The Vancouver Art Gallery is pleased to announce the much-anticipated presentation of Shelley Niro: 500 Year Itch, a monumental retrospective that surveys the 40-year career of celebrated Bay of Quinte Mohawk artist Shelley Niro. Organized by the Art Gallery of Hamilton (AGH) with the Smithsonian’s National Museum of the American Indian and with curatorial support from the National Gallery of Canada, this extraordinary exhibition showcases the full breadth of Niro’s prolific career from her unique perspective as a Kanyen’kehá:ka (Mohawk) woman, bringing together works across painting, photography, sculpture, mixed media and film.

“We are honoured to be able to share this remarkable retrospective of Shelley Niro’s career with Vancouver,” says Anthony Kiendl, CEO & Executive Director of the Vancouver Art Gallery. “Niro has been fundamental in shaping the discourse around Indigenous representation, culture and ways of being.”

From the 1980s to the present, Niro has created art that reflects contemporary life and builds upon Kanyen’kehá:ka (Mohawk) philosophies, deep understandings of history and a woman-centred worldview. Accessible, humorous and peppered with references to popular culture, this sharp-witted survey delves into the timeless cultural knowledge and generational histories of the artist’s Six Nations Kanyen’kehá:ka community to make art that provides purpose, hope and healing.

“The Art Gallery of Hamilton is thrilled to be sharing this important project,” says Shelley Falconer, President and CEO of the Art Gallery of Hamilton. “We are confident that Shelley Niro’s incredibly poignant works will resonate deeply with Vancouver audiences. The artist’s talk will be an excellent chance to hear from the artist herself, along with the audio guide located throughout the exhibition.”

Spanning almost four decades and over seventy works—from painting to beading—the exhibition is organized into themes that Niro often returns to: Matriarchy, Past is Present, Actors and Family Relations. Each provides vantage points from which she probes ideas central to her experience and identity as a Kanyen’kehá:ka (Mohawk) woman. Niro’s persistent vision is to empower Indigenous women and girls, advocating for self-representation and sovereignty. Her highly empathetic approach moves viewers to understand the issues at hand through her visually impactful and politically powerful manner. She uses parody, feminism and spirituality to examine identity and, in turn, brings political power to the realm of the personal.

The exhibition title refers to the film The Seven Year Itch, released in 1955, the year after Niro was born. The film, starring Marilyn Monroe, portrays a marriage unravelling and refers to the concept of relationships waning after seven years. Niro explores this idea, suggesting that the relationship between colonizers and Indigenous peoples has always been uncomfortable, and there remains an itch. Niro created a self-portrait titled The Seven Year Itch in 1992, in which she imitates the famous scene of Marilyn Monroe standing over a subway grate with her dress blowing up.

“I remember seeing Shelley’s first solo show back in 1992 and slowly realizing, standing before Mohawks in Beehives, that I was witnessing a paradigm shift in contemporary Indigenous art,” says Richard Hill, Smith Jarislowsky Senior Curator of Canadian Art at the Vancouver Art Gallery. “It was fundamentally a change in how Indigenous identity was publicly presented. I had experienced a good deal of humour in Indigenous communities, but I hadn’t seen an artist treat identity as a space of riotous and inventive role-playing like Shelley did. It was liberating, opening a space for a rich, complex and often hilarious view of contemporary Indigenous experience. Any stereotype that got in her way was not so much overthrown as deftly pierced by laughter and left to deflate under the weight of its own absurdity.”

Shelley Niro: 500 Year Itch runs from September 27, 2024, until February 17, 2025. The exhibition is accompanied by a glittering publication designed by Barr Gilmore, available for purchase in the Gallery Store. This publication features contributions from esteemed authors and curators, including Lori Beavis, Sally Frater, Adrianna Greci Green, Bryce Kanbara, Madeline Lennon, Nancy Mithlo and Hulleah J. Tsinhnahjinnie. 

