I have a new review up on VANDOCUMENT, covering a a show by Vancouver artist Ben Skinner at the Back Gallery Project on East Hastings in Strathcona.
Archive Page 2
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.
Tags: artists, Back Gallery Project, Carlos Colín, Emilio Rojas, Gabriela Aceves-Sepulveda, Guadalupe Martínez, Josema Zamorano, Latin American, Manuel Piña, Nelly César, Vancouver, VANDOCUMENT
The preternaturally brilliant Nelly César performs “Fossil” in “Diffractions of the Local” at Vancouver’s Back Gallery Project. Photo by Roman and courtesy of VANDOCUMENT.
My latest VANDOCUMENT review is online. I had the privilege of covering a wonderful show at the Back Gallery Project called “Diffractions of the Local”, celebrating the work of seven Latin American artists who live and work in Vancouver: Gabriela Aceves-Sepulveda (Mexico), Nelly César (Mexico), Carlos Colín (Mexico), Guadalupe Martínez (Argentina), Manuel Piña (Cuba), Emilio Rojas (Mexico), and Josema Zamorano (Mexico).
Tags: archive, archiving, arts, arts scene, Ash, document, documentation, review, SFU theater, Tanasiychuk, theatre, Ubu, Ubu Cocu, Vancouver, VANDOCUMENT
I’m always a sucker for a well-conceived project, started by passionate, talented people, which has the aim of building community and supporting the creative work of others. That’s why I am now contributing to VANDOCUMENT, the six-month-old brain-child of local arts photographer Ash Tanasiychuk.
VANDOCUMENT is a collective of photographers, videographers, and writers who are endeavouring to capture the exciting vibe of Vancouver’s arts scene in images and words. The aim is both to generate interest, awareness, and support for the art-makers in our midst, and to create a vibrant archive that tells the story, if only anecdotally, of the creative surge Vancouver is now experiencing.
My first contribution to the VANDOCUMENT collection – a review of Nicole DesLauriers’s smart, ambitious take on the fin de sicle absurdist play Ubu Cocu, by Alfred Jarry – is now up on the VANDOCUMENT site, for your reading pleasure.
Tags: Alone Together, Anton Lipovetsky, art, Arts Club, civic obligation, community, culture, Jenn Griffin, Margo Kane, participation, Public Square, Revue Stage, SFU, showing-up, Simon Fraser University, The Unplugging, theater, theatre, Vancouver, Vancouver Foundation, Woody Allen, Yvette Nolan
Show-up, people. Just fucking-show-up.
Tonight, Yoo-Mi and I were privileged to attend a performance of Yvette Nolan’s smart, gripping new work, The Unplugging, at The Arts Club Theatre Company’s Revue Stage. The play, set in post-apocalyptic Canada, explores the emotional need for community, the compulsion to generosity, and the go-to sustainability of traditional ways of living. It also illustrates the dangerous ways in which these virtues are challenged by the venality of a culture that has convinced itself that survival is a zero-sum game. The dialogue is tight, the production simple, direct, and effective, and the acting (by Jenn Griffin, Margo Kane, and Anton Lipovetsky) stunningly superb. By all rights, the 198-seat theater should have been packed.
Instead, there were twenty of us comprising the audience.