Here Andrew Witt and Sean Antrim of The Mainlander interview Sandy Garossino, who is running as an independent candidate for Vancouver City Council this November 19.

Andrew Witt: You launched your campaign in the Georgia Straight attacking the affordability crisis in Vancouver. At the Mount Pleasant all-candidates, every candidate from every political party gave lip-service to this issue. I think that everyone recognizes that there is an affordability crisis in the city. In 2008, Vision Vancouver was elected on a platform that would address housing, homelessness and the affordability crisis, but we all know they have done little to tackle the problem. How will you address this issue, and what distinguishes your platform from that of Vision Vancouver?

Sandy Garossino: Almost everyone that I have heard discuss this sees the affordability issue. I’m talking here about broadening this beyond homelessness and subsidized housing, but also market housing for the average working person. Almost everyone who talks about this, talks about it in the simple supply and demand equation, and their point is to increase supply. Because I deal with Asia, I understand capital markets in Asia, and I have dealings there, this seems to me to completely miss the true nature of the issue and the challenge that we confront. Just to give you a little bit of a background, our median income levels in Metro Vancouver place 20 out of 28 urban regions in Canada. Our median income levels for 2010 were below Sudbury, Windsor and St. John’s Newfoundland. We have the highest real estate prices in Canada, relative to median income. We have almost the highest real estate in the world. Relative to median income, we are 56% higher than New York City and 31% higher than London, so there’s clearly a serious distortion in the market. One of the first challenges we have is we don’t have the data. We don’t have information that can pin-point exactly what is going on and the extent to which capital is entering, and the extent to which that capital is non-resident, and how much that is affecting the market. We need to know a lot more than we do. But based on anecdotal information, which is turning out to be corroborated in news reports, it looks like global capital is having a massive impact.


Althea Thauberger "Ecce Homo" (2011)

At the top of the entrance to the Georgia and Granville skytrain station, the actor who played the former chief coroner of BC and mayor of Vancouver, Larry Campbell, lies in state. Elongated on a polished mortuary slab, the body patiently awaits inspection. Firmly planted at the centre of commerce in Vancouver, actively conflating power, politics and death, the whole scene is disorientating, uncanny, if not outright confrontational.

Spanning the entire north wall of the station, the picture is massive both in size and scale. Slightly larger than a typical city billboard, the body is monstrous. The photograph, subtracted from the slogans and brands of commercial imagery of its surroundings, exerts a dramatic austerity. For the passengers moving to and fro on the Skytrain stairwell, the picture appears at first out of place. The billboard both dwarfs commuters and exerts a definitive presence without them. Viewing the work from the Skytrain stairwell, your eye acquires a CSI spectacality and magnifies the body’s intense physiognomy. In the excessive attention to detail, the body’s part-objects take hold of the image: yellow-mangled toenails; sparse leg hair; a few flesh wounds (bed-bug bites?) — each atom asserts an iconic clarity. Within these moments of distraction, it becomes difficult for your eye to stake claim on the image’s totality. In the passengers’ movement, the picture demands a contradiction: a probing gaze onto the photo’s extreme minutiae yet also a skill for the fleeting glance conditioned by the stairwell’s tempo. In a matter of seconds, Campbell’s body unpacks itself piece by piece as we whirl downward to the depths of the platform.

Mounted on transparent glass, the image is a mirror onto itself, and the audience is permitted to view its reverse from the TD Plaza. From this angle, the eye is able to relax and ease into a sedate, plodding study. If it were not for Campbell’s face and stubborn hand, you could almost say the rest of the body was silently composed, patiently awaiting its public with a globular paunch, its legs elongated as though they were just there, sunbathing on a beach.

Once we are confronted with Campbell’s face, however, a different presentation unfolds. Campbell’s gaze is irreverent. As it turns out onto the plaza, and with a gesture that is more aggressive than the rest of his body, his head rejects its placement. With a wide-eyed, brow-raised, mouth-slightly-open glance, Campbell’s face is punctuated with a theatrical exclamation and an eagerness to vocalize something. Sharing a similar glance to Poussin’s ‘running-man’ in Landscape with a man killed by a snake (1648), the body wishes to declare itself, yet it is without the same horror and torsion. The hand, too, is eerily similar to the elegiac shepherd in Poussin’s Et in Arcadia Ego (1640), raised as though it is about to gesture to the presence of an unexpected tomb. In both pictures, Ecce Homo and Et in Arcadia Ego, the hand operates as the picture’s anchor. It is the site for the body’s own contemplative absorption — a means to trace out a pensive, melancholic thought both inside and outside the frame.

