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.
During the last weeks of August, many Vancouverites spent time checking out the city’s first annual Mural Festival – an exhibition of 35 murals by over 40 local street, graffiti and mural artists mostly clustered around the lower Main Street corridor. The event was sponsored by a $200,000 grant from the City of Vancouver, with additional support from Mount Pleasant BIA and Burrard Arts Foundation
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.”
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.
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.
The Arts + Culture Supplement hopes to foster and support dialogues with the arts through the publication of writing about events in Vancouver, including public lectures, shows, festivals, film screenings and other cultural projects. The supplement will support both established and emerging writers working in the form of narrative essays, art writing, interviews and reviews.