The Foreshore is a year-long collaboration between Access Gallery and Other Sights that is inspired by the deep influence of the waterways on our cities and societies on the West Coast. The storefront next to Access’ gallery space at 222 East Georgia will be activated by a series of open sessions, screenings, work-ins, mini-artist residencies, and open studios. We are motivated by our organizations’ intersecting concerns, and by the increased potential for artists and audiences in joining forces.
October 4. Session 1: Stephen Collis, Genevieve Robertson, and Jay White on immersive practices; Kimberly Phillips on 23 Days at Sea.
October 18. Session 2: Justin Langlois and Holly Schmidt on their proposal for a floating school; Glenn Alteen, Barbara Cole, and Esther Rausenberg on the Blue Cabin Floating Artist Residency.
November 8. Session 3: An evening of discussion: A radio lecture by Chris Williams originally recorded and aired on Alternative Radio on May 15, 2016; and a video about the Makoko Floating School on the lagoon of Lagos.
November 22. Field Trip: Current VAG Offsite artist Khan Lee in conversation with Barbara Cole at the Vancouver Art Gallery.
December 6. Session 4: Lindsay Brown on the lessons of Habitat ’76 and Shiloh Sukkau on rethinking how to use public art allocations.
January 10. Session 5: Germaine Koh on working between disciplines and Carol Sawyer on counter-narratives.
January 24. Session 6: Cecily Nicholson on poetics entrenched in movements and Bracken Hanuse Corlett on reconciliation.
February 6. Field Trip: Buster Simpson lecture at Emily Carr University Visual Art Forums, co-presented with the City of Vancouver Public Art Program in partnerships with Access Gallery and Other Sights.
February 7. Session 7: Buster Simpson on aesthetics and curiosity and Coll Thrush on cities, power and survivance.
February 21. Session 8: Vanessa Richards on UnSilencing Ourselves – the quiet site of shame and Marcus Youssef on the theatre of activism.
March 7. Session 9: Arianne Gelardin on addressing America’s sociopolitical climate through art and public engagement; and Lisa Prentice on politics, therapy and organizing.
March 21. Session 10: Jacqueline Hoàng Nguyễn on expanding the archives and Dan Pon on the brackish ecology of grunt gallery’s archive and archival projects.
March 25. Session 11: Zoe Kreye and Guadalupe Martinez host an afternoon of walking, collecting, and sharing in which participants explore movements stemming from sensation, desire and impulse. The workshop will be followed by an open studio with artist in residence Guadalupe Martinez.
January-March, Guadalupe Martinez
April, Kara Uzelman
May-June, Carol Sawyer
Special Sessions: Justin Langlois
Begun in 2015, Big Rock Candy Mountain (BRCM) is a flavor incubator and taste-making think-tank between artists Hannah Jickling and Helen Reed and students, teachers and support staff at Queen Alexandra Elementary School in East Vancouver. The project takes its name from a folk song that has been revised and rewritten countless times to reflect a comic utopia, where we hear a “…buzzin’ of the bees in the peppermint trees, ’round the soda water fountains.” BRCM is a post-proportionate world where adults and rationality no longer define the rules and limits of what is possible.
Organized by the Vancouver Art Gallery and produced by Other Sights
Lawrence Paul Yuxweluptun has produced a public art installation for the future site of the new Vancouver Art Gallery on the Larwill Park site that situates brilliantly coloured ovoid forms across the present-day-parking-lot. Yuxweluptun’s ovoids speak to the past and the present uses of Larwill Park, marking it with a watchful eye, and reminding us as we pass by and through the site that we live, work and interact on the unceded territories of the Coast Salish people.
Other Sights has been part of the volunteer team that helped save Al Neil and Carole Itter’s Blue Cabin, the last squatters’ cabin on the Burrard Inlet. Now in storage awaiting repairs, this tiny gem represents the last vestiges of a cultural tradition of people living in alternative housing along the foreshores of this region’s waterways. Our vision is to remediate and repurpose the historic cabin as an artist studio and mount it to a barge or floating platform alongside a tiny house, to serve as a vital, off the grid, multi-disciplinary floating artist residency. The idea to set the cabin adrift from ownership or permanent location, took shape and gained traction through the collaboration of grunt gallery, Creative Cultural Collaborations (C3) and Other Sights, all of whom remain committed to stewarding the cabin into the future.