December 2, 2017

Co-presented by the UBC Department of Art History, Visual Art and Theory and to
elaborate: discentre for curatorial projects
Monday, December 4, 2017 @ 5:30 pm
Room 102, Frederic Lasserre Building
6333 Memorial Road, University of British Columbia
ahva.ubc.ca    toelaborate.org

Through this performative lecture, Paul ONeill reflects upon his curatorial practice,
collective exhibition-making, and the public as a constructed readymade. Taking his
recent multi-year exhibition project We are the Center for Curatorial Studies, Hessel
Museum (2016″18) as its starting point, this lecture reflects upon curatorial studies and
extends a conception of the curatorial to account for multiple sites of contact,
assemblages and gathering of diverse bodies and subjects as well as their discursive
connections. In doing so, it opens up a concept of the formation of the exhibition itself
as a potential mode of research action in its own process of becoming.
ONeill explores how different points of contact are made possible when exhibiting
becomes a form of escape for the artwork as much as for the viewer. Here, ONeill
identifies escape as a key concept for the curatorial, which defines itself as an act of
release”from something, somewhere, someone”accompanied by the wish to be
transformed. Escape implicates language itself as being complicit with our need to be
able to, at least, imagine ourselves elsewhere. How can a language of exhibitions,
therefore, enable us to think attentively about escape as a curatorial form?
Dr. Paul ONeill is an Irish curator, artist, writer, and educator. He is Artistic Director of
Checkpoint Helsinki. From 2013 until July 2017 he was Director of the Graduate
Program at the Center for Curatorial Studies (CCS), Bard College. ONeill is widely
regarded as one of the foremost research-oriented curators and a leading scholar of
curatorial practice, public art, and exhibition histories. ONeill has held numerous
curatorial and research positions over the past twenty years and he has taught on many
curatorial and visual arts programs in Europe and the UK. ONeill is one of the most
widely published authors in the field, most notably with The Culture of Curating, the
Curating of Culture(s), published by MIT Press in 2012. He received his doctorate in
visual culture from Middlesex University, London, in 2007.

The Museum of Anthropology (MOA) at UBC invites you to experience Transformation
Mask, a creative collaboration between Heiltsuk artist Shawn Hunt and Microsoft on
November 30, December 2 and December 3 in MOAs Great Hall. The experiential
sculpture is an interactive mixed reality cyborg that incorporates technology, sound, and
space. Each part of the work reflects Hunt’s interest in how we understand and identify
with the term Indigenous.
Dates & Times:  Thursday, November 30 | 6:30pm-8:30pm (Come early to hear Shawn Hunts Artist Talk, 5:30 ” 6:30pm)
Saturday, December 2 | 1-5 pm   Sunday, December 3 | 1-5 pm
Free with Museum Admission. For more information
visit: moa.ubc.ca/shawn-hunts-transformation-mask/

Videogames like Just Dance! and Rock Band have changed how we gather to sing,
dance and tell stories. DIGITAL FOLK explore this phenomenon. This paradox of
being alone, together. It probably sounds over the top but the show really is all these
things, all at once: A COSTUME PARTY (you can wear flare made by the amazing
designer, Natalie Purschwitz), a REAL-LIFE MUSIC & DANCE PERFORMANCE
(featuring 10 amazing performers from across Canada), VIDEO-GAME PLAY (get
your Rock Bank on!) and an ART INSTALLATION (Natalie Purschwitz at it again,
with adaptation of James Proudfoot’s original lighting by Jonathan Kim). Join us at
LEFT OF MAIN and be a part of the space’s transformation into a playful
environment that is part rumpus room from the 80s, part visual art installation, and
part secrete chamber from Zelda. Seating is limited, don’t delay in booking your
tickets.

LOOPING PERFORMANCES AT 9 PM & 10 PM.
STAY FOR 1 ROUND OR 2.

TICKETS $18/$24 available on line at http://bit.ly/2gCJB3b:
*Discount of $15/$20 available if you book before Nov 15!*

More Info: http://www.plasticorchidfactory.com/digital-folk/

OTHER DETAILS:
*** Post-performance socials from 10:50pm until late
*** Bar & box office open at 8pm (cash/credit only)
*** Doors open 10 minutes prior to show time. No intermission
*** Ins and outs permitted
*** RSVP on Facebook
*** Limited seating, dont delay on booking your tickets!

