Where Mountain Cats Live is a lush invitation for strengthening community bonds, while acknowledging the precarity that we often build our roots upon. Via table-based installation, prints, and accompanying artist’s
Where Mountain Cats Live is a lush invitation for strengthening community bonds, while acknowledging the precarity that we often build our roots upon. Via table-based installation, prints, and accompanying artist’s books, artist Jenie Gao collapses layers of global and local colonization, childhood memories, and familial narratives of home, displacement, and perseverance, embedded in individual objects.
The centrepiece of this exhibition is the iconic ‘lazy Susan’ table, a post-colonial innovation emblematic of Chinese American and Canadian restaurants. The table features hand-carved images of rabbits and cats in a cyclical chase, from a story that Gao’s mother tells of her bravery while facing ‘mountain lions’ outside her childhood home on a mountainside in Keelung, Taiwan. The work captures a moment when a mother’s stories are suspended between a child’s imagination and an elder’s recollection, and as Gao deals with their present-day dilemmas: the predatory realtors encroaching upon their mother’s home in rural Kansas, increasing pollution and land destruction, and the stubborn resilience of native flora and fauna that nevertheless persist and return.
Where Mountain Cats Live is an investigation of material culture, an homage to the ‘imagination of the oppressed,’ and a love letter to Jenie Gao’s mother and extended communities who, in the face of many uncertainties, maintain a sense of home.
Grunt Gallery
350 E 2nd Ave, Vancouver, BC
Combining British propriety with an unabashed love for the unexpected, London’s 3-time Impresario Award-winning duo steep an outrageously funny and brilliantly inventive show reminiscent of classic British pantos. Rich in wordplay,
Combining British propriety with an unabashed love for the unexpected, London’s 3-time Impresario Award-winning duo steep an outrageously funny and brilliantly inventive show reminiscent of classic British pantos.
Rich in wordplay, comic physicality, and cleverly crafted interactive elements, O Christmas Tea is uproarious fun, yet it is the duo’s boundless imagination and endearing chemistry that provide the real magic and heart of this play.
When catastrophe strikes at James and Jamesy’s Christmas tea party, flooding the world with tea, the duo conjure wildly funny solutions to stay afloat, and sweep the audience out to sea in a jolly aquatic escapade brimming with whimsy, action, and ingenuity in a celebration of friendship at Christmas.
Centennial Theatre
2300 Lonsdale Ave
In this powerful display of healing and sovereignty, the Nuxalk Nation demonstrate their resurgence and return to Stl’mstaliwa—the full human experience.
In this powerful display of healing and sovereignty, the Nuxalk Nation demonstrate their resurgence and return to Stl’mstaliwa—the full human experience.
Museum of Anthropology
6393 N.W. Marine Drive
Step into the streets of Vancouver’s Chinatown through the lens of Fred Herzog. Vitality brings together a striking selection of Herzog’s photographs, capturing daily life in Chinatown, Strathcona, and along
Step into the streets of Vancouver’s Chinatown through the lens of Fred Herzog. Vitality brings together a striking selection of Herzog’s photographs, capturing daily life in Chinatown, Strathcona, and along historic Hastings St. from the 1950s to 1970s. Known for his masterful use of Kodachrome colour, Herzog documented the heyday of a neighbourhood in transformation —family-run shops, vibrant street scenes, and quiet moments of resilience and joy.
Each photograph is paired with personal and historical narratives uncovered by the Chinatown Storytelling Centre, adding new layers of meaning to Herzog’s iconic images. Scan QR codes throughout the exhibition to hear firsthand reflections that bring these moments to life.
Blending photography with storytelling, Vitality uncovers the hidden stories behind Herzog’s iconic images, offering a richer, more nuanced view of these historic neighbourhoods. By capturing the vitality, creativity, and resilience of the community during its heyday, this exhibition serves as a powerful reminder of what these neighbourhoods once were—and what they can become again.
