101 FEATURED EXHIBITIONS males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and at the other from the “victim” images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage. However, this is more easily said than done. Working in a Western context, the African artist inevitably encounters racism. And since I have concentrated much of my work on male eroticism, I have also had homophobic reactions to it, both from the White and Black communities. Although this is kind of disappointing on a purely human level, perhaps it also produces a kind of essential conflict through which to struggle to new visions. It is a conflict, however, between unequal partners and is, in that sense, one in which I remain at a disadvantage. For this reason, I have been active in various groups, which are organised around issues of race and sexuality. For the individual, such joint activity can provide confidence and insight. For artists, it can transform and extend one’s Westernised ideas – for instance, that art is a product of individual inspiration or that it must conform to certain aesthetic principles of taste, style and content. It can also have the very concrete effect of providing the means for otherwise isolated and powerless artists to show their work and to insist on being taken seriously. An awareness of history has been of fundamental importance in the development of my creativity. The history of Africa and of the Black race has been constantly distorted. Even in Africa, my education was given in English in Christian schools, as though the language and culture of my own people, the Yoruba, were inadequate or in some way unsuitable for the healthy development of young minds. In exploring Yoruba history and civilization, I have rediscovered and revalidated areas of my experience and understanding of the world. I see parallels now between my own work and that of the Osogbo artists in Yorubaland who themselves have resisted the cultural subversions of neocolonialism and who celebrate the rich, secret world of our ancestors. It remains true, however, that the great Yoruba civilizations of the past, like so many other non-European cultures, are still consigned by the West to the museums of “primitive” art and culture. The Yoruba cosmology, comparable in its complexities and subtleties to Greek and Oriental philosophical myth, is treated as no more than a bizarre superstition which, as if by miracle, happened to inspire the creation of some of the most sensitive and delicate artefacts in the history of art. Modern Yoruba art (amongst which I situate my own contributions) may now sometimes fetch high prices in the galleries of New York and Paris. It is prized for its exotic appeal. Similarly, the modern versions of Yoruba beliefs carried by slaves to the New World have become, in their carnival form, tourist attractions. In Brazil, Haiti and other parts of the Caribbean, the earth reverberates with old Yoruba rhythms, which are now much appreciated by those jaded Western ears and are still sensitive enough to catch the spirit of the old rites. In other words, the Europeans, faced with the dogged survival of alien cultures, and as mercantile as ever they were in the days of the Trade, are now trying to sell our culture as a consumer product. I am inevitably caught up in this. Another aspect of history – that of sexuality – has also affected me deeply. Official history has always denied the validity of erotic relationships and experiences between members of the same sex. As in the fields of politics and economics, the historians of social and sexual relations have been readily
Capture 2025 102 assisted in their fabrications by the Church. But in spite of all attempts by Church and state to suppress homosexuality, it is clear that enriching sexual relationships between members of the same sex have always existed. They are part of the human condition, even if the concept of sexual identity is more of a recent notion. There is a grim chapter of European history, which was not drummed into me at school. I only discovered much later that the Nazis had developed the most extreme form of homophobia to have existed in modern times, and attempted to exterminate homosexuals in the concentration camps. It came not so much as a surprise but as yet another example of the long-standing European tradition of the violent suppression of otherness. It touches me just as closely as the knowledge that millions of my ancestors were killed or enslaved in order to ensure European political, economic and cultural hegemony of the world. I see in the current attitudes of the British Government towards Black people, women, homosexuals – in short, anyone who represents otherness – a move back in the direction of the fascistic values, which for a brief period in the ’60s and ’70s ceased to dominate our lives. For this reason I feel it is essential to resist all attempts that discourage the expression of one’s identity. In my case, my identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography, therefore – Black, African, homosexual photography – which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. It is no surprise to find that one’s work is shunned or actively discouraged by the Establishment. The homosexual bourgeoisie has been more supportive – not because it is especially noted for its championing of Black artists, but because Black ass sells almost as well as Black dick. As a result of homosexual interest, I have had various portfolios printed in the gay press and in February a book of nudes will be published by GMP. Also, there has been some attention given to my erotic work by the sort of straight galleries which receive funding from more progressive local authorities. But in the main, both galleries and press have felt safer with my “ethnic” work. Occasionally they will take on board some of the less-overtly threatening and outrageous pictures – in the classic liberal tradition. But Black is still only beautiful as long as it keeps within white frames of reference. I have been more disconcerted by the response to my work from certain sections of the self-proclaimed avant-garde, however. At the recent MiSFiTS exhibition at Oval House (which happened to coincide with the unveiling of a plaque to commemorate the birth there of Lord Montgomery of Alamein), I was asked, along with the other artists, to remove my work in case it attracted unfavourable publicity for Oval House. We refused, naturally. Unfortunately, the press were too busy paying homage to Monty so the national reputation of the Oval House was saved, and we were denied some free publicity. It is perhaps gratifying that the inadequacies of the Oval House’s Equal Opportunities Policy have since been recognised by many of its erstwhile supporters. But given the new Government ruling against local authority funding for any form of “promotion” of homosexuality, I assume that, in any case, community organisations will no longer be allowed to show my work. As for Africa itself, if I ever managed to get an exhibition in say Lagos, I suspect riots would break out. I would certainly be charged with being a purveyor of corrupt and decadent Western values. However, sometimes I think that if I took my work into the rural areas, where life is still vigorously in touch with itself and its roots, the reception
103 FEATURED EXHIBITIONS Rotimi Fani-Kayode Four Twins, 1985 gelatin silver print 50.8 x 60.9 cm Courtesy of Autograph, London might be more constructive. Perhaps they would recognise my smallpox Gods, my transsexual priests, my images of desirable Black men in a state of sexual frenzy, or the tranquility of communion with the spirit world. Perhaps they have far less fear of encountering the darkest of Africa’s dark secrets by which some of us seek to gain access to the soul. Essay reproduced courtesy of Ten.8 magazine, no. 28: “Rage & Desire,” 1988.
Capture 2025 104 Lucy Raven Murderers Bar, 2025 production still from moving image installation Courtesy of the Artist and Lisson Gallery © Lucy Raven
105 FEATURED EXHIBITIONS Murderers Bar is co-commissioned and jointly acquired by the Vancouver Art Gallery and The Vega Foundation Presenting Sponsor: Bruno J. Wall vanartgallery.bc.ca Vancouver Art Gallery April 18 – September 28 Organized by the Vancouver Art Gallery and curated by Anthony Kiendl, CEO and Executive Director, with Siobhan McCracken Nixon, Associate Curator Lucy Raven: Murderers Bar Text by Anthony Kiendl I. The exhibition Murderers Bar at the Vancouver Art Gallery takes its name from a newly commissioned work – the last chapter in a series of moving image installations called The Drumfire by New York-based artist Lucy Raven. The work Murderers Bar (2025) features an ensemble of sculptural elements and a video projected vertically on a tall, free-standing aluminum structure in the gallery space. Created through 2023 to 2025, the video centres around the recent removal of a century-old concrete gravity dam along the Klamath River in Northern California – the biggest dam removal project in American history. These depictions provide the action and context for a meditation on ideas of a broader scale and duration: geologic and human-imposed forces, and changes of material state, especially as they relate to cycles of violence in the centuries-long transformation of western North America both literally and symbolically in the popular imagination.