If you are coming on Friday Nov 24 at 10pm, you should get in touch with The Tour
to see both the 605 show at the Shadbolt and then head to Left of Main for ours.
http://bit.ly/2z97ycU

THE PEOPLE MAKING IT HAPPEN:
concept & creative direction | James Gnam
scenography & costume design | Natalie Purschwitz
lighting design | Jonathan Kim (adaptation from James Proudfoot original)
sound design | Kevin Legere
artistic production | Natalie LeFebvre Gnam
technical direction | Jonathan Kim & James Gnam
choreography & performance | Robert Abubo, Kayla DeVos, James Gnam, Walter
Kubanek, Natalie LeFebvre Gnam, Jane Osborne, Clare Twiddy, Lorenz Santos,
Siobhan Sloane-Seale, Lexi Vajda

creation | Digital Folk was created in residence at The Cultch, Progress Lab 1422
(2014), Boca del Lupos The Anderson Street Space (2015), The Shadbolt Centre
for the Arts and SFUs Goldcorp Centre for the Arts (2016)

Walid Raad
Sweet Talk: Commissions (Beirut 1994)
October 12 – December 9, 2017
Audain Gallery (SFU downtown)

2PM @ Audain Gallery

Join us for an exhibition tour of Walid Raad: Sweet Talk: Commissions (Beirut 1994)
with Curator, Melanie O’Brian in Dialogue with Jeff O’Brien.

Part of the downtown gallery tour with the CAG at 3PM

Walid Raad’s work engages how forms of violence affect bodies, minds and culture.
Moreover, it queries the instability of documents, the role of memory and narrative in
conflict discourses, and the construction of histories in the face of ongoing
catastrophe. Raad’s practice includes photography, video, sculpture, and
performance, and relies on formal and conceptual conventions borrowed from
investigative journalism, documentary, narrative fiction, and comedy.

Raad’s Sweet Talk is an ongoing set of self-assigned photographic commissions that
look at the city of Beirut through thousands of negatives and digital files produced
since the mid-1980s. Since the end of the Lebanese wars (approximately 1975-
1991), Beirut’s ravaged downtown has been under reconstruction. In 1994, a
Lebanese company for the development of Beirut Central District was established,
launching the largest urban redevelopment project of the 1990s.

The works in Sweet Talk: Commissions (Beirut 1994) present images – preserved
referents – from Raad’s self-assigned commissions to consider the persistence of
ruins and effects of the war through the city’s redevelopment. The works at the
Audain Gallery present Beirut as shifting and transitory, rising and falling. They
unfold, double and mirror to reveal images of a city that is haunted psychologically
and materially. In theorist/artist Jalal Toufic’s words, ruins are “places haunted by the
living who inhabit them”; they are “anachronistic”, “resist the passage of time”, and
point to a “labyrinthine temporality”. Sweet Talk offers a way to think through to
Vancouver’s continuous expansion that elides its traditions pre-city. Raad undertook
research in Vancouver as part of his 2016 SFU Audain Visual Artist in Residence.

Raad was born in Chbanieh, Lebanon and works in New York where he is Professor
of Art in The Cooper Union. Solo exhibitions include the Louvre, Paris; Museum of
Modern Art, New York; Kunsthalle Zurich; Whitechapel Art Gallery, London; and
Hamburger Bahnhof, Berlin. His works have been shown in Documenta, Venice
Biennale, Whitney Biennial, Sao Paulo Bienale, Istanbul Biennial, and Homeworks.
He is a member of the Home Workspace Program in Beirut and The Gulf Labor
Coalition.

Jeff O’Brien is an art historian completing his PhD at UBC, where he is also a Liu
Scholar at the Liu Institute for Global Issues. His research explores the work of
contemporary artists who, in response to the protracted 1975-1991 civil war(s) in
Lebanon and al-Nakba in Palestine, construct counter-archives to make visible
disappeared and displaced populations.

Curated by Melanie O’Brian. Co-presented by SFU Galleries and SFU’s School for
the Contemporary Arts where Raad is Audain Visual Artist in Residence (AVAIR)
2016/2017.

For more information, http://www.sfu.ca/galleries/audain-gallery/Walid-Raad.html

Audain Gallery
149 West Hastings
Vancouver BC V6B 1H4
TUE, WED, SAT / 12 – 5PM
THU, FRI / 12 – 5PM
p: 778.782.9102
e: audaingallery@sfu.ca

www.sfugalleries.ca

Exhibition: Nov 16 – Dec 16, 2017
Hours: Tue – Sat, noon to 5 pm
Wil Aballe Art Projects | WAAP
688 East Hastings St. (lower level)
Vancouver, BC V6A 1R1

For preview, press inquiries or sales inquiries, contact 778 229 3458 or
wil@waapart.com.