Chinatown Storytelling Centre
Monsters in My Head is the first solo presentation in North America of work by Japanese artist Otani Workshop. The exhibition invites visitors into an enchanted dreamworld, where myths, memories
Monsters in My Head is the first solo presentation in North America of work by Japanese artist Otani Workshop. The exhibition invites visitors into an enchanted dreamworld, where myths, memories and materials come together to form a landscape—one that is strange, yet deeply familiar.
Entering the exhibition is like wandering into a forest of the imagination. Ceramic creatures in various scales and forms emerge from earthen mounds, tree stumps and scattered stones. The mazelike installation—constructed from materials foraged from local parks and forests—echoes Otani’s creative process, which transforms natural elements (clay, wood, flora) into figures brimming with presence and personality.
Visitors will encounter works inspired by the Pacific Northwest Coast, made during Otani’s Deer Lake Artist Residency at the Shadbolt Centre for the Arts in the summer of 2024. Other sculptures—produced in the artist’s studio on Awaji Island, situated on the Seto Inland Sea of Japan—draw on the deep traditions of ceramic-making but are shaped by his own intuitive experimentation. Ranging from human to animal-like figures, Otani’s ceramic works have a raw physicality, with textured and irregular surfaces, while his paintings capture more whimsical and adolescent sentiments of wonder, solitude, longing and hope.
Vancouver Art Gallery
750 Hornby Street
MONOVA is looking at transportation on the North Shore through a historical lens with their latest exhibit: Are We There Yet? How did the early infrastructure decisions of almost a
MONOVA is looking at transportation on the North Shore through a historical lens with their latest exhibit: Are We There Yet? How did the early infrastructure decisions of almost a century ago shape our communities and how we move around today? The exhibit brings together rarely-seen archival materials dating back to the early 20th century, and tells a story of how communities were created on the North Shore, and with new roads and bridges, came more choices about where to live and work.
Museum of North Vancouver
115 Esplanade W, North Vancouver, BC V7M 0G7
Heather Woolley, an environmental designer and artist, finds inspiration in the West Coast’s landscapes. Her work fosters a dialogue between humanity and nature, emphasizing sustainability and community engagement. Central to Heather’s
Heather Woolley, an environmental designer and artist, finds inspiration in the West Coast’s landscapes. Her work fosters a dialogue between humanity and nature, emphasizing sustainability and community engagement.
Central to Heather’s practice is her passion project on rammed earth, where she explores the intersection of material technique, construction art, and sustainability. Through this endeavor, Heather aims to create enduring structures that harmonize with the environment while advocating for responsible building practices. Her goal is to inspire stewardship and sustainability in her viewers, promoting a deeper connection with the natural world.
Since 2011, Choi has been creating traditional Korean folk paintings, drawing inspiration from centuries-old techniques while also infusing them with her own creative expression. She primarily works with Oriental watercolour,
Since 2011, Choi has been creating traditional Korean folk paintings, drawing inspiration from centuries-old techniques while also infusing them with her own creative expression. She primarily works with Oriental watercolour, Mica Powder, and Hanji—a traditional Korean paper handmade from mulberry trees. She occasionally incorporates other traditional materials, such as Bunchae—a traditional Korean powdered pigment made by mixing finely ground natural or mineral pigments with animal glue— and Bongchae— a premium pigment made by mixing powdered pigments with animal glue and hardening the mixture into solid stick form.
The works featured in this exhibition reflect both homage and innovation. While rooted in the forms and motifs of traditional Korean folk painting, Choi’s works are not mere reproductions. Instead, she reinterprets and transforms these traditions, creating original pieces that embody both reverence and personal vision. Her goal is to highlight the enduring beauty and emotional depth of Korean folk art while bringing a fresh perspective that resonates with contemporary audiences.
Choi is particularly drawn to natural themes—peonies, birds, and other elements of the natural world—which are rich symbols in Korean culture.
