After the Vancouver 2010 Olympic and Paralympic athletes gathered their medals and returned to their respective countries, Vancouver’s Olympic Village reverted from dormitory to “home” as condominium owners began to gradually move into the new “Village on False Creek”.
“Deadhead” is a large-scale sculptural installation mounted to a barge and towed by tug to different locations along Vancouver’s waterways. Created by Cedric Bomford in collaboration with his father Jim Bomford (a retired engineer), and brother Nathan Bomford (an artist and builder), the sculpture is constructed primarily from salvaged materials, with some sections wrapped in photographic murals. A curious aquatic outpost, Deadhead’s enigmatic spaces are designed for public access.
Last summer, residents of Vancouver’s Southeast False Creek neighborhood were drawn into an unusual artistic experiment. On a vacant lot littered with the rusty remnants of the neighborhood’s industrial past, artist Holly Schmidt led volunteers in designing, building, planting,and harvesting a thriving container garden.
he two giant video screens at Granville and Robson normally snap and crackle with quick-hitting, colourful ads for companies such as Telus, Fido and WestJet. But next week, they’ll be showing something something completely different: two short films by internationally acclaimed artist Antonia Hirsch.
Nestled among flashy ads and quick-bite movie trailers at Robson and Granville is a new experience from visual artist Antonia Hirsch called Vox Pop. The Video project features two separate sequences, one in which the camera pans the stadium at the same rate as the sporting-event fans’ wave would be followed. The camera then rests on a sole male spectator, who rises as if taking part in the wave. Both one-minute sequences are inserted between ads.
Other Sights presents Storm Sequence (excerpt), a video project by Shaun Gladwell, displayed every 3 minutes on dual urban screens above the intersection of Robson and Granville Streets in Vancouver, Canada from January 15 to 25th, 2009. In Storm Sequence, the drama and grandeur of a traditional painting of a storm at sea is integrated […]
Other Sights is pleased to present Open My Glade by Swiss artist Pipilotti Rist. The artwork consists of a series of 9 one-minute videos inserted into the flow of outdoor advertising screens. The works sardonic humour and insights intrude on our encounter with urban social space and exert a powerful and sensual presence.
Lynne Marsh’s Stadium (2008) and Antonia Hirsch’s Vox Pop (2008) revolve around solitary figures within sports arenas. Grid-like formations of fixed, empty seating serve as both backdrop environments and the presence of absent crowds. Each work adopts the seamless production values and structural familiarity of contemporary advertising and televisual entertainments. Vox Pop is a silent two-channel video work one minute in duration.
It’s really the last place you’d look for art: Behind barbed wire, on the back corner of an abandoned industrial lot, tucked in behind a big pile of dirt and gravel sprouting scrappy clumps of grass. In the movies, this would be the place to dump a body. In Vancouver, this generic strip of halfpaved wasteland next to the Olympic Village has become a piece of interactive public art.
When independent curator Patrik Andersson invited T&T to create a sustainability-themed exhibition for the Pendulum Gallery during the Winter Olympics, he made this request: “Think about what happens when the Olympic countdown clock goes below zero.” Tony Romano of Toronto and Tyler Brett of Bruno, Saskatchewan—who often make art together under the sobriquet T&T—responded with a cheery, postapocalyptic vision of Vancouver called False Creek. Specifically, their installation is a kind of after-the-gold-rush imagining of the area.