The exhibition is organized and circulated by the Art Gallery of Hamilton with the Smithsonian’s National Museum of the American Indian and with curatorial support from the National Gallery of Canada. Curated by Melissa Bennett, AGH Senior Curator of Contemporary Art; Greg Hill, Independent Curator, formerly Audain Senior Curator, Indigenous Art, National Gallery of Canada; and David Penney, formerly Associate Director of Museum scholarship, Exhibitions, and Public Engagement at the Smithsonian National Museum of the American Indian. The Vancouver Art Gallery presentation is coordinated by Richard Hill, Smith Jarislowsky Senior Curator of Canadian Art.

Every month, the talented cast of loveable improvisers from across the Lower Mainland takes to the stage at The Bez Arts Hub in Langley for a very fun evening full of comedy improv games, scenes, and surprises.

The Georgia Straight calls Very Very Improv “city-quality comedy talent in the ‘burbs”, and audiences agree. “Very Very Improv is a blast every single time! Each show I’ve attended has been a hoot!” Join the fun! You’ll laugh lots.

Very Very Improv is a new, professional improv theatre company based in the Fraser Valley that has brought together some of the top improv performers from across the lower mainland.

Members of the cast have trained and performed with Vancouver Theatresports, The Panic Squad, Funny Brothers Improv, Tightrope Improv, Trinity Western University, University of the Fraser Valley, Canadian Improv Games and more.

Door & Bar at 7:15pm
All parking spots available after 5pm

Feature image: Jonathan McEwan

Saturday, September 28th at 8pm
Friday, October 25th at 8pm
Saturday, November 30th at 6pm & 8pm
Friday, December 27th at 8pm
Saturday, December 28th at 8pm
Saturday, January 25th at 8pm
Saturday, February 15th at 8pm
Saturday, March 29th at 8pm
Saturday, April 19th at 8pm
Saturday, May 31st at 8pm
Saturday, June 21st at 8pm

Housing is not just a place; it is a foundation for life, dignity, and community. The “Changing the Conversation” series explores the multifaceted challenges surrounding housing—from inflation and the job market to the rising costs of living, the scarcity of supportive housing, shelter beds, and public rehab facilities in the face of a growing overdose crisis. These issues are not just statistics; they are lived realities for many, including those who have worked their entire lives, only to find themselves reliant on food banks or services like the Union Gospel Mission, and for youth aging out of foster care, who face a harsh world that often leaves them neglected and forgotten.
This exhibit unfolds in two parts. The first offers a platform for the voices and visions of the youth from the Purpose Youth Hub. Here, they share their stories, dreams, and perspectives—because every young person deserves to be heard. The second part features a powerful collection of paintings, poetry, and photographs from public art installations by resident artist PJ Murashige Patten. Through his own lived experience and deep engagement with the community, Patten’s work captures the raw, unfiltered realities of housing insecurity, shedding light on the humanity often overlooked in the broader discourse.
“Changing the Conversation” is not just an exhibit; it’s an urgent call to listen, to empathize, and to act. It challenges us to see housing as a universal right, and to recognize the diverse faces and stories behind the statistics.

Mahtab Firouzabadi is a North Shore-based contemporary abstract artist and activist of Iranian descent. After high school in Germany, she returned to Iran, earning a Bachelor’s in Painting and a Master’s in Art, focusing on German literature at Azad University (2001-2003).

Her move to Canada transformed her artistic vision as she embraced the multicultural environment. She drew inspiration from history, geography, mythology, and technology, leading to an MFA from Emily Carr University of Art + Design in Vancouver (2017-2019).

Firouzabadi’s work integrates cultural memory, nature, poetry, peace, and urbanism. She views trees as symbols of purity and energy, central to her art. For her, language and art are vital tools for personal and communal connection, enriched by her exposure to diverse cultures.

We’re absolutely thrilled to invite you to the upcoming book launch event for ᴀɴ ᴇɴᴅʟᴇꜱꜱ ᴛʜʀᴇᴀᴅ —a stunning celebration of Haida designer Dorothy Grant’s groundbreaking career in fashion.