Each piece is created through a meticulous process that may take up to six months, involving multiple stages: sketching, outlining, and layering of colours. Through this careful craftsmanship, Choi seeks to preserve the traditional while also exploring her own evolving artistic language.
Choi began her artistic journey in community art classes, initially painting as a hobby. Over time, her dedication and talent led her to participate in various competitions and exhibitions.
Experience a three-channel video installation, created by LA based multidisciplinary artist Justen LeRoy that speaks to Black environmentalism, Black resistance, and Black liberation.
Experience a three-channel video installation, created by LA based multidisciplinary artist Justen LeRoy that speaks to Black environmentalism, Black resistance, and Black liberation.
Surrey Art Gallery
13750 88 Ave
The You Are Here exhibit presents the original artwork selected for the 2026 You Are Here Fundraising Calendar. Artists submit artworks of places that are recognizably in North Vancouver or
The You Are Here exhibit presents the original artwork selected for the 2026 You Are Here Fundraising Calendar. Artists submit artworks of places that are recognizably in North Vancouver or West Vancouver. The 2026 You Are Here Calendar features Mount Seymour, Lonsdale Quay, Whytecliff Park, Seaview Trail, Horseshoe Bay, Grand Boulevard, Lower Seymour Conservation Reserve Gazebo, Lighthouse Park, Spirt Trail, Deep Cove and The Shipyards. This calendar is a fundraiser for the North Shore Culture Compass, a free online map featuring arts, heritage, and stories of the North Shore.
North Vancouver District Public Library, Lynn Valley Branch
1277 Lynn Valley Rd
This exhibit showcase stories from Surrey resident Yvon Lehoux, who served on two of the ships featured in the display. See archival photographs, personal memorabilia and more!
This exhibit showcase stories from Surrey resident Yvon Lehoux, who served on two of the ships featured in the display. See archival photographs, personal memorabilia and more!
Museum of Surrey
17710 56A Avenue
Edge Effects features a combination of new commissioned works and projects never before seen by audiences in Canada, such as Liz Magor’s still poignant Blue Students/Alumnos en azul (1997). Originally
Edge Effects features a combination of new commissioned works and projects never before seen by audiences in Canada, such as Liz Magor’s still poignant Blue Students/Alumnos en azul (1997). Originally commissioned by INSITE97, the public project centred on photographic portraits of students from the School of Creative and Performing Arts in San Diego, California, and the Preparatoria Federal Lázaro Cárdenas in Tijuana, Mexico, that were placed throughout both cities. The film negatives were pressed with paper covered in iron salts, which converted into positive blue images as they were exposed to sunlight. By the end of the installation period, only a few portraits had not been completely obscured, with the artist stating that the legibility of the images represented the power of circumstance and chance that governs people’s lives.
Photo credit: Jin-me Yoon, video still from As the Crane Flies Bunker (Sonic Transformations), 2025. 4K and thermal 3-channel video installation with sound, sandbags, netting, and wood. 15:05 minutes, dimensions variable. Courtesy the artist.
Gibson Art Museum
Bill Reid Gallery of Northwest Coast Art presents the world premiere of NDN Giver, from September 17, 2025 – January 25, 2026. Curated by the gallery’s Assistant Curator, member of
Bill Reid Gallery of Northwest Coast Art presents the world premiere of NDN Giver, from September 17, 2025 – January 25, 2026. Curated by the gallery’s Assistant Curator, member of the Tsiits Git’anee clan, and passionate Haida Nation scholar Amelia Rea in her solo curatorial debut, the exhibition examines reciprocity, identity, and the evolving practice of gift-giving within potlatch traditions. Bringing together contemporary potlatch gifts such as prints and mugs alongside archival records of historical potlatches, NDN Giver features select pieces from Amelia’s personal collection as well as works by artists from communities across the coast, including the Haida and Heiltsuk Nations. For admission information and complete event details, visit: billreidgallery.ca
Bill Reid Gallery
639 Hornby Street
Phantom Scripts revisits three works by Geoffrey Farmer from the Audain Art Museum’s Permanent Collection — Vampire Archive, November 22, 1974 (2010 – 2025), The Politics of Appearing (2012 –
Phantom Scripts revisits three works by Geoffrey Farmer from the Audain Art Museum’s Permanent Collection — Vampire Archive, November 22, 1974 (2010 – 2025), The Politics of Appearing (2012 – 2025), The Good Sweeper (2017 – 2025)— reframing them through newly composed scripts, annotations, and didactic texts authored by the artist. The texts function as interjections — speculative, contextual, poetic — that reexamine and complicate the earlier works. In doing so, Farmer explores how art can be returned to, re-read, and re-situated under shifting historical and ethical awarenesses.