Capture 2025 106 The exhibition features previous and related works – a selection from Raven’s series Depositions (2024) and Casters X-2 + X-3 (2021) – that provide context within her practice, and a broader appreciation of her ongoing investigations and visual language. The arc of these works reveals the intermingling of nature and technology, the frequent interrelation of military and entertainment applications, and the impact of these forces on lived experience through the formation of modernity. This world premiere of the new work, co-commissioned by the Vancouver Art Gallery and the Vega Foundation, is the first major presentation of Raven’s work in Vancouver and the artist’s largest exhibition in Canada to date. Taken together, the works in this exhibition provide a timely glimpse into the expanding field of Raven’s vision – the push and pull between human intervention and more-than-human forces of nature and the physical world. The exhibition explores objectivity, subjectivity, and perception – from individual and discrete elements of history, technology, and the popular imagination to the broader sweep of geological and physical forces that have defined experience over millennia. II. The story of the Klamath River in the late nineteenth century, on the edge of the Pacific Northwest, revolves around the progressive colonization of the land, and the dispossession of Indigenous nations including the Hoopa, Karuk, Klamath, Modoc, and Yurok. This consisted of gold prospecting, forestry, and then, beginning in 1903, dam creation and flooding that would support the electrification of the West. It culminates with the re-appropriation and destruction of the dam by a coalition comprising Indigenous people and environmental activists in the first quarter of the twenty-first century. Murderers Bar depicts a carefully engineered detonation at the base of the massive human-made structure, releasing waters that flooded these lands over a century ago with the creation of the dam. The deluge from the breach literally and conceptually reveals multiple layers of time and history. The drained reservoir uncovers standing petrified trees – as if frozen in time – that have not been exposed to sunlight for over a century. The camera, flying metres above the landscape, tracks the tumult tumbling toward the ocean kilometres downstream. At its destination, the muddy torrent coalesces with the Pacific Ocean. Turning back, the camera returns upstream to the reservoir. Revisiting this point of origin, the viewer experiences the loop repeat from beginning to end. This déjà vu brings with it a sense of the uncanny and all that that encompasses – the awesome and overwhelming aspect of nature’s power, human experience in the face of the sublime, and an apprehension of scale in the engulfing expanse of geological time. In this infinite loop we are reminded of the cyclical nature of violence beyond this exact moment in the summer of 2023, to a broader expanse of time encompassing years, decades, and beyond, and all that they contain – the multiple pasts and histories of modernity, colonization, and resistance. III. Casters X-2 + X-3 (2021) is composed of four wall-mounted mechanical apparatuses installed in the Gallery’s multi-storey Rotunda. Each apparatus holds two spotlights projecting a cleaved circle of light. Their movement is carefully and independently choreographed to advance at a steady and controlled pace. The lights probe the architectural space – describing it – by highlighting the Romanesque contours of the Francis Rattenburydesigned Provincial Courthouse (constructed 1907–11) in which the Gallery is now housed.
107 FEATURED EXHIBITIONS These lighting mechanisms afford the viewer numerous visual and conceptual associations. As the spotlights quietly roam and criss-cross the space, one may think of prison yard searchlights or other technological forms of surveillance, as well as theatrical spotlights and performance spaces. Beginning in the late nineteenth century, spotlights have been utilized by the military and the entertainment industries alike. The clinical operation of Casters – the movement of which is purposeful and perhaps indifferent to the viewer – connotes ideas of artificial life and robotics. While electricity is invisible, lighting became a symbol of its full force – which changed the human experience of life dramatically in the late nineteenth century. No longer subjected to diurnal rhythms of night and day, humans banished nature with artificial light and control of the environment to an extent never before seen. This was part of a complex of technological development that supported myriad effects on the environment, including hydro-electric dams and telecommunications, all leading to today’s technologically mediated environment a little over a century later. IV. The Depositions (2024) are a series of non-representational “images” mounted and installed on wood and aluminum armatures that exist as a form of “drawings” or “proto photographs” and yet are neither. As the title indicates, Raven created these forms by causing a medium to be “deposited” on a surface. They are a palimpsest recording the event of their own creation. Raven discovered these forms by modelling the flooding of a miniaturized dam before and in preparation for the filming of Murderers Bar. On a dock in Long Island City, Raven adapted a large container into a watertight chamber that could be filled and drained. Within it, she shaped earthen dam-like forms with dirt, soil, and cement, then filled the “reservoir” created behind each of them with water pumped from the East River. Before each of these forms was built and later breached by water pressure amassed behind them, silk organza was stretched along the sides and bottom of the chamber, creating the substrate for these new works. They share elements of a quasi-photographic nature, in which mineral elements are deposited on the silk surface, and with the application of water, an image is “drawn by nature” through the implementation of a mechanical apparatus. The formal qualities of these objects – in luscious and soft hues of umber and sienna – are reminiscent of early nineteenth-century photography. But any similarity to photography ends there – these are markers of material elements in flux over time, and do not carry a photograph’s surplus of representational detail and reproducibility. Perhaps a better analogy for the Depositions is that of drawing. A graphitelike medium is applied to a surface through novel means, to create unique, singular patterns that evoke landscapes, oceans, clouds, or other organic forms. They could perhaps be considered automatic non-representational drawings, in which the results and forms are surrendered to chance and natural forces. Regardless of the process of their creation, the Depositions form poetic, spectral evocations of another world, speaking to broader forces of experience such as geology and the natural environment, and even more broadly the physics of the universe. By turns celestial and terrestrial – heavenly and abject – these forms defy simple categorization and readings.
