An exceptionally smart show is currently running at Access Gallery in Vancouver’s Chinatown. Work by Guadalupe Martinez, Katherine Soucie, and Tommy Ting take-on Vancouver’s racialized labour history, as well as the relationship between industrial labour practices and the rapidly evolving post-industrial urban context.
Tags: art, performance, Powell Street Festival, review, Spatial Poetics, VANDOCUMENT, WeMix, Western Front
Tags: Biltmore Cabaret, Jenny Ritter, Mount Pleasant Regional Institute of Sound, MPRIS, The Kingsgate Chorus, VANDOCUMENT
Tags: art, Back Gallery Project, Ben Skinnr, colour, Monica Reyes, VANDOCUMENT, word-play
Tags: (), 51342... Enter, Bozzini, Bozzini Quartet, Brian Garbet, Canadian composers, Chamber Music, Christopher Butterfield, Clemens Merkel, Course Grain, Dave Riedstra, Feather Swarms, Four Penny Pocket, Isabelle Bozzini, Janet Sit, Jeff Ens, Let it Burn, Maren Lisac, Matt Kaufhold, Maxime Daigneault, Mnemonic, Murmuration, Nadia Francavilla, New Music, Nicola Tesla, Owen Underhill, Quatour Bozzini, Sébastien Lachaume, SFU, Stéphanie Bozzini, Trichinella Spirals, Woodwards, Young Composers in Concert, Zulfikar Nathoo
Tags: Alex Mah, Alexa Mardon, Aryo Khakpour, Con-Found, Conor Wylie, contact improvisation, dance, Deanna Peters, Edan Dance, Elissa Hanson, Farley Johansson, Felicia Lau, improvisation, inside the lines, Jessie Kwan, Kim Stevenson, Molly McDermott, Monica Strehlke, New Raw, Peter Bingham, Reinventing the Curve, Rob Kitsos, Robert Azevedo, Sean Marshall Jr., the lines inside, VANDOCUMENT
Tags: autobiography, biography, Claire Clairmont, Fanny Imlay, film, goddesses, Mary Wollstonecraft, Moyra Davey, review, VANDOCUMENT
Trailer for Moyra Davey’s film, Les Goddesses.
My latest review for VANDOCUMENT is online. This one takes-on Moyra Davey’s challenging 2011 film, Les Goddesses, in which she tells the story of a sad, distant time in her past via the biographies of other women: the 18th Century proto-feminist philosopher and literary figure Mary Wollstonecraft, Ms. Wollstonecraft’s daughters (including the writer Mary Shelley), and Ms. Davey’s own three sisters.
One thing about the review bears mentioning. I attempt to take Ms. Davey’s project seriously and therefore offer my best effort to dissect whatever-the-hell might be going-on in the film. Without in any way abandoning criticality, I am loathe to write derogatorily about any of the work I cover for VANDOCUMENT. My objective there (unlike the sometimes-harsh things I write on memestream) is to present a fair sense of a project or event contributing to the current local art scene while being supportive of the artists and institutions who are putting themselves on-the-line and bringing value to the community. So, if I have committed to a degree of non-negativity and intellectual engagement with Ms. Davey’s work in my review, please do not be misled into thinking that the film is any good. It is not.