This exhibition is a return — not only to Farmer’s past works, and to the evolving conditions in which they are understood. Phantom Scripts highlights the artist’s curiosity to revisit the assumptions, forms, and the silences embedded in his earlier productions, treating the past not as fixed, but as an unsettled field of interpretation and implication. Early aesthetic elements remain — vivid, disorienting, alive — but are now considered by the artist within a broader awareness of colonial entanglements and queer disidentification, foregrounding the role of the museum not as neutral host, but as a site of complicity, memory, and potential transformation.
Audain Art Museum
4350 Blackcomb Way
Charles Atlas (b. 1949, St. Louis, MO) has lived and worked in New York City since the early 1970s. In 2024, the ICA Boston presented About Time, the first U.S.
Charles Atlas (b. 1949, St. Louis, MO) has lived and worked in New York City since the early 1970s. In 2024, the ICA Boston presented About Time, the first U.S. museum survey devoted to Atlas’ work. Other recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY (2022); Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy (2021); and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York (2018). Atlas’ work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Modern Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Migros Museum für Gegenwartskunst, Zürich; and De Hallen Haarlem, The Netherlands. In 2024, Atlas’ archive was acquired by The Getty Research Institute.
Contemporary Art Gallery
555 Nelson Street
Enemy Alien is the first major solo exhibition and retrospective of works by documentary photographer Tamio Wakayama. His career, spanning over fifty years, began with his photographs of the Civil Rights
Enemy Alien is the first major solo exhibition and retrospective of works by documentary photographer Tamio Wakayama.
His career, spanning over fifty years, began with his photographs of the Civil Rights Movement in the southern United States. Wakayama documented many of the social justice movements and countercultures of the 1960s and 70s. His work tells stories of community, joy and resistance in the face of injustice. The exhibition also highlights Wakayama’s documentation of Indigenous communities in Saskatchewan and the Doukhobors of eastern BC.
Vancouver Art Gallery
750 Hornby Street
For more than ten years now, the paintings of Sojourner Truth Parsons have trafficked in the saturated and sensorial. Plumbing the space between abstraction and legibility, feeling and form, the
For more than ten years now, the paintings of Sojourner Truth Parsons have trafficked in the saturated and sensorial. Plumbing the space between abstraction and legibility, feeling and form, the language of Parsons’ work is an intuitive one. Building depth through accretion, collapsing interior and exterior realms, and traversing a shifting set of references — from the history of dance to the Gee’s Bend quilts of Alabama to her garden in the Catskill Mountains — her paintings give shape to intensities both atmospheric and embodied.
Louise brings together a selection of works produced by the Vancouver-born, New York-based artist over the past several years, surveying the dexterity of her movement between figuration and form and her canvases’ elemental approach to sensation, texture and tone. Titled after the work of poet Louise Glück — known for her decades-long meditation on the illusions and agonies of the self — the exhibition traces the enduring emotional registers, both individual and collective, that occupy Parsons’ time in the studio: desire, loss, isolation, redemption, resurgence.
Contemporary Art Gallery
555 Nelson Street
Kintsugi, the Japanese art of “golden joinery,” is a 500-year-old tradition of repairing broken ceramics with natural Urushi lacquer and powdered gold. Rather than disguising damage, it highlights it—honoring imperfection
Kintsugi, the Japanese art of “golden joinery,” is a 500-year-old tradition of repairing broken ceramics with natural Urushi lacquer and powdered gold. Rather than disguising damage, it highlights it—honoring imperfection and the passage of time.