Capture 2025 Tannaz Saatchi Around the Kitchen Table, 2024 inkjet print 50 x 40 cm Courtesy of the Artist Part of the Selected Exhibtions Program
SELECTED EXHIBITIONS The Selected Exhibitions Program features photography and lens-based exhibitions at galleries, museums, and other venues across Greater Vancouver. The program is chosen by a jury who evaluates submissions according to three criteria: curatorial concept, artistic excellence, and overall impact. 2025 Jury Richard William Hill Smith-Jarislowsky Senior Curator of Canadian Art, Vancouver Art Gallery Gonzalo Reyes Rodriguez Artist and Assistant Professor, Emily Carr University of Art and Design Eve Schillo Associate Curator, Wallis Annenberg Photography Department, Los Angeles County Museum of Art Emmy Lee Wall Executive Director and Chief Curator, Capture Photography Festival 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 Alliance Française Vancouver Art Gallery at Evergreen | Evergreen Cultural Centre The Black Arts Centre Burnaby Art Gallery Offsite | Bob Prittie Metrotown Library 沙甸鹹水埠 Canton-sardine Equinox Gallery Gallery 881 Livingspace x Monte Clark Macaulay + Co. Mónica Reyes Gallery MONOVA: Museum and Archives of North Vancouver Morris and Helen Belkin Art Gallery New Westminster Museum OHCE-ECHO Or Gallery Paul Kyle Gallery Richmond Art Gallery Harbour Centre Lounge, Simon Fraser University Vancouver Campus Shipyards Coffee SUM gallery Dr. Sun Yat-Sen Classical Chinese Garden Town Centre Park Community Centre | City of Coquitlam Unit 302 Wil Aballe Zebraclub
Capture 2025 110 Annie Briard and Scott Massey A General Theory of Relative Ground Scott Massey Sea of Humanity, 2024 archival inkjet print on composite panel 56 x 152 cm Courtesy of the Artist alliancefrancaise.ca Alliance Française Vancouver April 3–27 Landscape is a construct and its meaning is derived from the beholder. This expanded photography exhibition pairs new works by Vancouver-based artists Annie Briard and Scott Massey, each exploring the landscape as form and as foil through their lenses. Burdened as it is with connotations of nineteenth-century colonial claiming, expansion, and resource extraction, landscape photography has become a tainted genre. Perhaps a considered shift in our temporal perspective will provide a new relational outlook which might allow us to pass a duty of care along to future generations. What if we listened to the land without the urge to control it? The land speaks slowly over decades, centuries – epochs beyond human reckoning. Its metamorphosis is slow and prolonged, each changing period ushering in a new arrangement of form, of relationships, of growth and decay. Premiering new expanded photography works, this exhibition asks why the landscape should matter now, in the midst of all we face, and posits the importance of our continued relationship with our environment.
111 SELECTED EXHIBITIONS Meera Margaret Singh What We Hold Meera Margaret Singh Gentle Animals, 2023 chromogenic print 68.5 x 76 cm Courtesy of the Artist Curated by Noa Bronstein Presented in partnership with Gallery TPW, supported and circulated by the Ontario Arts Council evergreenculturalcentre.ca/ exhibit Art Gallery at Evergreen | Evergreen Cultural Centre February 22 – May 18 The archive of a life is abundant. In the touring exhibition What We Hold, a series of photographic and sculptural still lifes by Meera Margaret Singh traces familial histories and memories through objects – some joyful, others haunted. Books, shells, vases, trinkets, rocks, and plants narrate the time spent and the stories shared among family. These are stories of loss, migration, marriage, rupture, illness, recovery, healing, and love. Through her large-scale photographs and sculptures, Singh playfully considers the varied definitions of “inheritance” to ask: what will I choose to carry? To keep? What will I pass on? What will I let go? The artist creates portraits of generations of her family made up of collected and inherited objects, each of which reflects the intimacies and intricacies of the lives of its owners.
Capture 2025 112 Collin Patrick Sit Still Collin Patrick Untitled (the scent of fossil fuels on ancestral lands), 2024 inkjet print 121.9 x 121.9 cm Courtesy of Artist and Yutaro Fukuhara, Vancouver Curated by Arshi Chadha theblackartscentre.ca The Black Arts Centre April 24 – July 26 Spiritually speaking, Blackness is not still. Despite this, the movement and motion of Black people have been intensely restricted and policed, resulting in the displacement afflicted upon Black people across the diaspora throughout time. Reflecting on the ineffable nature of the Black spirit, in this series of works, curator Arshi Chadha and artist Collin Patrick confront the juxtapositions of being held still. Considering movement as an act of autonomy that transcends stillness, their work concerns the capturing of this continuous shifting and resistance, while contending with the nature of power imbalances that pertain to acts of voyeurism. Historically, lens-based practices have been weaponized to impose narratives of Blackness as “other.” And it’s through those narratives that the dominant, hegemonic class have justified colonial violence against the Black body, crafting the Black form as a subject for pathology. The relationship between the image maker and the “subject” is renegotiated in the exhibition Sit Still.
113 SELECTED EXHIBITIONS Natasha Katedralis Eyebat, The Cutting Floor Natasha Katedralis Facing, 2024 gelatin silver print 40.6 x 50.8 cm Courtesy of the Artist Curated by Asia Jong burnaby.ca/recreation-andarts/arts-and-culture-facilities/ burnaby-art-gallery Burnaby Art Gallery Offsite | Bob Prittie Metrotown Library March 18 – June 17 Eyebat, The Cutting Floor gathers twelve silver gelatin prints that incorporate photograms, light drawing, contact printing, enlarged “digital negatives,” and handcolouring techniques with oil pigments. Natasha Katedralis uses photographic tools as one move in a sequence of gestures to emphasize, dramatize, and recompose the visual into a space of abstraction, flattening, and association. These photo-cum-collage-cumdrawings push the illusory qualities of the photographic medium into a play of highly constructed and graphic surfaces. With Katedralis having recently learned photo-developing techniques under the mentorship of artist and darkroom technician Felix Rapp, the prints exist as an experimental extension of the artist’s engagement with photography and images. Using the analogue process, Katedralis combines digital photography with the physical ephemera that constellate her broader practice, such as drawings, collage materials, and collected items of significance. Fragments of computer desktop images, torn-out magazine pages, ink drawings, family heirlooms, and renderings of the artist’s house keys indiscriminately converge in the material space of light-sensitive paper and the liquid chemicals that develop them.
Capture 2025 114 Miao Xiaochun A glimpse through time Miao Xiaochun Industrial World, 1999 inkjet print 127 x 247 cm Courtesy of the Artist Curated by Steven Dragonn and Xiaoyan Yang canton-sardine.com 沙甸鹹水埠 Canton-sardine March 8 – May 3 A Visit from the Past to the Present is a series of photographs created by artist Miao Xiaochun between 1999 and 2004. The artist places a sculpture he made of an ancient Chinese figure into various modern urban settings around the world to create a series of cinematic still images. The dramatic composition and tone of these images give them a unique poetic quality. The act of poeticizing reality and transforming its appearance is a technique favoured by German Romantic artists such as Novalis. Later, surrealist artists such as Max Ernst also focused on the poetic and estranging aspects of reality, using these strategies to break free from the constraints of logical thinking, a method shared with Chinese Zen Buddhism. Xiaochun’s photographs with this ancient Chinese figure also contain surreal elements. He uses a poetic perspective and grand dramatic expression to guide us in discovering the multiple meanings of his work. Xiaochun has achieved significant success in the international art world, and the curators hope to reintroduce to the public this selection of artwork by the artist, spanning over twenty years. This exhibition, A glimpse through time, encourages viewers to reconsider the changes in “time – space – ethnicity – globalization,” as the artist states in his monograph Miao Xiaochun: Visits from the Past to the Present (2004). Throughout the past two decades, his artwork asks: can the artist’s reflections transcend the dimensions of time and space, offering insights to audiences of different eras?
