Stan Douglas: 2011 ≠ 1848 presents a series of works inspired by historical events of social and political turbulence. Douglas connects points of social rupture, rendering in minute detail and with technical ingenuity historic moments of protest, riot, and occupation from 2011 that echoed upheavals that swept Europe in 1848.

The exhibition features five large-scale panoramic photographs depicting different protests and riots from 2011: the start of the Arab Spring in Tunis on Jan. 12 with sit-ins and protests along Avenue Habib Bourguiba; the Stanley Cup riot in Vancouver on June 15; clashes between youth and police in London on Aug. 9; and the arrest of Occupy Wall Street protestors on Brooklyn Bridge in New York on Oct. 1. Douglas created the images by combining meticulous and elaborate re-enactments of the events, high-resolution plate shots of each city site, together with aerial documentary footage.

The exhibition also features a two-channel video installation ISDN, an immersive installation that depicts a fictionalized collaboration between rappers from London’s Grime and Cairo’s Mahraganat music scenes. Titled ISDN, after a now-outdated mode of transmitting high-quality audio over telephone lines, the video imagines rappers from the two cities exchanging beats and lyrics in improvised studios, working across space and time to create music collaboratively.

Brother Armand Lammineur was a Roman Catholic missionary who travelled from Belgium to the Philippines, photographing extensively from the late 1930s until his death in the early 2000s. Many of his photographs were taken in or near the mountainous city of Baguio, where a seminary called “Home Sweet Home” housed Belgian priests on mission. Baguio is also the birthplace of artist Rydel Cerezo.

Cerezo would discover Lammineur’s photographs of Baguio decades later, in Belgium, as he happened to be dating a member of Lammineur’s extended family. He would go on to learn that members of his own family knew the priest. Intersecting across time and place, these coincidences undergird a cross-cultural archive, one that encompasses both photographers: Lammineur as a visitor to the Philippines; and Cerezo as a guest in Belgium, also working at home in community with fellow queer Filipinx-Canadians. The two photographers’ depictions of Filipinx bodies exist at once in tension and in dialogue, variously contradicting and echoing each other.

Filipinx subjects are central figures in this exhibition, seen from different vantages: through Lammineur’s camera, as seminarians to be indoctrinated; in Cerezo’s lens, as intimate friends and collaborators; from Cerezo’s first-person perspective, as a queer Filipinx person questioning the ethics of archive creation, and its capacity to convey the nuances of lived, diasporic experience. Across original photographs and vintage images collaged with found material, Cerezo’s autobiographical new work is a profound meditation on home, compassion, and belonging.