For the last three years, there has been a broad increase in private and public support of the arts in Vancouver. This augmentation in sponsorship has stimulated the absolute amplification in the size, scale and diversity of artistic production. In the midst of a new prominence in the exercise of city-state power, the floating signifier of “public art” has been re-positioned, effectively usurping all other forms of artistic production. For all of its variations, none of them have equalled an increase in the production of advanced art in Vancouver. On the contrary, these newly-minted works are burnished as acts of urban ornamentation for the State’s new authority. As expected, public art’s existence is entirely dependent on state and corporate sponsorship. But what is of interest here more specifically is the corrupt notion of “public” in public art — a concept that is elevated at the expense to all that is “common.”
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.
Anyone who witnessed on 19 April 2011 the seven hours — all morning and all evening — that Vancouver City Council spent cobbling together last-minute amendments to Vancouver’s Street and Traffic By-law (reference Agenda Item 1) should have an excellent idea of how bureaucracy cannot cope with freedom.
More than two weeks earlier on April 7, the issue of “Structures on Streets for Political Expression” had already eaten up an entire afternoon. By one well-placed account, the contentious report first appeared online and available to the public at 1:30 pm on Tuesday April 5. Report presenter Peter Judd made several apologies for the lateness of a document that the City had had more than five months to prepare. The public had only 48 hours of lead time. The five speakers heard on that first afternoon included Clive Ansley, legal representative for Falun Gong, and Micheal Vonn of the B.C. Civil Liberties Association.
Despite the generality of the bylaw amendments proposed, the report to council (amended version) made clear a desire “to align with direction provided by the B.C. Court of Appeal in the matter of the Falun Gong.” The elephant in this bylaw closet was the ongoing protest outside the Chinese consulate on Granville Street. The bylaw amendment itself adopted a cumbersome and much vaguer designation to generalize its effect and coverage.
Habitat 67, on the shore of of St. Lawrence seaway in Montreal, was originally designed to be an affordable community. Similar to Vancouver’s Olympic Village, Habitat 67 has since been sold off to the private market and is now considered a ‘failed dream‘.
The Olympic Village was initially designed as a mixed-income housing complex capable of offsetting the displacement and surge in real-estate prices associated with the 2010 Olympics. The original development plan called for two-thirds affordable housing, with a full half of that set aside for those who need support through social (“deep core”) housing. The Village was set to be an ‘inclusive’, socially sustainable community that Vancouver could be proud of. Now, the project has turned into the opposite – an exclusive, luxury complex. Today, few would argue that the Olympic Village has been a success for Vancouver.
A brief look at the history of South East False Creek shines some light on why we have the Village today. The land upon which the Village sits was once an industrial zone, but starting in the 50s and 60s there was increasing industrial disinvestment until eventually the land fell out of use. Taking advantage of unused urban space to create room for people to live, in 1970s the City actively consolidated multiple lots and rezoned the area for housing. The City then remediated the soils and made other public investments.