Roy Arden, Tree Stump, Nanaimo B.C., 1991

In Vancouver, there is no image of nature that is not at the same time an image of private property. Possession structures the visual culture and economy of the image. Whether this image is a meticulously crafted photograph for a condo advertisement staged in False Creek, or a self-portrait posed for at the top of Grouse Mountain, almost always the photograph is invested with an inflated sense of status, projection, and desire. And regardless of whether the image circulates on Instagram or Twitter, Grindr or the gallery system, the image is strictly that of appearance, never perceived as the product of labor or violence. Its value is measured by likes, dates,♡, second dates, re-posts, and most importantly, in the context of real estate, the inflation of the property’s price-tag. The possession of nature goes hand-in-hand with nature’s commodification.

Installation view of Alison Yip Gazebo, 2016 site-specific mural at the Vancouver Art Gallery produced for Vancouver Special: Ambivalent Pleasures Courtesy of the Artist and Monte Clark Gallery Photo: Rachel Topham, Vancouver Art Gallery

In the central rotunda of the Vancouver Art Gallery, Alison Yip has constructed a mural of a ruined gazebo. Rendered in trompe l’oeil, Yip’s Gazebo (2016) is a scene sensed at twilight. Occupied by skunks, foxes, overgrown weeds, garden tools, and a raft of mythological figures, her vision is steeped in a strange mingling of dream, nature and everyday domesticity — reminiscent of the murals in Robert Altman’s unnerving film, 3 Women (1977). In one panel, the side profile of a figure is composed from an array of cleaning tools; another pictures a long garden hose snaking across a lurid yellow ground, spurting water erratically. Yip’s gazebo is no west coast arcadia, where nature is imagined to exist in a harmonious relation to its subjects. In fact, the central figure of Gazebo is the veiled goddess Themis, the blind goddess of Justice, whose furtive presence suggests a persistent and speculative haunting.

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Last spring, an Economist article declared Vienna, Geneva, and Vancouver to be “mind-numbingly boring” cities. The concept is well worn. The author of the article doesn’t claim to be making some grand statement on Vancouver. Nonetheless, Vancouverites responded explosively. A lot rests on our city being desirable. There’s a looming sense that somehow this matters. Even in local artistic communities, defined by a sort of rejection of the placid kind of fun that Vancouver offers, musicians and artists and label-heads are quick to reject the title “No Fun City.”

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Last week Vancouver was immersed in smoke from forest fires across Northern and Southern British Columbia. The smoke seemed to speak, without speaking, about our present uneasy condition. On this occasion, The Mainlander has decided to publish the long-delayed online version of a small chapbook, ‘Five Images of a City Without Buildings,’ originally published in 2012 by the artist collective coupe.

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Model Minority is a publication assembled by Gendai, a non-profit visual arts organization that engages the East Asian diasporic community in Canada. This volume is a collection of research in the form of essays, articles, and commissioned artist projects that broach the subject of “model minority” in North America. By combining artists projects with archival material, academic research and recent political activities, the book investigates a territory usually given exclusively to social sciences.