Join us for an inspiring afternoon as we celebrate Dorothy’s groundbreaking contributions to Indigenous fashion and culture. You’ll have the opportunity to meet the author in person and purchase your own signed copy of the book!

This special event is included with Gallery admission.

Saturday, October 26th, 2024
1:00 PM – 3:00 PM
Bill Reid Gallery

About Dorothy Grant: An Endless Thread

Inspired by a discussion with celebrated Haida artist Bill Reid, Haida designer Dorothy Grant made it her life’s mission to bring her culture’s traditional art into contemporary fashion while adhering to the principle of Yaguudang, or respect for oneself and others.

The 1989 launch of her Feastwear collection, featuring modern silhouettes hand-appliquéd with Northwest Coast formline, immediately established her at the forefront of Indigenous fashion in North America, and she has since hosted runway shows and trunk sales from Paris to Vancouver to New Zealand. Her clients include Indigenous leaders, national politicians, and global celebrities, and her garments can be found in museums and galleries around the world, including the Metropolitan Museum of Art.

Dorothy Grant: An Endless Thread is the first monograph to celebrate her trailblazing career. It features new photography of dozens of garments spanning the past four decades, modelled in studio and natural settings in Vancouver and Haida Gwaii, alongside sketches, traditional button robes and spruce-root weaving, and personal stories and reflections from Grant.

Essays by Haida repatriation specialist and museologist Sdahl Ḵ’awaas Lucy Bell and curator India Rael Young place Grant in the long continuum of Haida fashion and trace the many innovations and accomplishments of her journey, and Haida curator and artist Kwiaahwah Jones, a longtime assistant to Grant, shares behind-the-scenes insights and memories.

Part look-book, part memoir, and part history, this beautifully illustrated monument to a singular designer who helped inspire the growing Indigenous fashion movement is also a powerful demonstration of the enduring resonance and possibilities of Haida art.

My work is mixed media collage combining found images and/or painted backgrounds, with pencil drawing and watercolour. The drawn elements are always the key focus of the work whereas the found imagery creates background and context. I emphasize the drawings by utilizing watercolour or acrylic washes but the pencil marks are always clear which, for me, echo the rudimentary creative form I used throughout my childhood. Using this technique, the central images seem somehow ghostlike and ethereal and create a separation of the object from its’ environment.

This show reflects and is inspired by my mental health journey, tracing trauma trailheads from my early youth through my exploration of the Internal Family Systems therapy paradigm. The work speaks to the loneliness and isolation as a queer child in a challenging family environment. I recast memories, emotions, and internal personalities as ghostly visions and dark fables. Familiar figures, like the chilling visage of a scarecrow or a mangy rat, stand as concrete examples of emotions and responses.

Over the years Jay has had the pleasure of exhibiting his work both solo and with his siblings in group shows that often included collaborative creativity. The latter has been an inspiration that has reinvigorated his joy in making art.

Jay lives in an ancient house in New Westminster that overlooks a cemetery. He shares his life with his husband, along with a painfully adorable rescue pup, and ghosts too numerous to mention (including a fat old tabby cat).

Organized by the Institute of Contemporary Art/Boston, this exhibition is the first mid-career survey of the richly layered work of Firelei Báez.

One of the most exciting painters of her generation, Báez delves into the historical narratives of the Atlantic Basin. Over the past twenty years, she has made work that explores the multilayered explorations of the legacy of colonial histories and the African diaspora in the Caribbean and beyond. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, decoration and saturated colour, often overlaid on maps made during colonial rule in the Americas. Báez’s investment in the medium of painting and its capacity for storytelling and mythmaking informs all her work, including her sculptural installations, which bring this quality into three dimensions.

This exhibition offers audiences a timely opportunity to gain a holistic understanding of Báez’s complex and profoundly moving body of work, cementing her as one of the most important artists of the early 21st century.

In this workshop, we’ll explore how textiles can hold and express personal memories. Each week, you’ll engage in a different textile technique, creating pieces that reflect your own experiences and stories.

