an immersive experience to be used as a platform for corporeal consideration



The Contemporary Art Gallery presents the first solo exhibition in Canada of work by acclaimed German artist Jürgen Partenheimer. Reflecting the diversity of the artist’s practice, the exhibition comprises works on paper, text, printmaking, ceramics and sculpture, much of it produced in Vancouver in spring 2014 during his recent residency as the Audain Distinguished Artist-in-Residence, hosted by Emily Carr University of Art + Design.

Jürgen Partenheimer – The Archive — The Raven Diaries


Sarah Stein

Hyemin Kim

Erdem Tasdelen

Jim Verburg

Nicole Kelly Westman

Hyung-Min Yoon

Far Away So Close is a multi-part exhibition and publication series that explores iterations of distance, considers the bridging of distance as an ultimately quixotic gesture, and investigates the particular relationship of this gesture to art making. Presented over the course of 2014-15 at Access, each installment showcases emergent artists working in a variety of different modes and media, with practices scattered across the globe.


#LASTNIGHT : The Port / Matthew Buckingham: Obscure Moorings


“In Obscure Moorings, Matthew Buckingham’s film installation based on Herman Melville’s short story “Daniel Orme,” a sailor’s last days are spent in Liverpool, a once vital seaport which, like Vancouver, is being dramatically redefined by social and global economic change. Buckingham writes that without “using words the pictures and sounds juxtapose different archetypal sites from Liverpool’s city-scape, allowing places and their respective ‘pasts’ to resonate with and contradict each other.” The wave of change that impacts inhabitants of most port cities is akin to the drastic change that befalls Daniel Orme as he transitions from sea to land. This wave of change is physically manifested by Buckingham as the platform on which viewers sit when watching his film. An impressive curvilinear wave, the platform fills the Satellite’s largest exhibition space”


#CURRENTLY: Yuji Agematsu @ Artspeak


YUJI AGEMATSU was born in 1956 in Kanagawa, Japan. Since 1980 he has lived in Brooklyn, New York, where he has been collecting, arranging, and archiving discarded things from the street. He studied with Tokio Hasegawa, a member of the Japanese experimental music group the Taj Mahal Travellers, as well as the American jazz drummer and percussionist Milford Graves. He recently presented solo exhibitions at Yale Union, Portland, and Real Fine Arts, Brooklyn.


Scott Kemp, Logan Sturrock, Zeb Zang @ Avenue ((art show))




People are everywhere, not gushing in crowds but enough to give a sense of movement/bustle/life. A sidewalk extends away and downhill, paralleled by weathered street to the left and tall buildings to the right. The four lanes of the street are punctured by yellow and white line work. The buildings are buildings, tired and dingy in the way of things forgotten outdoors a few years. In the right periphery more sidewalk reaches, out of focus. The presence of the sky is implied only. The weather conditions (greyish with partial cloud cover), and time of day (between noon and one in the afternoon) are insinuated by visible light. Behind and unseen, a traffic signal shifts and cars sound slowing down. Music plays at the elbow of a city block.

Logan Sturrock, Scott Kemp & Zeb Zang will be showing new work at Avenue (165 East Hastings) this coming Thursday, the sixth of February !

Opening begins at 7 pm


Adam Shaw & Logan Sturrock @ Sunset Terrace

Staging Economy: A Collaborative Enterprise, an exhibition of work produced by a collaboration between artists Adam Shaw and Logan Sturrock, is on view until January 30th at the Sunset Terrace space, 2028 Clark Drive.

Every object or arrangement in Staging Economy is recognizable as an approximation of an office supply or as a thing familiar to the environment of the imagined “office”. Photocopier, bicycle, water cooler, computer chair. Basic forms are provided but whatever signifier it is that implies usefulness was omitted by the makers when these objects were produced. A fat blue pencil slumping tinily against a wall supplies a productive set of satisfaction and bewilderment. The bicycle, its frame and wheels flatly cut from plywood give a viewer over to notions of the uncanny that are subtle but present. Staging Economy is an engaging presentation of notional forms.

Adam Shaw and Logan Sturrock are both visual artists based out of Vancouver

Aaron Carter // New Show @ CSA Space

Neapolitan Elbow, a solo exhibition of work by past ECUAD grad student Aaron Carter is on view at CSA Space now until the 23rd of February.
Neapolitan Elbow features five richly treated wall pieces made by Carter specifically for the exhibition. The pieces occupy limited surface areas but spill out from themselves in such a way as to implicate more than their sum in the experience of their viewing.
Curated by Steffanie Ling.
CSA is located above Pulpfiction Books, 2422 Main St.

~ Kara Hansen + Ellis Sam ~ **art show

Blow by Blow - poster


No, we did not kidnap Dakota Fanning. But we thought about it. Then we thought that people wouldn’t take us seriously. We want to be taken seriously. Seriously…

(Serious Part) We are aficionados of air and its gaseous encouragement, its comfort control, and precautional blade cage-no liabilities.

(Not serious) Oh you, air. Keep doing what your doing.

(Serious) Works by Kara Hansen and Ellis Sam

(Seriously) Text by Kathleen Taylor


Opening at The Amazing Gallery, December 6th at 7pm

RM 410 South Building at Emily Carr University

From December 7th – 18th