You have made your way from worm to man, and much in you is still worm.
“Nietzsche, Thus Spoke Zarathustra (Prologue)

The light we see from the sun is from 8 minutes ago. Light is the result of antimatter
produced in the heart of the sun, and its annihilation. We will never be able to see
the edges of the universe, as they are fourteen billion years away. All of these
cosmic musings are mediated knowledge, not gleaned from direct human
experience.

How to make something approaching sacred paintings today, and why would
someone want to bother? Intuition pointed to ancient emblems and alchemical
illustrations. The hand-of-God motif is a stand-in for the human hand, playing God.
Building apparatuses devised to extract the hidden potentialities at the seat of
matter. Under the sign of stockpiling capital, devouring humans drove the sacred
away. What direction might we want to go in light of looming extinction?

The matter we see around us is what is left over from billions of years of creation-
annihilation, energy passed between fermion and boson, and other elemental and
energy states known and unknown. Matter is congealed energy. When matter first
formed, it left a negative imprint ” antimatter. When matter and antimatter collide,
they release exorbitant energy. There is very little antimatter accessible to humans
as things stand, most of it having been used up, leaving behind stray matter. How to
wrap ones head around such physical concepts? Begin with a void, proceed blindly,
with little understanding of where things will go, figure out a transformative process
in reaction to materials, let things accrete slowly, witness materials assembling,
interpenetrating and congealing, such as bitumen and red iron oxide into plastic.

**Many thanks to Randy Lee Cutler and Ingrid Koenig for spearheading the
collaborative project between artists and physicists as part of their Leaning out of
Windows research project (SSHRC), of which this project is a part, and to the
physicists at TRIUMF UBC, especially Carla Babcock, for sharing their knowledge.
Thanks also to Barbara Atwell and Richard Prince for material assistance, and to
Allison Hrabluik, Lyse Lemieux, and Al McWilliams for the conversations in the
studio.

Exhibition dates:  November 16, 2017 – January 13, 2018
Reception:  January 10, 5 – 7 pm
Artist:  Richard Prince
Please join the UBC Department of Art History, Visual Art & Theory (AHVA) at the
AHVA Gallery in the Audain Art Centre on Wednesday, January 10, from 5 to 7 pm
for the reception of Tales from the Old Fire Hall, an exhibition of recent works by
Professor Richard Prince.
Princes career began with a solo show at the Vancouver Art Gallery in 1972. Since
then he has had numerous solo and group exhibitions across Canada and in the
United States, Europe, and Asia. Over the years he has explored themes relating to
epistemology and history with reference to theatre, literature, structures, and
celestial mechanics and phenomena.
Born in Comox on Vancouver Island in 1949, Richard Prince has lived in Vancouver
for virtually all of his life. He attended the University of British Columbia, graduating
with a BA in Art History, and subsequently did one year of postgraduate Art History
studies.
Prince began teaching at the University of British Columbia in 1975 and is now a
Professor in the Department of Art History, Visual Art and Theory.
AHVA Gallery hours
Tuesday ” Saturday, 12 ” 4 pm
Gallery is closed for the holiday period from December 10, 2017, to January 1, 2018.
AHVA Gallery
rm. 1001
Audain Art Centre
6398 University Boulevard
gallery.ahva.ubc.ca

One of our BFA students, Simranpreet Anand, will be an artist this month for FUSE at the Vancouver Art Galley

Simranpreet Anand | Kate Barry + Michael-Ann Connor | Grape Witches (Nicole Campbell + Krysta Oben, with coven members Lisa Haley, Maude Renaud-Brisson and Layla Smith) | Hick | Stacey Ho | Erika Holt | Shawn Hunt | Tsema Igharas | Kelly McInnes + Rianne Svelnis | Minimal Violence | Soledad Muñoz | Stephen Murray | Yusu

FUSE at the Vancouver Art Gallery transforms into the city’s most exciting place for art, music and live performance. Since its inception in 2005, thousands of visitors have converged at the Gallery to experience innovative and experimental ways of engaging with art. Performances, music and surprises—in the gallery spaces and through the building—make FUSE Vancouver’s favourite art party. FUSE also provides a unique opportunity for visitors to explore the exhibitions currently on view at the Gallery, as well as a place to spend time with friends in the FUSE lounges.

As VISA and ARTH students you have the opportunity to buy a membership to the Vancouver Art Gallery for only $5. This will be the last FUSE that is free to members, starting in 2018 FUSE will be a paid event for everyone

https://www.vanartgallery.bc.ca/events_and_programs/fuse.html