Vancouver-based artist Naoko Fukumaru draws on this ancient practice as both a craft and a meditative process. Through her work, she offers a powerful metaphor for personal healing: like broken pottery, our cracks can become part of our story—transformed, illuminated, and made beautiful.
Respecting traditional materials and methods, Fukumaru also pushes the boundaries of kintsugi through instinctive, innovative techniques. Her approach redefines what restoration can mean—bridging history and emotion in work that is both raw and radiant.
This exhibition invites viewers to reflect on what it means to be beautifully broken—and to find strength and beauty in the imperfect.
Nikkei National Museum & Cultural Center
6688 Southoaks Crescent, V5E 4M7
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport. This original Museum of Surrey-curated experience celebrates the
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport.
This original Museum of Surrey-curated experience celebrates the unifying power of hockey, highlighting its diversity, cultural significance, and impact on local communities.
Visitors will also learn about grassroots initiatives, women’s hockey, para hockey, Punjabi broadcasters, and the achievements that shape both local and national hockey culture.
Museum of Surrey
17710 56A Avenue
Connected through waters and shared territory, this exhibit features Squamish and Lil̓wat fashion and accessory designers with guest artists from the Northwest Coast. Through contemporary expression, Indigenous designers represent their
Connected through waters and shared territory, this exhibit features Squamish and Lil̓wat fashion and accessory designers with guest artists from the Northwest Coast. Through contemporary expression, Indigenous designers represent their identities rooted in lineage, land, and culture, shaping the future of fashion. Featuring works selected by Guest Curator Rebecca Baker-Grenier, an Indigenous Designer of Kwakiutł and Sḵwx̱wú7mesh ancestry.
Squamish Lil'Wat Cultural Centre
4584 Blackcomb Way
We who have known tides begins from a poetic inquiry that seeks to understand what it means to exist at the edges of the Pacific Ocean. We who have known
We who have known tides begins from a poetic inquiry that seeks to understand what it means to exist at the edges of the Pacific Ocean. We who have known tides is an examination that unveils the ways in which the ocean and living in proximity to it has shaped the work of Indigenous artists, as well as their relation to territories across land and water, and their connections to communities that have witnessed the tides change for thousands of years. Drawn predominantly from the Vancouver Art Gallery’s permanent collection, this exhibition asks us to consider where we are on a deeper level, looking to the ocean as a way of understanding how this place is ever changing.
Vancouver Art Gallery
750 Hornby Street
This exhibition explores one of the most intense and productive chapters in the professional life of American photographer Lee Miller. Between 1932 and 1945 Miller was simultaneously a renowned portrait
This exhibition explores one of the most intense and productive chapters in the professional life of American photographer Lee Miller. Between 1932 and 1945 Miller was simultaneously a renowned portrait photographer running her own studio in New York (1932—1934), a photographer for perfume and cosmetic brands in advertising (1932—1945), and a fashion photographer and war correspondent for the British edition of Vogue (1939—1945). This short time span encompasses a rich history in which the photographer moved between and linked her various practices. Miller’s diverse professional activities, and the ease with which she stepped from one context to another, reveal a photographer whose work was defined primarily by its exchange and commercial value. Lee Miller: A Photographer at Work reveals the inner dynamics of managing a photography career amid the myriad challenges facing professional women at the time. The exhibition offers a rich and complex portrait of this important figure, previously known best for her collaboration with American artist Man Ray and her close ties to the Surrealist movement of the 1920s.
The Polygon
101 Carrie Cates Court
Within The Mould, Against the Grain establishes itself as a case study on the genealogies and emergence of Black culture from within the Continent ( Africa) and across the diaspora. Utilizing
Within The Mould, Against the Grain establishes itself as a case study on the genealogies and emergence of Black culture from within the Continent ( Africa) and across the diaspora.
