99 SELECTED EXHIBITIONSPaniz ManiFantasy of the west, 2025inkjet print collage50 x 60 cmCourtesy of the ArtistPart of Aftertaste at the Pendulum Gallery
Capture 2026 100Capture x The CinemathequeIn collaboration with The Cinematheque, Capture has invited three lens-based artists – Dana Claxton, Althea Thauberger, and Stephen Waddell – to present films that have influenced their thinking and practice. Each artist will be at The Cinematheque to introduce their selected film at the screening. Sponsored by Downtown Van
101 FILM PARTNERSHIPApril 11 at 6 pmWar PonySelected by Dana ClaxtonWar Pony (2022) is grit and humour, and it thrives with radical hope. Everything is kind of rundown, worn in a bit, as the characters endure life on the Pine Ridge Rez. From the dirt roads to dirt on the car windows, the sheer authenticity reeks of Dogme film. These NDN homes are for f#cking real. The language of the teenage cast demonstrates the violence of swearing that is both dismissive and survivalist. Their bikes are the new war ponies as they ride fleeing, going after the task at hand, or simply cruising. The dialogue is astute, with lines like “It’s not a Mexican thing, it’s a bad man thing” when referring to a thief, or “Don’t bring drama into my tipi” as an auntie in the community looks after a dozen boys who need a home.There are profound, intimate Lakota cultural gestures that will take your breath away – as a young fella finds his way, or a small child briefly sings an ancient song. And then there is the entrepreneurial Indigenous teen who only wants to work and support his children and love his girl. From breeding poodles to packaging jerky – he works hard for his mazaska. But when a bad settler rips him off, he seeks revenge. The metaphor of an NDN boy “stealing” a settler’s fowl is hilarious – who really is conducting thievery? Directed by Gina Gammell and Riley Keough, War Pony won the Camera d’Or for first feature at the 2022 Cannes Film Festival. Gina Gammell and Riley KeoughWar Pony (still), 2022 Courtesy of Lionsgate Entertainment
Capture 2026 102Punishment ParkSelected by Althea ThaubergerPunishment Park (1971) is the only project British filmmaker Peter Watkins made in the United States. It is a pseudo-documentary that imagined President Richard Nixon employed an actual state of emergency bill (the McCarran Internal Security Act, 1950) to extrajudicially interrogate and detain dissidents. Detained hippies, activists, and conscientious objectors are given the choice of prolonged sentences in overcrowded prisons, or three days in “Punishment Park,” a desert survival course doubling as a training ground for the National Guard. Building on the faux verité methods Watkins previously developed in 1964’s Culloden (a re-enactment of the 1746 battle) and 1965’s The War Game (an alternate history of a nuclear attack on the UK that was banned after initial screenings), Punishment Park borrows from the forms and semantics of television and the nascent embedded warreporting forms associated with the Vietnam War, and was effectively banned in the U.S. for decades. Working with non-actors who are ideologically aligned with the characters they depict, the film walks a tightrope between fiction and reality, and is exemplary of Watkins’s situational filmmaking.Peter Watkins, Punishment Park (still), 1971Courtesy of Peter Watkins Films April 17 at 6 pm