115 SELECTED EXHIBITIONS Fred Herzog Vitality: Fred Herzog Photographs In and Around Chinatown Fred Herzog Chung Wah, 1960 archival pigment print 30.4 x 45.7 cm Courtesy of The Estate of Fred Herzog and Equinox Gallery, Vancouver © The Estate of Fred Herzog, 2025 Curated by Carol Lee equinoxgallery.com Equinox Gallery April 5 – May 3 Equinox Gallery presents a solo exhibition of photographs by Fred Herzog (1930– 2019), chronicling the street life of Vancouver’s Chinatown and surrounding neighbourhoods in the 1950s and 1960s. Guest-curated by Carol Lee, co-founder and Chair of the Vancouver Chinatown Foundation and committed advocate for the revitalization of Chinatown and the Downtown Eastside, the works in this exhibition highlight the area’s history of vibrant street life, businesses, and social centres. As a champion of Chinatown’s resilience and with deep knowledge of its past, Lee engages with Herzog’s photographs in a way that offers a renewed appreciation for his artistic vision while emphasizing the significant cultural heritage in our city. Herzog achieved a rare balance of composition and spontaneity in his images, gravitating toward the medium of colour photography for observing everyday life long before it was recognized as a documentary or artistic style. Over the course of several decades, Herzog remained virtually unknown until technological advances allowed him to make archival pigment prints that matched the intensity and quality of the Kodachrome film slides. Running parallel to this show will be a public art project and exhibition at Vancouver’s Chinatown Storytelling Centre which will present historical photographs and untold stories of Chinatown alongside a selection of Herzog’s images.
Capture 2025 116 Barbara Strigel Expect Delays Barbara Strigel Rebar Improvisation, from the Expect Delays series, 2023 archival pigment print 71.1 x 96.5 cm Curated by John Goldsmith Artist statement originally published in Fraction Magazine, Issue 179, 2024. gallery881.com Gallery 881 April 1–30 In Expect Delays, construction zones become an entry point to visual thinking. Barbara Strigel layers fragments of her photographs with drawings and prints, assembling the built environment into studies of form and shape that evoke an urban rhythm prompting us to think about how we apprehend space. The artist states: When I photograph a row of rebar, I enter a state of abstraction, capturing moments where form and space align. Artists have a language for the relationships within compositions – words like balance, unity, rhythm, and harmony. This way of thinking shapes my daily experience. If I can find balance in a stack of cinder blocks or unity in the lines of a fence, I can extend this perspective to the broader world. I believe in the value of visual thinking. A visual consideration of space can connect us to a place and allow us to appreciate the visual grace that surrounds us. Construction zones are temporary spaces, evoking past, present, and future time. They are the forward momentum of cities made visible. My digital collages are a way for me to represent this dynamism. Expect Delays presents an expansive view of photography embracing both abstraction and representation.
117 SELECTED EXHIBITIONS Group Exhibition The Flower Show Greg Girard Late Spring, 2021 archival pigment print 78.7 x 116.8 cm Courtesy of the Artist and Monte Clark, Vancouver livingspace.com monteclarkgallery.com Livingspace x Monte Clark April 1–30 The Flower Show at Livingspace invites viewers into a kaleidoscope of imagery where the ephemeral beauty of flowers intersects with the entropic realities of our world. Curated by Monte Clark, the exhibition includes artwork by Roy Arden, Karl Blossfeldt, Karin Bubaš, Walker Evans, Robert Frank, Greg Girard, Owen Kydd, Stephen Waddell, Jeff Wall, and Carleton Watkins, and captures the delicate balance between creation and decay. The selected works span serene and unsettling imagery, celebrating the vibrant triumph of blossoms while embracing the quiet forces of their inevitable unravelling. Livingspace, a renowned purveyor of modern design, is pleased to partner with Monte Clark to present The Flower Show as part of the 2025 Capture Photography Festival. This collaboration blends art and design, creating an immersive environment where visitors can engage with the photographs as part of a thoughtfully curated experience. The exhibition invites guests to embark on a self-guided journey, with docent-led tours available on select dates throughout the exhibition.
Capture 2025 118 Krystle Silverfox Part of the Land Krystle Silverfox Part of the Land (one-eighth), 2024 archival inkjet print, acrylic spray paint, seed beads 12.8 x 29 cm Courtesy of the Artist and Macaulay + Co. Curated by Jake Kimble Please note this exhibition is not wheelchair accessible. mfineart.ca Macaulay + Co. March 6 – April 26 In her latest exhibition, Part of the Land, Krystle Silverfox brings forth new works that challenge and question how we think about the medium of photography. The images themselves are not fully accessible, as they were once remnants of test prints belonging to a different series. They have been made new again by stitching them together with beadwork. The physical intervention of beading imbues the work with a sense of care as the artist is literally mending the images, mending the wound, mending the land. The artist states: Part of the Land is a series of photos which use analogue collage and beading to stitch back together images of landscapes. The title of the work, Part of the Land, is inspired by the book Part of the Land, Part of the Water: A History of the Yukon Indians (1987) by Catharine McClellan. The title is also an acknowledgement of parts: blood quantum percentages, land allotments, land stewardship, and missing parts of culture. This series pays homage to the connections we have to the land through acts of care – beading – to reconnect broken links.
119 SELECTED EXHIBITIONS Fatimah Tuggar Spinner and the Spindle: Tuning Meaning & Threading Ideas Fatimah Tuggar Coverfield, 2008 inkjet on vinyl 71 x 109 cm Courtesy of the Artist and Mónica Reyes Gallery monicareyesgallery.com Mónica Reyes Gallery April 5 – May 3 Spinner and the Spindle: Tuning Meaning & Threading Ideas presents a sampling of computer montages by Fatimah Tuggar from the 1990s and an augmented reality diptych from 2019. The exhibition also features Broom, a sculptural object with electronic embedded sound, demonstrating the artist’s collage and bricolage across her entire body of work. Interdisciplinary artist Tuggar, a pioneer of digital media, combines her photographs and found images from multiple histories, geographies, and cultures to examine societal nuances closely. She recontextualizes, exploring, documenting, and reimagining what connects us and separates us, as well as the spaces within us and around us. In both her computer montages and video collages, meaning is located between the combined elements, with a focus on the internal relationships of the individuals within the image, tempered by the surrounding power structures. Tuggar combines images, perspectives, characters, contexts, and personas in a provocative and respectful practice of engaging ideas and viewers in an ongoing dialogue. The thematic threads of her visual conversations interconnect the factual and fictional, with the intention of implicating viewers and herself. We are both audiences and agents in things as they have been, global society as it is, and the world as it could be. The images in this show highlight her continuous paradoxical uses of humour, reverence, fragility, and complexity, which are consistent as connecting energies regardless of the medium or methods in which she works.
Capture 2025 120 Group Exhibition Corner Stores and Collective Memory Don Bourdon The Corner Store, 1975 inkjet print 56 x 86 cm Courtesy of the Artist and MONOVA: Museum and Archives of North Vancouver Curated by Rebecca Pasch, Andrea Terrón, and Georgia Twiss monova.ca MONOVA: Museum and Archives of North Vancouver February 5 – July 1 There is a particular fond nostalgia attached to corner stores that evoke memories of hot summer days and childhood independence. Perhaps a corner store was the place you made your first-ever purchase, and maybe it was the place you met your friends after school. This nostalgia speaks to the often overlooked but critical role corner stores play not just as local businesses but as shared community spaces and sites of collective memory in places like North Vancouver. As the corner store disappears from our contemporary urban landscape, so do the stories that they carry. Corner Stores and Collective Memory pairs photographs from our archival collection alongside presentday images by MONOVA Archivist Rebecca Pasch of the same sites to trigger memory and the sharing of these stories, as well as to inspire conversations around gentrification and evolving community spaces in North Vancouver.
