Meet Me at The Gallery is a new daytime art program dedicated to enriching the lives of adults and seniors in our community with monthly get-togethers inspired by the gallery’s current exhibitions. Visitors are invited to drop-in on the first Wednesday of every month at 10:00 am to make new connections with art, and each other! A different activity will greet visitors every month, with social time to follow.

Coffee is on us!

Advance registration below is appreciated, but walk-ins are always welcome.

Upcoming Meet Me at The Gallery Dates
Wednesday, January 4
Wednesday, February 1
Wednesday, March 1
Wednesday, April 5
Wednesday, May 3
Wednesday, June 7
Wednesday, July 5
Wednesday, August 2
Wednesday, September 6
Wednesday, October 4
Wednesday, November 1
Wednesday, December 6

North Van Arts’ famous Art Rental show will be on display from January 13 to February 11, 2023! This salon-style exhibition will represent brilliant works by local artists in many techniques, such as woodcut prints, lithography, photography, oil, acrylic, watercolour, and mixed media, to express themselves through the magic of art. 195 new artworks have been added to the Art Rental Programme, with pieces ranging from 8″ x10″ to 48″ x48″ in size.

Stop by CityScape Community ArtSpace to see a world of colourful paintings, dazzling photographs, breathtaking landscapes, and unique abstract artworks. You can rent your beloved piece or buy it right off the wall! The rental fees vary from 10$-60$, and we have over 400 pieces in our collection; there is art for everyone! And don’t miss our opening reception on January 12 from 7 to 9 pm! It has been two years since we have been able to host an opening reception for Art Rental, and we are excited to celebrate the new works with the community. Join us to meet and mingle with the artists in the programme.

You can find out more about the Art Rental Programme here.

The title of the work is taken from the Pope’s penitential speech in which he recognized the importance of remembering the devastating impacts of the residential school system. Belmore co-opts his phrase “hacer memoria,” or “try to remember,” by highlighting the challenges of not forgetting. In colours that carry significance – blue for the uniforms that students wore and orange to mark the resilience of survivors – the provocative artwork offers an opportunity to acknowledge Indigenous people. Invoking the word “hereafter,” the artist places emphasis on the troubled present and unknown futures.

This micro-exhibition, Spirit Journeys: Walking with Resilience, Wellbeing and Respect, provides an opportunity for the YVR Art Foundation (YVRAF) 2021 Emerging and Mid-Career Artist Scholarship recipients to exhibit their artworks. Through the YVR Art Foundation Scholarship Program these artists continued their studies or worked with mentors to expand their personal knowledge of Indigenous art and design. The results are breathtaking and inspiring. MOV is honored to showcase the work of these ten talented artists, and we raise our hands in respect and appreciation for those who have inspired and taught them.

For over three decades, Kathy Slade has produced conceptually driven work that engages techniques of copying, repetition and reenactment, often coalescing in materially sumptuous objects. In her wide-ranging interdisciplinary practice, Slade inhabits sources from literature, art history, philosophy, and popular culture, weaving her references into absurd and frequently playful loops and voids.

At the Contemporary Art Gallery, Slade presents As the sun disappears and the shadows descend from the mountaintop, a new body of work rooted in a research trip to Sils Maria, Switzerland, where Friedrich Nietzsche spent the majority of his summers during the decade he wrote his most enduring works. There, Slade retraced the philosopher’s steps along the shore of Lake Silvaplana, where upon encountering a large, pyramid-shaped rock he arrived at what he called “my truly abyssal thought”: eternal recurrence, “the unconditional and infinitely repeated circulation of all things.” In the exhibition, Slade reimagines Nietzsche’s encounter in two depictions: an enormous tapestry representing the rock to scale, and a series of graphite rubbings that maps the entirety of the rock’s surface over twenty monochromes.