103 FILM PARTNERSHIPThe Damned Selected by Stephen WaddellLuchino Visconti’s The Damned (1969) operates as a cinematic archaeology of decadence, excavating a civilization already functionally dead – its institutions moving with the eerie persistence of a corpse animated by habit, violence, and self-preserving rot. The film exposes late-stage structural decadence not merely as spectacle but as a philosophical condition in which our deepest contemporary fear is no longer human extinction but cultural extinction: the dread of surviving ourselves, condemned to inhabit the ruins of a hollowed humanistic tradition. Visconti’s lush, sumptuous images preserve these ruins with embalming clarity, turning decadence into a visual archive of cultural doom. In this sense, the imagined replay of The Damned becomes a necessary artwork: few, if any, artists could have rendered the trajectory of fascism’s rise in Europe, and Visconti’s operatic reconstruction fills this absence. The film’s approach parallels the dilemmas faced in photography, where the artist must negotiate between the documentary present – the observed reality – and the imagined real, the existential event horizon that lies beneath or beyond what is visible. Like the photographer deciding when to linger on the present and when to construct a vision that reveals hidden truths, Visconti moves from witnessing lived conditions to crafting allegorical fictions that make structural and moral decay perceptible. His work embodies a political warning: revolutions, however idealistic, calcify into coercive orders. The Damned thus becomes a portrait of power devouring itself and a necessary act of imaginative observation that confronts the thresholds of history, morality, and cultural extinction.Luchino ViscontiThe Damned (still), 1969Courtesy of Warner Bros. CanadaRestored DCP courtesy of CinecittàApril 25 at 6 pm
Capture 2026 104Jeremy DennisUnrememberable Destination, from The Lazy series, 2019Courtesy of the ArtistPart of the Hastings St Billboards Public Art Project
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Capture 2026 106Solange Adum Abdala p. 87Simranpreet Anand p. 91/94Andream p. 90David Aquino p. 90Minne Atairu p. 8/11–13Laura Ayres p. 90Josh Azzarella p. 10Sophia Bakos p. 87Marian Penner Bancroft p. 97Jo-Anne Balcaen p. 91Phoebe Bei p. 87Wes Bell p. 93Anne Brigman p. 52–53Sophie-Jane Brindle p. 90Michelle Caron-Pawlowsky p. 74Henri Cartier-Bresson p. 52/54Corwin Clairmont p. 95Hannah Claus p. 40/42Dana Claxton p. 101Steven Cottingham p. 87Emily De Boer p. 87Vanessa Denham p. 90Jeremy Dennis p. 28–31/104–105Reave Dennison p. 89Fei Disbrow p. 82Steven Dragonn p. 78Lucien Durey p. 87Camila Falquez p. 14–15/26–27Sami Farra p. 40/43Maya Fuhr p. 80Stephanie Gagne p. 87Jaiden George p. 90Claudia Goulet-Blais p. 72/74Angela Grossmann p. 81Maureen Gruben p. 28–31Sylvan Hamburger p. 40/45H. Rashed Haq p. 11–12Fred Herzog p. 50Khim Mata Hipol p. 87/90Chong Hong Ho p. 79Makito Inomata p. 76Michelle Jack p. 95Scott Kemp p. 87André Kertész p. 52August Klintberg p. 91Anne Koizumi p. 91Arthur Lee p. 79Samuel Lee p. 79Alexander Liberman p. 52Val Loewen p. 87Michael Love p. 40/46Cannupa Hanska Luger p. 38–39Charlie Mahoney-Volk p. 90Paniz Mani p. 90/99Ali McCann p. 40–41Lindsay McIntyre p. 91Alexine McLeod p. 87Aaron Moran p. 87Eadweard Muybridge p. 81Keely O’Brien p. 40/47Trevor Paglen p. 10Yann Pocreau p. 40/44Man Ray p. 52Hannah Rickards p. 56–59Dave Rodden-Shortt p. 84Torbjørn Rødland p. 6–7/32–33Gonzalo Reyes Rodriguez p. 91Andreas Rutkauskas p. 95Tannaz Saatchi p. 85Rashi Sethi p. 83Stephen Shore p. 48/66–71SIDE CORE p. 92Deb Silver p. 95Sheida Soleimani p. 16/34–37Michelle Sound p. 18–25Patryk Stasieczek p. 98Katherine Takpannie p. 28–31Althea Thauberger p. 100/102Henry Tsang p. 95Stephen Waddell p. 100/103Edward Weston p. 52/55Tania Willard p. 60–65Morgan Sears Williams p. 87Grant Withers p. 87Peter Wong p. 79Vance Wright p. 88Chuck Yip p. 79Gerri York p. 87/96Sharyn Yuen p. 77Karen Zalamea p. 75Claude Zervas p. 95Ketty Haolin Zhang p. 87Artist Index