121 SELECTED EXHIBITIONS Group Exhibition Town + Country: Narratives of Property and Capital Rodney Graham City Self/Country Self (production still), 2000 single-channel video with sound 3:58 min. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund Courtesy of Rodney Graham Studio Curated by Caitlin Jones, Charo Neville, and Melanie O’Brian belkin.ubc.ca Morris and Helen Belkin Art Gallery January 10 – April 13 Town + Country: Narratives of Property and Capital troubles the enduring narrative binary of town and country. Borders between these two terrains have morphed and slipped around each other theoretically, politically, economically, and socially, yet the narrative of the urban/rural divide persists. Indigenous land dispossession and reclamation, capital accumulation in the form of real estate assets, labour, and technological development are all obscured by this persistent fiction. Town and country narratives similarly obscure questions of class, freedom of movement, and resource extraction. Art has played a defining role in the narrative. Work by Architects Against Housing Alienation, Rodney Graham, Gabrielle L’Hirondelle Hill, Karin Jones, Tiziana La Melia, Carel Moiseiwitsch, Alex Morrison, Debra, Aleen, and Isaiah Sparrow, Janet Wang, Holly Ward, Tania Willard, and Lawrence Paul Yuxweluptun approaches the political, economic, and representational systems at play in our longmythologized conceptions of this binary of place. The works in this exhibition subvert rural and urban binaries to offer gestures of refusal and resistance. Town + Country: Narratives of Property and Capital is co-organized by the Morris and Helen Belkin Art Gallery and the Kamloops Art Gallery, curated by Caitlin Jones, Charo Neville, and Melanie O’Brian, and made possible with the generous support of the Audain Foundation, Jane Irwin and Ross Hill, the Hamber Foundation, the Canada Council for the Arts, the Province of British Columbia through the BC Arts Council, the City of Kamloops, and the Belkin Curator’s Forum members.
Capture 2025 122 Group Exhibition Reframed: Understanding New West Through Photos Les Burkholder, Burlin Studios Untitled, 1985 archival image 244 x 198 cm Courtesy of New Westminster Archives Curated by Michelle Taylor Please note this exhibition is wheelchair accessible via elevator. nwmuseumarchive.ca New Westminster Museum February 6 – June 29 The City of New Westminster’s Museum and Archives holds 230,000 photographs documenting scenes of the city’s history and its people. Community members donated the majority of these photographs, creating a preferred narrative of our past, influencing the stories told through exhibition, programming, and the media, and omitting the contributions of those not captured in this historical record. Reframed: Understanding New West Through Photos critically examines photographs acquired by the City’s Museum and Archives since 1950. The exhibition articulates the role these images have played in shaping community narrative and reframes them to present a more genuine picture of the city’s past. By looking at who is, and who is not, present in these photographs, we explore how a limited number of photographers shaped the early historical record of the city. This exhibition compares the original vision of the photographer with the impact of their work. Evidence of forgotten stories appears at the fringes of their images and beyond the cropped areas of photos used for publication. Reframed considers the role developing technology played in empowering New Westminster’s communities to document their own lives. With thousands of unnamed faces in the collection, this exhibition highlights the power that names hold to reveal hidden histories of marginalized populations. The exhibition critically examines the ways in which we can reframe our knowledge about the city by highlighting its marginalized stories.
123 SELECTED EXHIBITIONS NOVA Gallery: 1976–81 A selection of NOVA Gallery exhibition posters, 1976–81 offset-printed posters dimensions variable Part of the NOVA Archives Courtesy of Claudia Beck Organized by Francesca Bennett Posters designed by Jack Buquet, and printed by Don Atkins of Benwell-Atkins Ltd bedroomkitchen.garden/ ohce-echo OHCE-ECHO April 1–30 NOVA gallery has been at the centre and the periphery of many histories of photography in Vancouver. Acknowledging the stories that have already been told, OHCE-ECHO presents “a little history” of the gallery, centred on a poster archive documenting the fifty-odd exhibitions that were held at 1972 West 4th Avenue between December 1976 and June 1981. Ostensibly a commercial gallery with storefront exhibition space, a library of photo books, and flat files full of photographs, NOVA mixed commerce and community with occasional sales and serious research. Co-founders Claudia Beck and Andrew Gruft, along with curator Helga Pakasaar, encouraged and sustained conversations on photography that carried in and out from the city’s studios, galleries, and less formal spaces. Close up and in sequence, the posters describe difference and repetition, alternating contemporary and historical practices, solos and pairings, and thematic or less wieldy groups, and together reflect the variable circulations of timely and urgent ideas and the availability of new – even if vintage – prints. In April, all are welcome at OHCE-ECHO to name and recall the artists, artworks, and exhibitions that contributed to a dynamic local community in its time, and that continue to offer point, counterpoint, or potential for contemporary practices, lensbased and otherwise.
Capture 2025 124 Tiziana La Melia Country Mouse City Mouse Hamster Tiziana La Melia Country Mouse City Mouse Hamster (still), 2024 single-channel video with sound Courtesy of the Artist Curated by Jenn Jackson Please note this exhibition is not wheelchair accessible. orgallery.org Or Gallery February 6 – May 10 In her writing and artistic practice, Tiziana La Melia brings together a plurality of material approaches to trace the ways in which overlapping encounters of place come to shape individual identity and the potentials for community connection. Country Mouse City Mouse Hamster is one such roving exploration of the amorphous space between the defining contours of rural and urban life. The exhibition includes a survey of video, performance, sculpture, painting, and drawing that expands upon a familiar narrative of migration from the countryside to the city and vice versa. Through the tale of two anthropomorphized mice, an episodic journey unfolds. Traversing multiple geographies and time scales, the auto-fictional characters trace familial and symbolic understandings of food, shelter, and belonging – blurring rural and urban chronicles while daylighting the interconnected landscapes as a site for support, nourishment, and healing. Country Mouse City Mouse Hamster features an ongoing episodic film that deploys an eccentric cast amid an archive of adjacent props and ephemera. The project calls toward the discards of recent nostalgic moments: Y2K, tabloid magazines, reality TV, leaked celebrity tapes, and the advent of analogue film merging with digital proliferation. In these ways, La Melia’s work mimics the historical depth of fabled stories while yearning for alternate modes of relating the unrelated. Country Mouse City Mouse Hamster will be the first solo presentation of the artworks within the fabled drama series and will include expansive outreach programming with a diverse range of performances from collaborators within the local artistic community.