What to Expect:

Week 1: Dyeing with Meaning

Week 2: Embroidering Memories

Week 3: Weaving Stories

Week 4: Creating Textile Collages

Skills learnt:

Techniques in textile arts including dyeing, embroidery, weaving, and creating textile collages.

Who Should attend:

Beginners curious about textile arts.
Creatives interested in personal storytelling through textiles.
Anyone eager to learn basic textile techniques.
Why Attend:

To view textile arts as a medium for personal expression and exploration rather than rigid perfection.

Teaching Experience:

Francisco Berlanga is a Vancouver-based artist with a BFA from Simon Fraser University and an MFA from the University of British Columbia. His practice reflects on his relationship to his Mexican identity as a second-generation immigrant through the lens of craft. He explores how one can inhabit a culture while being partially absent from it, engaging in discourse with his identity through traditional Mexican crafts.

A showcase of new work by the finalists of the Philip B. Lind Prize for Emerging Artists. Established in 2016, this honour is awarded biennially to an emerging BC-based artist working in mediums of photography, film, or video. Artists are nominated for the prize by arts professionals from institutions, organisations, and post-secondary programs across the province. In 2024, thanks to a generous donation from the Lind family, the prize amount has increased to $25,000, making it one of the country’s largest accolades dedicated to supporting visual artists.

This year’s exhibiting finalists are: Mena El Shazly, Karice Mitchell, Dion Smith-Dokkie, Parumveer Walia, and Casey Wei. They were selected from a longlist of more than 60 nominees by a panel of esteemed international jurors: Grace Deveny, the Art Institute of Chicago’s David C. and Sarajean Ruttenberg Associate Curator, Photography and Media; Brian Jungen, acclaimed contemporary artist; and Aram Moshayedi, writer, interim chief curator at the Hammer Museum in Los Angeles, and current curator-in residence at Museo Tamayo Arte Contemporáneo in Mexico City.

The winner will be announced at an award ceremony on January 23. Previous Philip B. Lind Emerging Artist Prize winners include Charlotte Zhang (2021), Laura Gildner (2020), Jessica Johnson (2019), Christopher Lacroix (2018), Marisa Kriangwiwat Holmes (2017), and Vilhelm Sundin (2016).

OPENING RECEPTION
Friday, November 15th, 2024 from 6-9pm
Come meet & greet the artists, enjoy some libations and art!

COMPLIMENTARY TICKETS AVAILABLE: https://www.showpass.com/culture-crawl-meets-the-gallery-george/

The exhibition runs from November 13th – December 1st, 2024

The Polygon Gallery is pleased to present its annual Holiday Shop from November 13 – January 5. An annual tradition, the gallery’s main floor will be beautifully decorated and carefully curated with unique gifts by independent makers and artists. Additionally, there will be weekly interactive activities for visitors to enjoy, such as holiday craft workshops, vintage photography sessions, The Shipyards annual tree lighting event, and even a pop-up tattoo parlour.

The Polygon Gallery’s Retail Buyer, Marie Ng, has worked tirelessly to fill the shop with numerous local brands, with an emphasis on showcasing Canadian-made products that will sit alongside established international labels. “We’re proud to offer a wide selection of locally made gifts, from budget-friendly stocking stuffers that make a big impact to luxurious gifts your loved ones will never forget,” says Ng.

re:Naissance proudly presents IndieFest from Nov. 15–23, 2024. Now in its fifth year, IndieFest has celebrated local creatives, amplified the voices of IBPOC and LGBTQ2S+ artists, and pushed for innovation in live performance with genre-defying projects. This year’s theme, “Transformation and Transcendence,” invites audiences to engage with the world in new ways and encourages authentic personal growth.

“The festival has grown significantly over the past five years, but it remains focused on showcasing Vancouver’s vibrant indie arts scene,” says Debi Wong, founding artistic director of re:Naissance. “Most of the featured artists are local, celebrated for their passion for innovative storytelling. Over the past few years, we’ve expanded to include creatives experimenting with cutting-edge technology and new art forms beyond our roots in opera. We’re using technology to create unique, connective experiences and we’re focused on immersive storytelling that envisions hopeful, generative futures for our communities.”