Utilizing Deforrest Brown Jr’s seminal text (Assembling A Black Counter-Culture) and Stuart Halls’s assertions on Black popular culture and identity as conceptual points of departure, this exhibition investigates the similarities, differences and connections that exist between instances of Black cultural production that have emerged from the Western Black diaspora as well as the Continent. Though united under the shared identity marker of “Black”, each one holds nuance based on separate histories, traditions, material conditions and varying stakes.
Through an intimate coalescing of lens-based works, schematics and sonic installations works, exhibiting artists Tati Au Miel, Odartey Aryee, Deforrest Brown jr, and Isabel Okoro expand on existing theoretical and conceptual frameworks that consider Black artists as knowledge keepers and producers, insisting that Black cultural identity, like Black cultural production, is a robust and complex process of both becoming and being that is ongoing.
Exploring themes like traditional spirituality, embodied knowledge, the limits of representation, global Black identity, and the tensions between appropriation, commercialization, and Black cultural production, this exhibition exemplifies the politics of style and oppositionality that position Black cultural production as existing against the grain, despite the hegemonic forces that attempt to dilute and subvert its potential.
The Black Arts Centre
The exhibition brings together artists Mike McNeeley, Chuck Melnychuk, and Sandrine Umuhoza in collaboration with WePress Community Arts Space. Their works reflect on lived experiences and social conditions of Vancouver’s
The exhibition brings together artists Mike McNeeley, Chuck Melnychuk, and Sandrine Umuhoza in collaboration with WePress Community Arts Space. Their works reflect on lived experiences and social conditions of Vancouver’s Downtown Eastside—narratives that also hold relevance with communities in Surrey.
Aligned with WePress’ commitment to working with those most impacted by systemic injustice, What Bodies Know grew from community workshops centering immunocompromised and disabled participants. These workshops focused on expressions of collective care, with McNeeley, Melnychuk, and Umuhoza contributing as peer workers. In these roles, they offered guidance, shared knowledge, and helped cultivate a supportive space grounded in accessibility.
Developed alongside the exhibition, descriptive and extend labels will provide visual details of the artworks, creating an inclusive experience that supports deeper engagement and understanding. Altogether, What Bodies Know reflects a collaborative and creative process, highlighting how art can serve as a tool for community connection and transformative dialogue.
Surrey Art Gallery
13750 88 Ave
Get festive and shop local at The Polygon Gallery Holiday Shop. Once again, we’re transforming our main floor retail space into a festive holiday experience and shopping
Get festive and shop local at The Polygon Gallery Holiday Shop. Once again, we’re transforming our main floor retail space into a festive holiday experience and shopping destination. Beautifully decorated and carefully curated, The Holiday Shop offers unique gifts by independent makers and artists.
The Polygon
101 Carrie Cates Court
An extended presentation of the Audain Art Museum’s Permanent Collection, From Sea to Sky celebrates the collection’s evolution from its inception in 2016 to the present. Built on the generous
An extended presentation of the Audain Art Museum’s Permanent Collection, From Sea to Sky celebrates the collection’s evolution from its inception in 2016 to the present. Built on the generous donation of over 200 works by Founders Michael Audain and Yoshiko Karasawa, the AAM’s Acquisition Committee has since guided the holding’s expansion through purchase, commission, and donation, to almost 300 outstanding pieces representing the art of British Columbia. Carving, painting, and photography serve as the pillars of the collection, featuring notable works by artists active from the mid-nineteenth to early twenty-first century. Such a display offers a unique visual evocation of the cultural differences that continue to shape BC’s socio-political identity.