Into the Wosk CollectionDiscovery & WonderOpen Thursday - Monday11am - 6pm*4350 Blackcomb Way, Whistler, BCaudainartmuseum.com*Hours may vary due to special events. See website for current information. Anne Brigman, A stylized portrait, possibly depicting Brigman herself, with friends, c. 1910. Silver print. Collection of Dr. Yosef Wosk. February 14 - April 27, 2026Part ofHotel Partner
Celebrating 30 Years ofInnovative ExhibitionsImages: (top) Installation view of Sharni Pootoogook: Creatures, Shadows, and Dreams, exhibition at the Art Gallery at Evergreen, Evergreen Cultural Centre, 2025. Organized by the Kelowna Art Gallery. Photo: Rachel Topham Photography. (left to right) Landon Mackenzie, Weather Pattern #6 (Stripes+Tides), 2023, synthetic polymer on linen, 86” x 151”. Photo: Rachel Topham Photography. Sarah Anne Johnson, Woodland, 2020–, 2024. Presented in partnership by TransLink and the Art Gallery at Evergreen, Evergreen Cultural Centre. Photo Rachel Topham Photography. Couzyn van Heuvelen, Nitsik 8, 2018, aluminum, resin, steel, stainless steel, aircraft cable, paint. Courtesy of Fazakas Gallery. Gallery Hours: Wednesday, 12 – 5PM | Thursday – Friday, 12 – 6PM | Saturday – Sunday, 12 – 5PMFree to attend | evergreenculturalcentre.ca/exhibit @artgalleryevergreen The Art Gallery at Evergreen (AGE) in Coquitlam focuses on contemporary art and ideas explored by professional artists working in all mediums. The AGE provides opportunities for people to connect with artists and the creative process, and believes that art is integral to the fabric of daily life. The Art Gallery at Evergreen offers curated indoor exhibitions, outdoor installations, and free, family-friendly art activities inspired by the works.
heffel f ine Art Auction housewww.heffel.com · 1 888 818 6505 · [email protected] iconic lens-based art to timeless masterpieces, Heffel connects extraordinary works with exceptional collectors.gArry winogrAndNew York City (from the Women are Beautiful series)gelatin silver print11 x 14 in, 27.9 x 35.6 cmsold for: $20,0 0 0 (estimate: $4,000 – 6,000)
heffel f ine Art Auction housewww.heffel.com · 1 888 818 6505 · [email protected] iconic lens-based art to timeless masterpieces, Heffel connects extraordinary works with exceptional collectors.gArry winogrAndNew York City (from the Women are Beautiful series)gelatin silver print11 x 14 in, 27.9 x 35.6 cmsold for: $20,0 0 0 (estimate: $4,000 – 6,000)The issue cover features a detail from Xavi Bou’s “Ornithography #24.” Yellow-legged gulls at sunset in El Prat de Llobregat, Catalonia. Xavi Bou is represented by The Cardinal Gallery in Toronto.Photo of magazine by Margaret Mulligan.PHOTOEDITORIAL.ART
® The TD logo and other TD trademarks are the property of The Toronto-Dominion Bank or its subsidiaries.Bringing together the power of our people and philanthropy to help foster change, nurture progress, and support local communities.Proud to support this year’s 2026 Capture Photography Festival. At TD, we support organizations focused on increasing access to art and cultural events and activities that work to create opportunities for people to participate in shared experiences that reflect the diversity of their community. Learn more at td.com/artsandculture
2026Dana Claxton Adad HannahJessica JohnsJake KimbleSarah M. MillerSiobhan McCracken Nixon Kimberly PhillipsEva RespiniKaterina StathopoulouMonika SzewczykAlthea ThaubergerStephen Waddell Emmy Lee Wall2026