Big Rock Candy Mountain
- Lucien Durey. “Art in 2017: A View from Vancouver.” Canadian Art. December 18, 2017. “SOUR VS SOUR is delicious and symbolic of the lively exchange between adults and kids instigated by Big Rock Candy Mountain’s inventive approach to public art. The project has proven that socially engaged practices can be funny and accessible while exploring new material approaches and furthering contemporary art dialogues. Jickling, Reed and Kwan are adept at selecting and combining playful, political and educational elements in a way that feels relevant and exciting. Next up: a chewable edition representative of recent explorations of gum as both a commodity and a sculptural medium.”
- Leah Sandals. “Art as Child’s Play: Recent Projects with Kids in Vancouver.” Canadian Art. April 15, 2016. “In many worlds, particularly in a contemporary art world, it is thought that if we engage with children, it’s not serious, it’s not rigorous, there is nothing they have to offer,” Jickling continues. “But despite it being very stressful and despite it being misinterpreted by critics and curators [as art education rather than art] we still keep coming back and centering ourselves here.”
- Kimberly Phillips. “On Bathtub Rings and Other Irritants: Cedric, Nathan and Jim Bomford’s Deadhead.” C Magazine 124, Strata, Winter 2014. Pages 15 – 21. “If for only a brief moment, one could say, Deadhead conjured the city’s uncomfortable pasts.”
- Lindsay William-Ross. “Best public art in Vancouver in 2014.” Vancity Buzz. December 19, 2014.
- Kevin Griffin. “Best of 2014: Visual Arts. The Vancouver Sun. December 19, 2014.
- “Best Floating Mystery Art.” The Georgia Straight, 19th Annual Best of Vancouver edition. September 18-25, 2014. Page 62.
- Shaw TV, go! Vancouver. Published on September 17, 2014. “Deadhead Art Sculpture on Shaw TV.” Jen Muranetz. “It looks like a cross between a fort and a pirate ship. It’s called ‘Deadhead’ a floating art sculpture commissioned by Other Sights for Artists’ Projects.”
- Kevin Griffin, “Deadhead: moored in a legal grey area in False Creek.” The Vancouver Sun. August 20, 2014. “The fundamental question is who owns the foreshore? Who owns the water? Who owns the land?”
- John Thomson,”Floating Sculpture Intrigues and Infuriates.” DZine Trip Online Design Magazine. August 14, 2014. “Deadhead may look like a jumble of shapes and sizes but once on board, it becomes an intriguing labyrinth of intersecting planes and angles.”
- Alex Varty, “Metaphors afloat aboard False Creek’s Deadhead.” The Georgia Straight. July 30, 2014. “The germ of Deadhead, then, was to create art that would lure people to the shore, then get them thinking about the uses of the littoral zone. Four years later, the project is that, and much more.”
- Daphne Bramham, “In the eye of the beholder, A Tale of Two Barges.” The Vancouver Sun. July 23,2014. “There’s a higgeldy-piggeldy barge with a tower, winding stairway and landing dock anchored off Vancouver’s Maritime Museum that looks like a fit spot for Popeye, or Kevin Costner in his Waterworld persona.”
- CBC Radio One, North by Northwest. Saturday July 19, 2014.”Featured Story, Art Barge – Deadhead.” “Freelance producer, Eileen Power braves the shallow waters off the Vancouver Maritime Museum in a rowboat to board the Deadhead, a floating sculpture built on a barge.”
- Kevin Griffin, “Floating sculpture evokes squatters shacks, Deadhead structure was built without plans.” The Vancouver Sun. July 16, 2014. “For something called Deadhead, there’s really nothing remotely morbid about it. In fact, it’s just the opposite: it’s very playful and full of surprises.”
- Lorna Brown. “Digital Natives”. Canadian Theatre Review. Vancouver After 2010. Edited by Peter Dickinson, Kirsty Johnston, and Keren Zaiontz. 164, Fall 2015. Pages 31 – 35. “As a temporary spectacle that leased a piece of the built environment, Digital Natives drew together the standardized global template of the billboard with this particular location, and the viewpoints of dispersed contributors and audience members.”
- Rob. “Digital Natives Controversy (Vancouver, BC).” The C-Word, Web. 7 Apr. 2011.
“The whole thing seems to be quite an incredible idea and is worthy of much attention. And there has been. But not all of it has been positive publicity.”
- Rossi Cheryl. “Twitter-like messages highlight Vancouver billboard art project: Aboriginal artists contribute messages.” The Vancouver Courier, Web. 5 Apr. 2011.
“Interspersed with ads for Air Canada, Starbucks, cars and wine on the controversial electronic billboards adjacent to the Burrard Bridge, new messages are provoking thought in a different way.”
- Clint Burnham. ‘Digital Natives’ Between ads for beer and pop music, an electronic billboard in Vancouver beams challenging messages by and about First Nations.”
The Tyee, Web. 5 Apr. 2011.
“With Digital Natives, we’ve taken back – temporarily – some visual space in the city for messages from individuals, to display a dialogue from this city and beyond.”