125 SELECTED EXHIBITIONS Barbara Astman An Overview Barbara Astman Collage #1, from the Daily Collage series, 2009–10 archival inkjet print 109.2 x 85.3 cm Courtesy of the Artist and Paul Kyle Gallery paulkylegallery.com Paul Kyle Gallery April 23 – June 7 An Overview offers a comprehensive exploration of Barbara Astman’s career, spanning her formative works in the 1980s to her most recent projects. Astman, a Governor General’s Award recipient and pioneer in Canadian photography, has long been captivated by the expressive potential of imagery, often blending traditional photographic techniques with experimental approaches to reflect on societal issues, identity, and memory. Her work traverses the boundaries of self-representation, using images as both personal and cultural investigations that resonate with the viewer on a profound level. Each piece in this exhibition encapsulates Astman’s ability to manipulate the medium to produce intimate yet universally relevant narratives, showcasing her sensitivity to the emotional depth within everyday objects and scenes. Astman’s innovative use of photography challenges conventional perceptions of lens-based art, imbuing her pieces with layered meaning and evoking complex dialogues around the human experience. As this exhibition unfolds across different periods of her practice, viewers will witness an artist who has consistently pushed the boundaries of visual language while maintaining a poetic sensibility. Astman’s ongoing exploration of the photograph as a reflective, and often transformative, tool celebrates her unparalleled influence in Canadian art.
Capture 2025 126 Mary Sui Yee Wong Restless by Nature: Mary Sui Yee Wong, 1990s to the present Mary Sui Yee Wong Not for Sale, 2024 inkjet print on postcard 10.1 x 15.2 cm Model: Paul Wong Photo: Luciana Photography Courtesy of the Artist Curated by Zoë Chan The Artist and Richmond Art Gallery acknowledge the support of the Canada Council for the Arts for this exhibition richmondartgallery.org Richmond Art Gallery April 12 – June 8 Restless by Nature: Mary Sui Yee Wong, 1990s to the present gives audiences a rare opportunity to discover the Montréal-based artist’s under-recognized practice. The exhibition brings together a selection of works, some of which were presented in alternative spaces, on ephemeral platforms, performance-based, or documented insufficiently. Born in Hong Kong in 1956, Wong immigrated to Canada in 1963, growing up in Vancouver’s Chinatown and moving to Montréal in 1988. Majoring in sculpture, Wong earned her Bachelor of Fine Arts in 1991 and Master of Fine Arts in 2003 from Concordia University, where she currently teaches. Her works were exhibited in Montréal and Vancouver in the 1990s and 2000s, but have been shown less frequently since the 2010s. Wong is known for her activism within Montréal’s Chinese Canadian community, her mentorship of numerous artists of the Asian diaspora, and her active role in Montréal’s artist-run scene during the late 1990s to the mid-2010s. Reflecting Wong’s varied practice, this survey exhibition showcases sculpture, photographs, video, costume, and a public artwork, and culminates with a new performance-based work. Many of the artworks have been updated or rendered sitespecific for Richmond Art Gallery. The exhibition underscores Wong’s engagement with personal memory, cultural history, familial legacy, Orientalism, and anti-Asian sentiment within Canada. Archival materials including exhibition catalogues, magazines, and personal photographs offer insight into her underappreciated artistic practice and labour as mother, mentor, and community advocate.
127 SELECTED EXHIBITIONS Ogheneofegor Obuwoma geographies of longing Ogheneofegor Obuwoma Geographies of Longing (still), 2024 single-channel video with sound 6:11 min. Courtesy of the Artist Curated by Kimberly Phillips Presented by SFU Galleries in partnership with SFU Belzberg Library sfu.ca/galleries.html Harbour Centre Lounge, Simon Fraser University Vancouver Campus April 5 – December 20 Body mapping is an expressive process that uses images and stories to reflect on lived experience. geographies of longing explores the agility of video as an embodied mapping tool. In this single-channel video, Ogheneofegor Obuwoma draws on the medium’s visual and material ability to conjure unknowability, manifest slippages in memory, and layer geographies and spans of time, to trace a complex portrait of her own life across two continents. “We know that borders are not real,” Obuwoma asserts, “that a body can reach across space and time, can defy imposed entries and exits.” geographies of longing meditates on spatial sites of potency in the artist’s childhood Nigerian home from coincident perspectives of intimacy, illegibility, and distance. In SFU’s Harbour Centre Lounge, a public study and meeting space defined by its massive picture window framing views of the North Shore mountains and working shoreline, geographies of longing is presented in multi-dimensional form. As Obuwoma creates her videos to be intentionally arrested or “held” in stillness, two monumentally scaled, floor-to-ceiling video stills face one another across the Lounge. These images bracket a third view through the window. This installation creates an immersive visual predicament that so many visitors will know achingly well in their own bodies: the experience of inhabiting multiple places, identities, and stories at once. A QR code invites visitors to experience the video with sound in full through their smart phones and tablets, and in SFU Belzberg Library, immediately adjacent to the Lounge, a video monitor with headphones offers a further accessible experience of the work.
Capture 2025 128 Group Exhibition Shadows of Light Odartey Aryee Galamsey, 2024 chemigram on silver gelatin print 17.8 x 12.7 cm Courtesy of the Artist Curated by Khim Mata Hipol and Jimena Diaz Jirash shipyardscoffee.com Shipyards Coffee April 1–30 Shadows of Light explores the boundaries of photography through experimental processes that transcend conventional image-making. This exhibition looks at the medium of photography, pushing its traditional role of representation into abstraction and experimentation. The artists Odartey Aryee, Freya Harding, Khim Mata Hipol, Jimena Diaz Jirash, and Maya U Schueller Elmes, each share work that offers the viewer an understanding of the photographic process by omitting the camera as the primary tool. Central to the exhibition are photograms, cyanotypes, and chemograms – three alternative methods that engage with the essence of photography: light and chemical reactions. Harding and Hipol’s photograms, produced without a camera, involve placing objects directly onto light-sensitive paper to create abstract compositions that are as much about absence as presence. Schueller Elmes’s cyanotypes, with their characteristic blue hues, are created by exposing a light-sensitive surface to ultraviolet light, often using natural objects such as plants or leaves as stencils. This technique highlights the precision of light and the organic textures of the natural world, offering a poetic meditation on photography’s connection to time and nature. In contrast, Aryee and Jirash’s chemograms blend the practices of photography and painting, as chemicals are manually applied to photographic paper through controlled or uncontrolled methods, resulting in unpredictable and vibrant forms. Through these techniques, Shadows of Light offers an intimate look at the interplay between light, chemistry, and materiality. In this exhibition, photography is no longer bound by its mechanical origins. Instead, by working with light and shadow, the artists push photography’s relationship to reality, form, process, and image-making.
129 SELECTED EXHIBITIONS Alejandro A. Barbosa Unsavoury Witness Alejandro A. Barbosa Knowledge of Weapon, 2024 inkjet print 142.2 x 106.6 cm Courtesy of the Artist Curated by Patryk Stasieczek Unsavoury Witness is generously supported by the Province of British Columbia through the BC Arts Council and the Parachute Fund sumgallery.ca SUM gallery April 16 – June 6 Unsavoury Witness is a photo-based installation that includes laser-engraved photographs, photographic murals, intermedia, print media, and court transcripts from the Supreme Court of British Columbia on the 2001 murder of Aaron Webster in Stanley Park. This immersive exhibition foregrounds homophobia’s intimate connections with public spaces, institutionalized systems, societal responses, queer bodies, and desire. Alejandro A. Barbosa engages photography through subtractive operations such as excerpt, redaction, and framing to conceptualize pause as an agency of justice. By working from official documents and media archives surrounding a pivotal case in the history of homophobic violence in Canada, they complicate the certainties of queer pleasure and integrate the inconsistencies of justice when prejudice, silence, and risk intersect desire. Within the safety of SUM gallery, the exhibition is crafted as a diorama where artist and viewer intersect the public figure of the witness toward a queer ethics of placemaking and memorialization. Unsavoury Witness is Barbosa’s debut solo presentation in Canada and their first with SUM gallery, and is curated by long-time mentor Patryk Stasieczek.
