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THE FORESHORE: SESSION 10
March 21, 2017 @ 7:00 pm - 9:00 pm
Hoàng Nguyễn will discuss her current collaboration with grunt gallery, The Making of an Archive, which is an alternative depository for vernacular photography in which diverse forms of civic engagement performed by minority groups––from care work to protests in public space––are digitized for archival purposes.
Dan Pon will present a conceptual view of grunt gallery’s archival initiatives through the rushes of the coastal riparian zone including a survey of past and current projects. Halophyte Stands imagines the archive as a species of saline tolerant plant and explores some of the characteristics and parallels that make these organisms unique.
Jacqueline Hoàng Nguyễn completed the Whitney Independent Study Program, New York, in 2011, having obtained her MFA and a post-graduate diploma in Critical Studies from the Malmö Art Academy, Sweden, in 2005, and a BFA from Concordia University, Montreal, in 2003. She has been awarded many grants and fellowships, and her work has been exhibited internationally. In 2015, she was the first artist-in- residence at the Museum of Ethnography in Stockholm. The residency was part of SWICH – Sharing a World of Inclusion, Creativity and Heritage – a collaborative project involving ten European museums of Ethnography and World Cultures. She is currently co-editing Crating the World: Displaced Myths, Desires and Meanings a compendium to Nguyễn’s exhibition Black Atlas (2016) presented at the Museum of Ethnography. Based on archival photographs, the publication and the exhibition explore the implications of the administration of racialized labour for transporting material culture from foreign countries to the museum’s storage.
Dan Pon is a librarian based in unceded Coast Salish territories. He holds a MLIS degree from UBC (2012) and works as a librarian at Langara College and the West Vancouver Memorial Library. Dan manages the archive at grunt gallery and is currently conducting research on behalf of the Belkin Art Gallery and Geoffrey Farmer’s outdoor public art project Nothing Can Separate Us (When the Wheel Turns Why Does a Pot Emerge?).
ABOUT THE FORESHORE
The Foreshore is a collaborative pursuit and shared space between Access Gallery and Other Sights. The Foreshore is inspired by the deep influence of the waterways on our cities and societies on the West Coast. As a place of unclear jurisdiction, and thus of contestation, friction, and constant movement, those who dwell in this zone must continually adapt to a changing environment. As a site it conjures histories specific to this region: narratives of trade and exchange, habitation and nourishment, resistance and violent erasure. Considering the potential of this zone as both concept and site, the project asks the following: How do we generate conditions of emergence? How can we take up space differently? How do we support unruly practices and futures?
Over the last 3 months, the storefront adjacent to Access’ gallery space at 222 East Georgia has hosted bi-weekly open discussion sessions informed by invited artists, writers, curators, and activists. Adding to this exciting program, we have launched an artist-in-residence series to provide space and time to artists interested in addressing questions of the foreshore.
Established as an non-profit artist-run centre in 1991, Access Gallery is platform for emergent and experimental art practices. We enable critical conversations and risk taking through new configurations of audience, artists, and community. For more information visit accessgallery.ca
Access Gallery gratefully acknowledges the support of the Canada Council for the Arts, the Government of British Columbia through the BC Arts Council and BC Gaming, the City of Vancouver, the Hamber Foundation, the Burrard Arts Foundation, the Contemporary Art Gallery, NSB Reederei, and our committed donors, members and volunteers.
Other Sights gratefully acknowledges the support of the British Columbia Arts Council, The Canadian Union of Public Employees Local 15.
Image Credits: Left: Jacqueline Hoàng Nguyễn, courtesy of the artist. Right: Garry Ross, courtesy Phil Beeman