- Marsha Lederman. “The billboard – on Squamish Nation land – becomes a venue for artistic and literary exchange between native and non-native communities.” The Globe and Mail, Web. 5 Apr., 2011.
“Dictumst elementum cum sagittis magna magnis mus magna. In ac, proin dignissim placerat ac cum q”uis parturient in nunc mus dis lectus ut odio, ultrices? Ultrices magna, hac porttitor, pulvinar”
- One Digital Natives message a day for the month of April, Vancouver is Awesome, Web. Apr. 2011.
“over the course of the month of April messages form Digital Natives electronic billboard where posted once a day.”
- Jessica Werb.“Burrard Street billboard to host public art work of Twitter messages.” Straight.com, Web. 31 Mar. 2011.
“A public art project curated by Vancouver artist Lorna Brown and Simon Fraser University English lit associate professor Clint Burnham is elevating Twitter to an art form.”
- Kevin Griffin.”Article Title” The Vancouver Sun, Web. 12 Feb. 2011
“One of the works that will be breaking the boundaries of the gallery is Digital Natives, a series of text-based Twitter messages that will be sharing space with the advertising on the controversial electronic sign mounted on traditional Squamish territory on the Burrard Street Bridge.”
The Games are Open – Köbberling & Kaltwasser
- Barbara Cole. “Hijacked Narratives”. Canadian Theatre Review. Vancouver After 2010. Edited by Peter Dickinson, Kirsty Johnston, and Keren Zaiontz. 164, Fall 2011. Pages 16 – 21. “Over the four years of the project’s existence, the artwork’s form shifted from sculpture, to garden, to dirt pile, each transformation driven by the agendas of assumed owners.”
- Barbara Holub, Paul Rajakovics. “The Games are Open, Folke Köbberling, Martin Katwasser” Dérive, 51. April 17, 2013.
- “Köbberling and Kaltwasser build nothing to last.”Video produced by Michael Cox. Posted to Vimeo, 2012.
- “New Teutonia Must Fall, Folke Köbberling & Martin Katwasser”. Lodown magazine, Zeitschrift üfr Populärkultur und Bewegungskunst, Dec, Jan, Feb 2012. “In spatial and sculptural site-specific interventions, we tackle issues around the public domain, grass root participation and self-organization, market economics, mobility, shelter, sustainability, and the scarcity of resources. The potential for social conflict is inherent in all of these.”
- Commissions, ”Folke Kobberking and Martin Kaltwasser, The Games Are Open, Vancouver, Canada.” Sculpture Magazine, January/February Vol. 31 No. 1, pg. 16. 2012.”The Games are Open simultaneously addresses community building through a new conception of “green space,” decommodification of the art object, and the accessibility of art.”
- Folke Köbberling, Martin Katwasser, “The Games are Open”, in Urban Constellations, ed. Matthew Gandy, (Berlin: jovis Verlag GmbH, 2011), 89 – 91.“The project presents a kind of decay in the face of rapid and seemingly unstoppable urban change.”
- “Full-scale bulldozer made from recycled Olympic Games materials.” Artabase Web 11 Oct, 2010.
“Folke Kőbberling & Martin Kaltwasser spent 9 weeks creating the sculpture from 1,000 wheat board panels liberated from the neighbouring 2010 Olympic and Paralympic Winter Games Athletes’ Village.”
- Katherine Monk. “Olympic Village discards recast as public art, Berin-based artists reclaim abandoned space with biodegradable bulldozer.” The Vancouver Sun, 7 August, 2010.“Koebberling says the compostable bulldozer is in itself a meditation on time, not only because it will biodegrade over the course of an estimated eight years, but because bulldozers are a symbol of massive and near-immediate landscape transformations.”
False Creek – T + T (Tony Romano and Tyler Brett)
Looking Up Series:
Phinnagins Wyaake – Aaron Carpenter
Launch of Park – Marko Simcic
- Kevin Griffin. “When a greenway becomes a park-ing lot.” Vancouver Sun, 29 Nov. pg. F14 2008.
”Once placed on the street in spots used by people to park their cars, its physical presence should call attention to how the city’s urban space is used – especially how much land is set aside for parking so-called
useful motorized vehicles.”
- Robin Laurence. “Looking for a place to Park.” Georgia Straight, 2-8 Jan. page 27 2009.
“Park creates a tension Simcic observes, between the public and the private. Between our sense of sharing and our sense of entitlement. Between our culture, domestic culture, and visual culture.”
Looking Up Series:
Vox Pop – Antonia Hirsch
- Jeremy Todd. “What Are We Now? On stadium and Vox Pop.” BlackFlash, Fall Issue 27.1, page 44, 2009.
Stadium crowds look into a singular point/event and respond in accordance to it, while being watched by others as a spectacular whole through media broadcasting. They also watch each other”
- John Mackie. “An art wave hits Granville and Robson.” Vancouver Sun, 18 Oct page F18 2008.
“It may make you look differently at advertising, it may make you look differently at the type of imagery that’s thrown at us.”
- Lynn Mitges. “Zero in on a new wave.” The Province, 19 Oct, page B8, 2008.
“c vel lacus cum vel penatibus, nisi natoque integer! Placerat, adipiscing est, turpis est sit velit, magna ”