Capture 2025 130 王晨釔 Rebecca Wang Blooming While Withering 王晨釔 Rebecca Wang ⽆⽤功 Futile Effort #7, 2022 archival pigment print on Alupanel 50.8 x 76.2 cm Courtesy of the Artist Please note this exhibition is wheelchair accessible at the Eight Treasures Shop of the Dr. Sun Yat-Sen Classical Chinese Garden. vancouverchinesegarden.com Dr. Sun Yat-Sen Classical Chinese Garden April 16 – June 8 This exhibition brings together photographic works that delve into the construction and negotiation of selfhood within a contemporary diasporic context through partly autobiographical narratives. The presentation features a mix of film, digital, and phone images taken since 2016, incorporating texts dating back to the artist’s first arrival in Canada in 2004. Accompanied by olfactory and audio elements tied to personal memories, Blooming While Withering creates a multi-sensory experience. These combined elements trace a journey of revelation, driven by a desire to document seemingly insignificant everyday moments through which life subtly unfolds. By reactivating and assembling these moments – of doubt, self-persuasion, perseverance, desperation, rebellion, surrender, reconciliation, and renewal – they are transformed to generate new meanings and possibilities. This personal archive, where original contexts and meanings are reappropriated, mirrors the artist’s ongoing negotiation with a fragmented and transitional sense of belonging. Both revealing and concealing, the works act as ledgers or indexes of moments of becoming – whether significant, pivotal, mundane, or intimate. What is lost in translation – both between languages and through the re-enactment of memory – re-emerges in new forms, illuminating the fluid and shifting contours of identity in the diasporic experience.
131 SELECTED EXHIBITIONS Faber Mo Neifer It’s All Chinese To Me Faber Mo Neifer Wong’s Restaurant, Moosomin, SK, 2023 inkjet print 50.8 x 40.6 cm Courtesy of the Artist Curated by Hilary Letwin coquitlam.ca/1169/ Town-Centre-ParkCommunity-Centre Town Centre Park Community Centre | City of Coquitlam February 22 – September 6 It’s All Chinese To Me depicts the signs of Chinese restaurants from across Canada. The Chinese restaurant has played a significant role in the history of Chinese people in North America. While they were once confined to segregated Chinatown neighbourhoods, Chinese restaurants and businesses have become prevalent in communities of all sizes. This prevalence is one of the greatest signifiers of the spread and integration of the Chinese diaspora within the social fabric of Canada today. Adorned by the same exaggerated design elements that originated in San Francisco’s Chinatown, Chinese restaurants across North America are frequently at the heart of discussions on authenticity, cultural appreciation, and integration. In this photographic series, Faber Mo Neifer explores the ways in which Chinese people are othered, and asserts belonging for himself and the Chinese diaspora in Canada. These photographs were taken during several road trips over the last few years as the artist sought to understand through observation the way he was being looked at as a mixed-race Chinese person in Canada. This series of photographs is an inquiry into the ways people are perceived and how people choose to present themselves. It is a love letter to the resilience of a community.
Capture 2025 132 Group Exhibition Piggybacks Through the Living Room Geoffrey Lok-Fay Cheung Florid Scale, 2023 digital print on watercolour paper 60 x 50 cm Courtesy of the Artist Curated by Parumveer Walia instagram.com/unit__302 Unit 302 April 15 – May 1 Piggybacks Through the Living Room reaches across memories, objects, and images toward kin and culture, near and far. Emphasizing immigrant memory, artists Geoffrey Lok-Fay Cheung, Claudia Goulet-Blais, Andrew Ina, Tannaz Saatchi, Eknoor Thind, and Parumveer Walia each activate the archival to stipulate its possibilities, while prodding at its slippages and illegibilities. These gestures reveal the complexities of (be) longing and study the most urgent unit of the social: the family. Located in the historic Edward Hotel, the out-of-use space stands witness to the flux of urban Vancouver and embodies its constant evolutions. In activating the site, the artists seek to situate themselves in Vancouver’s shifting landscape. For Saatchi and Ina, cultural materials such as Persian rugs, wallpapers, and books are used alongside the family photo to access distant memories and trace the contours of their Middle Eastern heritage. Cheung’s installation, Inadequacies of Care, similarly charts an immigrant experience of family and the labours of accessing ancestries obfuscated by time and space. Such an obfuscation is used to summon the spectre in Walia’s Letters to Reagan, wherein images of those lost to the AIDS epidemic represent a could-have-been family, present in memory but lost in form. Goulet-Blais and Thind employ a mix of staged and archival imagery using the camera and portraiture as a means of developing relationships – Goulet-Blais with her mother, and Thind within her home. The camera, the impulse to record, and the image all become modes of sensemaking, and Piggybacks Through the Living Room maps itself on this premise, anchored to the familial despite the flux of shifting times.
133 SELECTED EXHIBITIONS Alex Gibson A hound marks its spot Alex Gibson A hound marks its spot (XO), 2024 inkjet prints, resin, plywood 122 x 157 cm Courtesy of the Artist waapart.com Wil Aballe April 5 – May 3 With the global rise of fascism, this body of photographic objects examines dynamics of power and submission through puppy play to subvert ongoing systems of oppression. A hound marks its spot disrupts a capitalist framework of labour, production, and intellect, through a queer lens of play and territory. In his experimental essay A dog worries a bone, and other thoughts (2023), artist and writer Matthew Lax notes that human pups “have freed themselves of the bounds of body, gender, and most importantly, work. Pups often speak of pupspace, the psychology and state of being pup, a place free of external pressures, deadlines, trauma, societal expectations and the demands of capitalism.” By interrogating how the subversion of power dynamics found in “pupspace” emerges in various film, contemporary art, and pop cultural sources, the works in this exhibition present themselves as fragmented photographs embedded within resin. Mounted on traditional hardware materials such as plywood, steel, and drywall (some found at construction sites and repurposed), the forms reflect modes of construction and labour, while the images toy at questions of play, control, desire, and destruction. Like the way a dog marks its territory, the images in A hound marks its spot absorb resin which is poured upon them, taking on a wet and fluid quality. As well, photographs of the artist’s own urine are used to position a dialogue between human/ non-human participants who engage in activities of work/play to rupture capitalist narratives of dominance/submission.