The Collectors’ Cosmos: The Meakins–McClaran Print Collection provides a glimpse into the making of what became one of the foremost private collections of European prints in Canada. Built over the course of four decades, the core of this collection comprises a wealth of sixteenth- and seventeenth-century Dutch and Flemish prints. Drs. Jonathan Meakins and Jacqueline McClaran recently donated a significant portion of these works to the National Gallery of Canada, thus doubling the holdings of early Dutch and Flemish prints in the national collection. This generous gift advances the study of early Northern European printmaking, and includes an impressive number of print series depicting seasons or months of the year, times of the day, planets, elements, animalia and more. These works enrich our understanding of the role played by prints in Early Modern Europe, illustrating humanity’s quest to make sense of the world and find order in chaos.

This touring version of The Collectors’ Cosmos at the Audain Art Museum in Whistler features over 170 works and includes prints by such notable European Masters as Rembrandt van Rijn, Hendrick Goltzius and Jacob van Ruisdael.

Please join us at The Gallery at Queen’s Park, for the exhibition of Crystal Noir’s “Guilty as Skin”.

“The concept for “Guilty As Skin” was born from my own feelings of fear being a Black woman, as we continue to witness harrowing displays of police violence towards BIPOC communities throughout Turtle Island (North America).” ~ says Noir. “Having one’s identity dismantled, marginalized and regulated to non-human status demands both awareness and action. This series was created as a personal call-to-action to end the unjust policing of minority and disenfranchised bodies, and state-sanctioned acts of violence used as a tool to oppress BIPOC communities.”

The Gallery will also be hosting an artist talk and presentation, with Noir, on Sunday Feb. 19th from 1:00-3:00pm.

Made by neighbours for neighbours STRIDE is part arts festival, part community catalyst and all fun!

The 2023 Stride Burnaby Arts Festival on the culturedays.ca website as well as your social media. We, at The Burnaby Neighborhood House, are a non profit organization focused on strengthening our community with innovative programs designed to connect with and engage our members.

Burnaby’s vibrant arts and culture scene hits the streets and lights up the city during the 2023 Stride Burnaby Arts Festival, proudly hosted by North Burnaby Neighbourhood House. From February 3-12 Stride will shine brightly and offer some much needed warmth during a cold and damp winter here on Canada’s west coast.

Enjoy free, safe, low-barrier programming and experiences for all ages. Discover your newest art piece and the words of local poets along the Heights Art Walk. Take in the colours and sounds of an outdoor art installation, attend a workshop and tap your feet at a music concert.

Before biosphere, before life, there were only the non-living, abiotic factors and a world of water.

The three installations in aBIOTIC abstract and synthesize the ethereal and mysterious behaviours of water. Technology, sound, chemistry and time are used to further reveal or extend fundamental patterns and laws.

In this exhibition phases of water are a physical and structural material to be used as an expressive and conceptual tool: liquid, gas, solid; water, steam, bubbles, ice. We see water mirrored, suspended, projected and directed. Water becomes the surface, the object and the medium, over, through and around which play precise exchanges of light, movement and sound. Manufactured, incidental and composed sound is integrated into the fabric of this water, becoming a defining component of each installation.

The first work one encounters is The Long Now (2015), by Cologne-based Verena Friedrich. The gallery at the centre of the exhibition, contains this technology-based still-life, framed inside a clear perspex box, sitting on a table. A single, perfect bubble floats, persisting long after all other bubbles would have collapsed; the artificial atmosphere holds it aloft for a variable and uncertain length of time. Friedrich’s innovative use of technology & science greatly prolongs the normal life of each fragile sphere. But it eventually succumbs. The technology that produces the bubble and evacuates the atmosphere is triggered again and again; the brief, violent sound of working technology…followed by… the wonder. The work builds on a long art tradition of depicting soap bubbles in still life & portraiture. Known as Vanitas, the bubble serves to remind us that life is transient and our demise is certain.

THIS Gallery is excited to announce Make Me A Summary of The World, a new solo exhibition by California based artist elin o’Hara slavick.

This exhibition, made up entirely of collaged works, is full of hysterical surprises, fragmented landscapes, delirious layers of appropriation and ambiguity, shocks of juxtaposition, subconscious reactions, and automatic narratives in the surrealist spirit. Many of the collages focus on the female body and celebrate, critique, or otherwise make visual the complexity of feminism, pleasure, eroticism, psychological states, marginalized positions, sexuality, political identifications, and historical positions. Many of these conditions overlap and clash. Making feminist art is critical for emotional, political, and actual survival.

