Big Rock Candy Mountain – Sour vs Sour – As part of a 3-month engagement with a Queen Alexandra Elementary School grade 3/4 class, artists Hannah Jickling & Helen Reed taste-tested a range of flavours and developed a miscellaneous vocabulary to describe them: sounds, shapes, words, elaborate fonts, synesthetic line drawings and emojis. With visits to-and-from East Van Roasters, the group learned about single-origin, fairly traded dark chocolate and navigated its tense (and tacky) conflation with cheap candy from the gas station nearby.
Throughout the summer of 2014, Deadhead, a large-scale sculptural installation by Cedric, Nathan and Jim Bomford, traveled by barge and tug to moor in two different Vancouver waterways. Constructed primarily from salvaged materials with some areas wrapped in photographic murals, this curious marine outpost asserted a presence that both troubled and delighted.
In 2010, as Vancouver’s South East False Creek began its new life as Canada’s largest ‘green’ housing development, the Berlin-based artist team of Folke Köbberling and Martin Kaltwasser used materials recycled from the Olympic and Paralympic Winter Games Athletes’ Village to create a situation of exchange and cooperation. Over a nine-week period, the artists and curator led a team of 36 volunteers and students in the construction of a hollow, larger-than-life bulldozer whose empty cavities were filled with soil and compost to hasten the artists’ intent for the artwork to decompose and provide fodder for new growth.
The score for Narvaez Bay: Tidal Predictions for 2012 forms a calendar in which the daily tide levels predicted to occur over the course of a year are transcribed onto a musical scale.
Other Sights for Artists’ Projects and Doryphore Independent Curators, the Vancouver Public Library and the City of Vancouver Public Art Program are delighted to announce a new publication that documents Group Search and Memory Palace, presented as part of Inside the Library Curatorial Initiatives.
The Grow Project and the Bulkhead Urban Agriculture Lab began germinating long before the first seeds were sown and ended long after the harvesting of carrots, mustards greens, pumpkins, and other crops. A concatenation of performance art, sculpture, social practice and still unnamed forms of emergent creativity, Grow was a year-long event that took up sustainability and knowledge exchange as a fluid process of gardening, workshops, walks and other public events…
Folke Köbberling and Martin Kaltwasser’s The Games are Open presently takes the form of an oversized bulldozer that sits on the west side of Vancouver’s Southeast False Creek’s Olympic Village. A gargantuan mock-up of the very machine that was recently used to raze the surface upon which it sits, the object appears to be permanent, dominating and perhaps even obtuse. Appearances, in this case, can be misleading. Rather than a static example of ‘plop art’, this colossal model performs a dialectical dance between notions of legacy and the forces of entropy, operating in turn as both monument and anti-monument.