The festival opens with the world premiere of Eurydice Fragments by Luke Hathaway and Teiya Kasahara, which has been seven years in the making. The groundbreaking production is a reimagining of the Greek Orphean myth, blending powerful vocal performances, dance, XR, and motion capture technology to explore identity beyond binaries. It follows O, a trans individual navigating self-expression through virtual avatars in a quest for wholeness. This immersive performance challenges audiences to consider the complexity of identity and self-expression in a modern world. The project has been presented in short-form iterations over the past several years, such as Live from the Underworld, which earned international acclaim.

Eurydice Fragments will open at Signals Studio at the Centre for Digital Media, a brand new cultural hub located in False Creek Flats opened in partnership with DigiBC. The 8,000-square-foot converted warehouse was designed to break the mold of traditional performance venues. As two organizations championing indie creators in tech and arts sectors, re:Naissance and DigiBC are collaborating to explore what’s possible in this new space.

The festival will also present Ultra Violets by Alexandra Caprara. The full-length dance-theatre work is a physical exploration of the ways queer club culture, plant growth cycles, and sapphic intimacy intersect. Ultra Violets subverts our expectations of what queer becoming looks like, and depicts this process as a cause for celebration using integrated design, dirt, and plenty of disco balls. Set within a world that is part greenhouse, part underground dance club, the work draws on the history of disco and plant life to introduce a fresh perspective on what it means to grow into oneself.

This year’s Future Mythologies — a showcase of excerpts of new works in development that aspire to redefine the future of storytelling — will feature three boundary-breaking works:

• Polyphonic Garden by Ruby Singh: an innovative blend of biophony (the collective sounds of animals in an environment), geophony (the naturally occurring, non-biological sounds in an environment), and biosonification (the translation of biological activity from Indigenous plants into musical sounds).
• Soft Tongues by Jami Reimer: an immersive sound composition that weaves recordings of local frogs and their relationship to their environments as the audience follows a frog throughout its life cycle.
• Future Renaissance by Alina Sotskova: a fusion of contemporary dance, sci-fi, and Renaissance art that synthesize in a cyberpunk setting 500 years into the future.

Welcome to the A.I.M. Educators’ Conference, a premier gathering dedicated to fostering innovation, collaboration, and excellence in the field of museum education. This conference serves as a dynamic platform where educators from the Sea-to-Sky region come together to share best practices, explore new strategies, and engage in meaningful dialogue about the role of museums in education and community engagement.

The A.I.M. Conference will enhance the skills and knowledge of educators through interactive workshops, seminars, and informational sessions led by industry experts. Networking opportunities will encourage attendees to connect with peers, exchange ideas, and build professional relationships that can lead to future collaborations. Each workshop is designed to showcase the latest innovative tools, technologies, and methodologies that are transforming museum education. Through talks with Indigenous educators, attendees will learn about inclusive practices that address challenges related to cultural difference in museum education. In addition, there will be opportunities to discuss strategies for engaging audiences and making museums more accessible and relevant to their communities.

Vancouver’s contemporary dance scene takes centre stage in the 14 ^th edition of Dance In Vancouver, presented by The Dance Centre November 20-24. This curated biennial event provides a unique opportunity to experience dance by a diverse and creative community of BC artists. The 2024 edition features performances and showings by companies including Action at a Distance/Vanessa Goodman, Anya Saugstad, Company 605, FakeKnot, Lee Su-Feh, Starr Muranko/Raven Spirit Dance, Tasha Faye Evans, Ziyian Kwan/Odd Meridian Arts, and more.

Initiated in 1997 and produced every two years by The Dance Centre, Dance In Vancouver (DIV) is unique for its concentrated focus on promoting the province’s contemporary dance talent, not only to local audiences, but also to dance promoters and curators who come from across Canada and around the world to experience the dynamic contemporary dance of the Canadian West Coast.