These works address child detentions along the Mexico border, transgender rights, feminist liberation, climate change and terrorism – all through the use, juxtaposition, and transformation of images of the human body. A terrorist becomes a nursing mother. Trees suddenly have eyes and mouths. An image of important modernist artists – all men – is turned into a meeting of diverse women. “I am making my own summary of the world.” says slavick.

Come join us to practice your drawing skills in a friendly, non-competitive environment. We alternate professional models that will pose unclothed, aiming for a diversity in age, gender and body shapes. This group is for both amateur and experienced artists, and we welcome all skill levels.

The 3-hour session will have a series of short poses to warm up ( 1 and 2 minutes) and a few long poses (5 minutes to 15-25 minutes).

What should I bring?

We have the life drawing essentials : chairs, many easels and a few drawing donkeys, music…
Bring your drawing materials, paper and a board. Our artists are using pencils, charcoal, ink, pastels, watercolor… The poses in the regular sessions are too short to have time to paint with acrylics or oils.

We will have a break in the middle of the session so you are welcome to bring some food for yourself or even something to share.

If you have a light portable easel, you can bring it too.

Outsiders and Others is proud to present Jack Procters’ first major exhibition, Into the Unknown at the Pendulum Gallery from February 7th to March 3rd, 2023. www.pendulumgallery.bc.ca/upcomingexhibition/

The opening reception will be held on Thursday, February 9th from 6:00pm – 8:00pm. Proctors’ pieces give a pleasant escape from the regular day to day. This exhibition will slap you in the face with the colour and the fantastical joy you need right now!

Born and raised in East Vancouver, 75 year old Jack Procter has been making art for over 50 years. He is well known for his eye catching public display of art that is continuously rotated 365 days a year at his centrally located Vancouver home. A self-taught artist, Procter has been developing and honing his artmaking skills throughout his life. Often unable to afford the luxury of traditional paint and other art making

materials, he employs salvaged objects, found materials, and industrial products in his inventive art making.

Procter has lived a blue collar life, doing what needs to be done to get by, however his real passion is creating masterful collages, mobiles, and paintings. Procter reclusively operates at the margins of culture and the Vancouver art scene. His artwork is directly informed by his trade knowledge and life experiences. He resists the capitalist logic of consumer culture and, whatever the materials may be, Procter’s finished work is made with impeccable details and craftsmanship.

Vancouver born and raised Jack Procter has been making art for over 50 years. He employs salvaged objects, found materials, and industrial products in his inventive art making. Influenced by the work of Alexander Calder, The Group of Seven, Henri Matisse and Frank Stella, Procter’s work also reflects complex intercultural references, such as the organic symmetry of Inuit or German folk art, the vibrating compositions of Surrealism or the playfully expressive shapes and vibrant palettes of Yayoi Kusama. This exhibition presents a curated selection of his extraordinary practice, featuring abstract paintings, sculptures, collages and mobiles.

Saltwater Cures All is a compilation of video works featuring Racquel Rowe in her native island of Barbados. Rowe explores ideas of the formation of the Black Atlantic, personal and familial connections to the sea, relationships between Black people and water and the idea of rebirth. Many of the works feature the East coast of the island, the first point of contact that European colonialists would have made; through the juxtaposition of land and sea, Rowe asks viewers to consider the implications of these idealized scenes and their historical and present-day implications for the Black populations that call these islands home. We invite you to join us on opening night for light refreshments and an artist talk.

On February 17, Ñswe niiminwinan (3 Dances) features 3 new solo performance works – journals of adoption by Sophie Dow, kaqwiⱡȼi by Samantha Sutherland and Homelands —Yakón:kwe by Kaha:wi Dance Theatre.

In journals of adoption, Sophie Dow sifts and moves through 2 journals of origin: one from her birthmother’s pregnancy & process of offering her up and one from her adoptive mother’s journey of receiving a child.

Samantha Sutherland created kaqwiⱡȼi with a practice of translating words and stories in the Ktunaxa Language to movement. Through the work, she leads audiences through stories told by Samantha’s Elders, and her own journey of learning her language.

