The Foreshore is a multi-year collaboration between Other Sights for Artists’ Projects and curator Kimberly Phillips, and is inspired by the deep influence of the waterways on our cities and societies on the West Coast. Artist Jen Weih and artist and curator Vanessa Kwan will speak about The Foreshore’s past and current projects.
Carole Itter will present an informal talk about her artwork and writings during her 35-year residency at the Blue Cabin. She will be joined by artist Krista Lomax for a conversation about their times spent at the cabin, and a screening of Lomax’s 11-minute documentary entitled the blue cabin.
Squatters have been a fixture in Burrard Inlet since before Vancouver was created. Their story encompasses the history of Gastown and Kitsilano, the dispossession of Indigenous people, the evolution of Stanley Park, the hobo jungles of the Great Depression, and the search for affordable housing in an always-expensive metropolis. Author Daniel Francis describes this history, illustrating his talk with photographs both archival and contemporary.
Join celebrated local artist Dana Claxton and art historian Jaleh Mansoor in a third instalment of The Foreshore, Part II sessions. This event is presented at nə́c̓aʔmat ct Strathcona Branch, Vancouver Public Library. The Foreshore, Part II is organized in partnership with Contemporary Art Gallery.
This is a conversation between Coll Thrush, Kamala Todd & attendees. Creating home and a sense of place means building relationships. How well do we relate/give back/listen to the land and waters that are our home? This is a conversation towards decolonizing the city, asking questions about learning the laws and expectations and responsibilities before we assume permission and right mindedness to “come ashore” and be good visitors. This conversation will be held at the Mount Pleasant Community Centre, in collaboration with the Contemporary Art Gallery.
Carmen Papalia and Joulene Tse Parent will discuss issues of cultural accessibility and human rights in the city, including Tse’s ongoing research on the history of Indigenous workers on the waterfront, as well as Papalia’s projects leading up to and including his recent conceptual work Open Access, a new, relational model for accessibility that sets a precedent for considerations of agency and power in relation to the disabling social, cultural, and political conditions in a given context.
Presented as part of Flotilla: National Conference of Artist Run Centres, this last Session of The Foreshore Part I is co-presented by Marie Burge and Journée sans culture. Burge will review the history and concrete engagement work of the PEI Working Group for a Livable Income to establish Basic Income Guarantee (BIG) as a formal public program in PEI. Journée Sans Culture will discuss the methods, aspirations, and challenges that have shaped the group’s activities since 2015.
Presented as part of Flotilla: National Conference of Artist Run Centres, this second last Session of The Foreshore Part I is co-presented by Lindsay Dobbin and Harmony Wagner. Drawing upon a lifelong relationship with sound, landscape and water, artist and musician Dobbin will share stories about their creative practice of listening, and how it is a method to deeply communicate with, and be in relation to, the living land. Wagner will speak to how our bodies navigate this ever-changing, yet cyclical state, as seen through the lens of Traditional Chinese Medicine and Martial Arts.
Anchored in the waters of False Creek with views to the last remaining undeveloped waterfront of Northeast False Creek, the camera obscura offers participants a multi-sensory experience, connecting with real time in the act of seeing a highly detailed reflection of the water and landscape that is both familiar and remarkable at the same time. Light entering a simple lens fitted within the dark, tent-like structure, projects a real-time image of the surrounding environment, where, upside down and backwards, it falls onto a screen. With distant viaducts turned on end, and the water rising, the elusive image conjures the conditions of the foreshore as a place of constant flux and asks what is, as yet, unseen?