In addition to public performances and events, visiting presenters will have private showings and will experience works by over 30 BC-based artists over the course of five days. This edition of DIV also centres partnerships with Vancouver’s artist-run centres which will share their programming with presenters, including Left of Main, Morrow, Boombox, Progress Lab 1422 and WhatLab/Co.ERASGA.

Executive Director Mirna Zagar explains: “Dance In Vancouver works on many levels. It’s a great opportunity for audiences to experience work by local artists; our artists get the chance to build their national and international connections; and the presenters become more informed on our dynamic and diverse dance scene. Over time we have seen significant growth in touring activity and BC dance is now enjoying enhanced visibility on the world stage.

“This event is central to The Dance Centre’s mission to be a leader in creating and supporting connections for BC’s dance artists.”

Previous editions of DIV have welcomed visitors from Europe, Asia, Australia, New Zealand, and the Americas, and helped nurture touring opportunities, artistic exchanges, and partnerships for BC dance artists.

This edition’s guest international curator is Anthea Lewis, founder of Blulilli Projects UK, in association with Dance Umbrella (UK) – London’s International Dance Festival and FABRIC International. DIV 2024 also includes a range of partnerships with artist-run centres and venues, and with programming consultants Raven Spirit Dance.

The department of Art + Design is pleased to present an exhibition of new paintings by Art +
Design faculty member Russell Leng. Leng’s exhibition Thru u is on view at the SAMC Gallery
November 20-December 21, 2024.

This highly personal body of work represents a new direction in Leng’s practice over the past
four years as he’s transitioned from abstraction to figuration. It was during the first months of the
pandemic that human figures first began to appear in Leng’s usually abstract paintings.
As one gazes at these paintings figures emerge from the highly textural surfaces– a hand, a
head, a boot, a figure within a figure. These indistinct and abstract figures surface and dissolve,
intertwine and merge speaking to our fundamental interconnectedness. Leng explains that the paintings “explore where we begin and end in relation to one another” and invite the viewer to
contemplate “the significance of the many subtle connections we share.”

Less representations of actual bodies and more symbolic messenger figures, Leng’s abstracted
bodies gesture to a more gentle and supportive way of being together. Amidst the tensions of
global conflict, domestic politics and rising inequality, Leng’s figures offer a vision of
interconnection and interdependence that is a balm to our contemporary sense of alienation.

Of the exhibition, Gallery Coordinator and faculty member, Alysha Creighton says “I’ve been
watching this body of work develop for several years. I’m so excited to be able to present this
soulful and visually rich body of work at the SAMC Gallery.”

Thru u runs from November 20-December 21, 2024 at the SAMC Gallery on Trinity Western
University’s Langley Campus. The exhibition and events are free and open to the public.

Opening Reception + Artist Talk: November 21, 7:00-8:30pm
Gallery Coffee Break: December 3, 10:30-11:00am

Exhibition Opening hours:
Monday-Thursday 7:45am-11:00pm
Friday 7:45am-6:00pm
Saturday 10:00am-6:00pm
Sunday 1:30pm-5:00pm
Holiday hours available HERE

Vancouver’s contemporary dance scene takes centre stage in the 14 ^th edition of Dance In Vancouver, presented by The Dance Centre November 20-24. This curated biennial event provides a unique opportunity to experience dance by a diverse and creative community of BC artists. The 2024 edition features performances and showings by companies including Action at a Distance/Vanessa Goodman, Anya Saugstad, Company 605, FakeKnot, Lee Su-Feh, Starr Muranko/Raven Spirit Dance, Tasha Faye Evans, Ziyian Kwan/Odd Meridian Arts, and more.

Initiated in 1997 and produced every two years by The Dance Centre, Dance In Vancouver (DIV) is unique for its concentrated focus on promoting the province’s contemporary dance talent, not only to local audiences, but also to dance promoters and curators who come from across Canada and around the world to experience the dynamic contemporary dance of the Canadian West Coast.