Braiding earthy and cinematic media, sound design and performance, Kaha:wi Dance Theatre’sHomelands—Yakón:kwe places Yethi’nihstenha (many womxn) within their ancestral homelands and waters in Kahnyen’kehàka territory of upper state New York and around the Six Nations of the Grand River territory.

On February 18, we present the world premiere of Maamawi (ᒫLᐏ): Together Through The Fire from O.Dela Arts & Pepper’s Ghost New Media Collective. An expression of the Anishinaabe Seven Fire Prophecies, as shared by Anishinaabe Elder, Gloria May Eshkibok, Maamawi imbues us with heart-light, stewarded by the Original Ones through an immersive mix of dance, virtual reality, projections and sound.

Screening February 16-18, TOMO VR from Atamira Dance Company (Aotearoa/New Zealand) is an innovative digital experience capturing the dream space with its haunting tale of life and death.Viewers find themselves in a cavern of endless time, a world within a world, watching two travelling wairua (the bodiless self) and the generations of ancestors before them.

From February 13-18, our Dance Film Series will be available to stream on our website featuring works by Indigenous artists across the globe.

Join us at Museum of Vancouver this Family Day and receive complimentary admission during opening hours (10-5pm) and register for scheduled programming with local storytellers!
Come check out the local stories featured in our History Galleries and explore our feature exhibitions: A Seat at the Table: Chinese Immigration and British Columbia, All We Want is More: The Tobias Wong Project, That Which Sustains Us and Spirit Journeys: Walking with Resilience, Wellbeing and Respect.

Scheduled Programs:
Puppets Tell Stories: Puppetry Workshop with Ventriloquist Kellie Haines
Stories from the Land: Live storytelling with Chief Ian Campbell
A Ventriloquist in Vancouver: Fun for the whole family with Master Ventriloquist Don Bryan

Co-presented by Vancouver Winter Pride Festival and VMF Winter Arts.

Poetry and storytelling is a conduit for inter-generational healing, but inter-generational joy as well. In commemoration of Black History Month, we amplify, celebrate, and illuminate the unique intersections that Black-Indigi-Queer folks bring to community. Our legacies can never be erased as we bear witness to them together. Our Feature Poet and special guest for the evening will be none other than world reknown poet, the remarkable Stacyann Chin.

Poet, actor, and performing artist Staceyann Chin is the author of the new poetry collection Crossfire: A Litany For Survival, the critically acclaimed memoir The Other Side of Paradise, cowriter and original performer in the Tony Award–winning Russell Simmons Def Poetry Jam on Broadway, and author of the one-woman shows Hands Afire, Unspeakable Things, Border/Clash, and MotherStruck. She has appeared on the Oprah Winfrey Show and 60 Minutes, and her poetry has been featured in the New York Times and the Washington Post. She proudly identifies as Caribbean, Black, Asian, lesbian, a woman, and a resident of New York City, as well as a Jamaican national.

The ethos of community is at the heart of the collection from which this exhibition is drawn. Established by Dr. Kenneth Montague, the Wedge Collection is Canada’s largest privately owned collection committed to championing Black artists. The title As We Rise is borrowed from a phrase that Dr. Montague’s father would often invoke: “Lifting as we rise.” By this, he emphasized the importance of parlaying one’s personal success into communal good. He believed in investing back in the Black community to which he and his family belonged. As an ethic, “lifting as we rise” suggests an expanded sense of family, one that reaches beyond close relatives. As an exhibition, As We Rise: Photography from the Black Atlantic embraces this expansive sensibility, centering the familial alongside the familiar.

Familiarity resides not just in the exhibition collectively, but in the photographs unto themselves. Black subjects are depicted by Black photographers, presented as they wish to be seen. Largely, these subjects are aware of the camera, and yet they never seem rigid or unnatural. The gaze is mutual and consensual. But the imagery produced is far from uniform. It is as varied, surprising, and heterogeneous as the Black Atlantic itself. Like a family album, it is idiosyncratic.

The concepts of community, identity, and power intersect and merge, discernable in many of the photographs not as features to be singled out but rather as a recognizable essence; a recognition of the complex strength, beauty, vulnerability, and irreducibility of Black life.