From Sea to Sky showcases familiar masterpieces alongside newly acquired and previously archived works of art. These pieces by artists from the province, and those inspired by local environs, are all housed in Patricia and John Patkau’s stunning example of contemporary West Coast architecture. Among the active carvers and photographers of note are Robert Davidson, Dempsey Bob, Jeff Wall, Jin-Me Yoon and Stan Douglas, while paintings by Emily Carr, AY Jackson and BC Binning add a historical dimension to this sweeping display. Works acquired from Karin Bubaš, Rebecca Belmore, and Russna Kaur are indicative of a mid-point in their respective careers and each have also been featured in solo exhibitions at the Museum.
Audain Art Museum
4350 Blackcomb Way
The first solo-exhibition by Marika Swan, A Circle Strong Enough to Carry Both Sides explores her deeply woven understandings of the nature of duality held in all things. In elaborate,
The first solo-exhibition by Marika Swan, A Circle Strong Enough to Carry Both Sides explores her deeply woven understandings of the nature of duality held in all things. In elaborate, large-scale imagery, Swan depicts truths about the human experience through playful imaginings of spiritual realities. Using an emotional visual language entirely her own, Swan’s woodblock printmaking is informed by the rich philosophical and carving traditions of her Nuu-chah-nulth lineage. Introduced to printmaking as a tool for political organizing, her work speaks to the challenges and world we must face now. As the only public art museum dedicated to collecting works on paper, the Burnaby Art Gallery is honoured to host this exhibition, which features new works alongside Swan’s extensive portfolio.
Burnaby Art Gallery
6344 Deer Lake Avenue
The Museum of Anthropology (MOA) at UBC presents the world premiere of Entangled Territories: Tibet Through Images, on display from November 20, 2025 to March 29, 2026. Curated by Dr.
The Museum of Anthropology (MOA) at UBC presents the world premiere of Entangled Territories: Tibet Through Images, on display from November 20, 2025 to March 29, 2026. Curated by Dr. Fuyubi Nakamura, in collaboration with Tibetan-Canadian community members and artists, the bilingual exhibition explores Tibet’s rich cultural heritage alongside its current political context, through the lenses and voices of the Tibetan diasporic community. The exhibition features photography, letters, objects, and belongings from MOA’s archives alongside contemporary contributions from Tibetan-Canadian artists: Lodoe Laura will have several works on display, alongside the screenings of two short films from filmmaker Kunsang Kyirong, whose work was recently screened at the Toronto and Vancouver International Film Festivals. MOA will celebrate the opening of Entangled Territories on November 20, 6–9pm, with free museum admission for all. To learn more about the exhibition, as well as ancillary events, visit moa.ubc.ca
Museum of Anthropology
6393 N.W. Marine Drive
The Potters Guild of BC enters its 70th year with its newest exhibition – Earth, Fire and Form: A BC Ceramics Celebration featuring the work of over 50 BC artists.
The Potters Guild of BC enters its 70th year with its newest exhibition – Earth, Fire and Form: A BC Ceramics Celebration featuring the work of over 50 BC artists. All works are for sale and there is a mug wall.
Artist talks on Saturdays, 2 – 3pm: November 29, December 6, 13, 20 & January 10
Italian Cultural Centre
3075 Slocan St, Vancouver, BC
Celebrate the holiday season at Festive Village with presenting partner Concord Pacific. Experience the special atmosphere of festive lights and traditional decorations to get you into the holiday spirit. Gate admission is
Celebrate the holiday season at Festive Village with presenting partner Concord Pacific. Experience the special atmosphere of festive lights and traditional decorations to get you into the holiday spirit.
Gate admission is free. View the full schedule of events.
Please note that during times of high attendance, entry onto the site may be limited to ensure the safety of our visitors and staff. Updates will be posted on this webpage and on our social media.
Bring your family and friends to experience the wonder of Festive Village. It’s the perfect way to celebrate the holiday season and create lasting memories.
November 22-December 15, 2025
December 16, 2025-January 2, 2026
Please note: Last admission into the Museum is 30 minutes before closing.
https://www.burnabyvillagemuseum.ca/EN/main/what-s-on/heritage-christmas.html
Burnaby Village Museum