In addition to public performances and events, visiting presenters will have private showings and will experience works by over 30 BC-based artists over the course of five days. This edition of DIV also centres partnerships with Vancouver’s artist-run centres which will share their programming with presenters, including Left of Main, Morrow, Boombox, Progress Lab 1422 and WhatLab/Co.ERASGA.

Executive Director Mirna Zagar explains: “Dance In Vancouver works on many levels. It’s a great opportunity for audiences to experience work by local artists; our artists get the chance to build their national and international connections; and the presenters become more informed on our dynamic and diverse dance scene. Over time we have seen significant growth in touring activity and BC dance is now enjoying enhanced visibility on the world stage.

“This event is central to The Dance Centre’s mission to be a leader in creating and supporting connections for BC’s dance artists.”

Previous editions of DIV have welcomed visitors from Europe, Asia, Australia, New Zealand, and the Americas, and helped nurture touring opportunities, artistic exchanges, and partnerships for BC dance artists.

This edition’s guest international curator is Anthea Lewis, founder of Blulilli Projects UK, in association with Dance Umbrella (UK) – London’s International Dance Festival and FABRIC International. DIV 2024 also includes a range of partnerships with artist-run centres and venues, and with programming consultants Raven Spirit Dance.

Join us as we kick off your winter celebrations with “A Winter’s Twist.”

Experience a reimagined contemporary dance, a unique twist on the beloved classic ‘Romeo and Juliet’, designed to bring the winter holidays to life with a flurry of love, winter glee, breathtaking fun, and lovable characters.

Join Juliet Clara, a curious girl who runs away from her family; she dashes away from her black-and-white world, where she meets Romeo Green—a boy whose family is completely crazy for the holiday season.
Together, they find themselves in a magical, twisted world.

A Winter’s Twist is returning to you this holiday season! At two different locations:
November 20 & 21 at 7:30 pm, Centennial Theatre, North Vancouver.

Don’t miss out on this magical performance. Book your tickets now at Lamondance.com

Co-curated by Dana Claxton and Curtis Collins, the Curve! exhibition will shed light on a lesser-explored facet of Northwest Coast art—women’s contributions to the rich tradition of carving wood and argillite.

The exhibition will feature over 125 works of art that include poles, panels, masks, bowls, and other sculptures all intertwined with traditional knowledge. These works will be on loan from public and private collections across Canada and the United States. The exhibition will focus on a selection of carvers active from the 1950s to present day, highlighting the pivotal role of women artists within the larger tradition of indigenous carving along the coast of British Columbia.

This group exhibition and important North Van Arts fundraising event includes both emerging and established artists. All artwork will be available to view and purchase online, reaching a wide audience, while the exhibition will be installed at CityScape Community ArtSpace, with in-person preview and exhibition viewing. All purchases will be exclusively online.
The magic of this show is that each artist remains anonymous until after their work has sold. Participating artists are required to sign only the back of the canvas to keep their identity unknown. Once a painting is purchased, it is removed from the wall and replaced with a sold tag, revealing the artist’s name.

The Anonymous Art Show is an important fundraiser for North Van Arts, and we encourage you to take part and join in the fun!

The Arts Whistler Holiday Market is back for its 33rd year with two days of hand-made, hand-baked goodness on November 30 – December 1.

With over 65 curated vendors from the Sea to Sky and across BC, along with the young entrepreneurs of Bratz Biz 2024, Whistler’s largest artisan market draws visitors from far and wide. Discover artisanal food and drink, fine art, handcrafted jewelry, ceramics, apparel, accessories and more.

This year, enjoy the return of the Whistler Children’s Chorus, performing a festive mix of songs from their upcoming Winter Holiday Concert alongside beloved holiday classics – singing along is encouraged! Plus, Bratz Biz’s ever-popular face painting and craft table will be back for even more family fun.

Whether you’re hunting for the perfect holiday gift, treating yourself to something special, or simply wanting to bask in the festive spirit, the Arts Whistler Holiday Market and Bratz Biz 2024 has everything you need for a magical holiday season.