We have to ask ourselves however, is this the same ‘sight of death’ that Poussin announced, or even an image ‘of death’ as one might assume? Is it not more ludic, aloof and underhanded? Without the knowledge that Campbell was the chief coroner of BC, or even the presence of a mortuary table, there are no clear markers of death.

But Thauberger is clear at this point: both work and death are conflated in the picture. As chief coroner, death was once Campbell’s work, but now death works on Campbell. But it also works on Larry Campbell’s body double, Nicholas Campbell — the actor who played the former coroner on the TV series Da Vinci’s Inquest (1998-2005) and later in Da Vinci’s City Hall (2005) — especially now when the former actor is out of work. In a weird set of intersections, the camera too assumes the perspective of the coroner, and by detaining the eye, the body appears as though it awaits dissection. But still, the picture remains unconvincing, the body is certainly more alive than dead; or in its own manner just undead, barely hanging on — a body set at the threshold of life and death.



A massive, global social movement has erupted weeks before a municipal election. Its goal is to bring light to the injustice and unsustainability of a corrupt capitalist system. In Vancouver, hundreds have taken the North grounds of the Vancouver Art Gallery, with a general message that change is needed now. But, the mayoral debate has orbited around the issue without touching it. Like the Czar on the eve of the 1917 revolution, the two most electable candidates are fighting over who is better at getting rid of the protest rather than who will better address inequality. The ballot question they want is: whose autocracy will better calm the masses. It’s almost as if they don’t understand the issue, and the polls are showing that most people are unhappy with both of them.

What has happened to make Vision sink in the polls? It’s not an NPA surge, that’s for certain.

HOUSING. The failure to address our housing crisis. In the 2008 election, Vision Vancouver won on progressive values, promising to end homelessness and implement an empty condo tax. But now, without the tax, condo prices are at historical highs, and homelessness is higher than it was three years ago (despite public relations spin to the contrary). Social housing has been sold out at the Olympic Village, and three years on the Village still has hundreds of empty units.

CORRUPTION. The corruption of developer-council collusion is only growing. The two major parties are accepting over $4 million in donations this year, much of it from developers. In the absence of a ward system, councilors answer only to the big money players and aren’t accountable to particular neighbourhoods, whether it is spot-rezonings or wholesale giveaways to developers in the form of blanket height changes.

PARTY POLITICS. The agreement with COPE has meant that instead of competing with progressives for a more equal and just City, Vision must compete with the NPA in a contest to see who can make it more unequal. Perhaps rightly thinking that they will receive the progressive votes by default, Vision challenges the NPA on the right-wing front, guaranteeing three more years of politics for the 1%.

NEO-LIBERAL POLICY. In lieu of the progressive promises of 2008, Vision is now embracing conservative ideas:


Many occupiers have wondered about the city’s Street & Traffic By-Law 71.1, posted on city signs throughout the Art Gallery grounds. The purpose of this article is to give information and analysis about the By-law and its impact on #occupyvancouver.

“NO CAMPING: No structures (tents or other shelters) permitted in this area or on any other city street, sidewalk or boulevard. Street & Traffic By-Law 2849 Sec. 71.1.” While these words read like eternal declarations, seemingly handed down to us from the founding laws of our colonial state, the reality is that they are recent history — very recent. This past April, Vancouver’s city council and Mayor Robertson passed amendments to Section 71 and other sections of the Street & Traffic By-Law that seriously restrict protest in public space.

The April meetings of city council were called for legal reasons. In October 2010 the By-Law had been ruled unconstitutional by the BC Courts, who gave the city six months to change it. On April 7th 2011, council presented its new edits to the public. According to the new version of the By-Law, political structures remained illegal except with a special permit, which could be purchased at a cost of $200 plus a refundable deposit of $1000. The Mainlander pointed out that under the new By-Law, “no structures would be allowed before 8am or after 8pm, eliminating the possibility for extended protests.” The amendments were unanimously rejected by the public, including the the BC Civil Liberties Association, Pivot Legal Society and the Vancouver Public Space Network.

City council was forced to re-work its amendments, and returned on April 18th to present its revised version at a “no debate” meeting. Despite unanimous public opposition yet again, the Vision-led City Council passed the motion. The allowable structure size was reduced, with the addition of new penalties for non-compliance with the law: anyone who does not follow the new rules faces immediate removal and a minimum fine of $1000. The changes were passed and are now being fought again in the courts. The current version of the By-Law is worse than the edits of April 7. The law is less constitutional than before and today the BC Civil Liberties denounces its “bizarre, unnecessary and arbitrary restrictions on political expression [that] violate free speech; full stop.”