Capture 2025 134 Charlie Mahoney-Volk The Failed Life of a Cowboy Charlie Mahoney-Volk Cowboys! #4, 2023 vinyl 106.6 x 63.8 cm Courtesy of the Artist Printing sponsored by Signmaster Signs Ltd zebraclubvan.com/blogs/ window-artists-in-residence Zebraclub April 13 – May 31 The Failed Life of a Cowboy explores Western masculine archetypes in relation to queer identity. Through variations of the cowboy and the farmer, Charlie MahoneyVolk interrogates the harsh and repressive cultural invention of the cowboy through a genderqueer parody of itself. The series uses self-portraiture as a means of characterbuilding, pulling from contemporary drag performance and reality TV personalities to create comically self-absorbed and raunchy personas. Influenced by their upbringing in Manitoba and their family’s cattle ranch, in each portrait, the cowboy is dressed in a dated theatrical version of the masculine working class and is posed against a stark white studio backdrop to isolate them from any of their expected landscapes. Through the studio setting and queer signalling, the ideal of the classically rugged and stoic cowboy is disrupted. This exhibition features five portraits on the windows of Zebraclub Vancouver. The Failed Life of a Cowboy plays on the language of editorial fashion and is elevated by its surrounding retail-store setting and neighbourhood, allowing the pieces to be read as promotional content, once again disrupting the viewer’s expectations. The audience is pushed to reinvent their relationship to masculine archetypes through The Failed Life of a Cowboy’s tongue-in-cheek presentation.
135 SELECTED EXHIBITIONS Charlie Mahoney-Volk The Failed Life of a Cowboy #1, 2024 vinyl 152.4 x 116.4 cm Courtesy of the Artist
Capture 2025 136 Eknoor Thind #1 and #2, from the Fabrications series, 2025 archival inkjet print 88.9 x 58.4 cm each Courtesy of the Artist
137 EDUCATIONAL PARTNERSHIP Capture x Emily Carr is a partnership between Capture Photography Festival and the Audain Faculty of Art at Emily Carr University of Art and Design ecuad.ca/showcase/category/ capture-festival April 1–23 Emily Carr University of Art and Design Michael O’Brian Exhibition Commons, Zone 4, 1st Floor Capture × Emily Carr Curated by Birthe Piontek, Associate Professor of Photography and Assistant Dean of Photography, Audain Faculty of Art, ECU Ghost Images: Photography and Trace Laura Ayres Sophie-Jane Brindle Ashley Cheng Glory Munroe Sunsun Liu Tannaz Saatchi Eknoor Thind Parumveer Walia Photographs are often traces of our histories, memories, and stories. Like ghosts from the past, these images can haunt us, reminding us of what once was and is now different. The artists in the exhibition Ghost Images: Photography and Trace consider photographs as traces and use different strategies to activate the present. Some works make us rethink events in the past, drawing attention to issues that still need to be addressed in the now. Others rework images into an echo of a lived experience, filling us with longing for carefree moments of our childhood or addressing the void left behind by the loss of a loved one. Sometimes, the ghost image exists as physical evidence. A print found in an album or a shoebox then leaves an imprint in our minds and becomes a jumbled memory of a memory, an image we conjure up and alter each time we remember it. Some of the exhibiting artists address this alteration by utilizing physical interventions and treating the photographic image as a malleable object. Others make use of photographic processes and remind us that photography is a process of residues – of light and chemicals. The artworks in Ghost Images: Photography and Trace speak to the range of photography’s ability to be permanent and impermanent simultaneously. They make us think of images as songs stuck in our heads that we can’t escape, or as scars that altered our bodies and now have become part of us, while addressing the fact that images are also fleeting. They only momentarily exist at the tips of our fingers but are gone the next second, updated by an algorithm that, like an invisible spectre, follows us and shows us what we desire.
Capture 2025 June Clark Franno, 1982 Courtesy of the Artist and Daniel Faria Gallery Part of the GreyChurch Billboard Public Art Project
Capture 2025 140 Architects Against Housing Alienation p. 119 Simranpreet Kaur Anand pp. 74–76 Roy Arden p. 115 Odartey Aryee p. 126 Barbara Astman pp. 75/77–78/80/123 Laura Ayres p. 135 Ariyo Bahar pp. 8/10–15 Alejandro A. Barbosa p. 127 Ana Teresa Barboza p. 22 Maya Beaudry pp. 75/78/81 Carolle Bénitah p. 22 Karl Blossfeldt p. 115 Don Bourdon p. 118 Deanna Bowen pp. 17–19 Annie Briard p. 108 Sophie-Jane Brindle p. 135 Karin Bubaš p. 115 Les Burkholder p. 120 Edward Burtynsky pp. 72/88–91 Jackie Castillo p. 20/23 Jorian Charlton pp. 26/52–53 Ashley Cheng p. 135 Ning Cheng pp. 60/64 Geoffrey Lok-Fay Cheung p. 130 June Clark pp. 56–57/136–137 Dana Claxton pp. 75/78 –79/82 Gohar Dashti pp. 70–71 Buck Ellison pp. 24–25/48–51 Walker Evans p. 115 Rotimi Fani-Kayode pp. 96–101 Robert Frank p. 115 Alex Gibson p. 131 David Gilbert pp. 60/65 Greg Girard p. 115 Claudia Goulet-Blais p. 130 Rodney Graham p. 119 Sandi Haber Fifield p. 22 Freya Harding p. 126 Charlotte María Hauksdóttir p. 22 Leslie Hewitt p. 22 Fred Herzog pp. 40–41/113 Gabrielle L’Hirondelle Hill p. 119 Khim Mata Hipol pp. 60/66/126 Liz Ikiriko pp. 17–19/75/79/83 Andrew Ina p. 130 Jimena Diaz Jirash p. 126 Karin Jones p. 119 Natasha Katedralis p. 111 Veronika Kellndorfer p. 22 Owen Kydd p. 115 Tiziana La Melia pp. 119/122 Sunsun Liu p. 135 Charlie Mahoney-Volk pp. 132–133 Lauraine Mak pp. 60/68 Maria-Margaretta pp. 28–33 Scott Massey p. 108 Lindsay McIntyre pp. 60/63/92–95 Mónica de Miranda pp. 6–7/44–47 Faber Mo Neifer p. 129 Carel Moiseiwitsch p. 119 Caroline Monnet pp. 42–43/58–59 Alex Morrison p. 119 Jacqueline Morrisseau-Addison pp. 34–37 Ella Morton pp. 60/62 Gabby Moser pp. 17–19 Glory Munroe p. 135 Kriss Munsya pp. 38–39 Bea Nettles p. 22 Hamed Noori pp. 70–71 Ogheneofegor Obuwoma p. 125 Collin Patrick p. 110 Sheila Pinkel pp. 22–23 Josephine Pryde p. 22 Susan Rankaitis p. 22 Lucy Raven pp. 102–105 Valia Russo pp. 60–61/69 Tannaz Saatchi pp. 106/130/135 Jayce Salloum pp. 75/77/84 Maya U Schueller Elmes p. 126 Michaëlle Sergile pp. 75/77/85 Krystle Silverfox p. 116 Xaviera Simmons pp. 54–55 Meera Margaret Singh p. 109 Ngadi Smart pp. 38–39 Michelle Sound pp. 75/79/86 Aleen Sparrow p. 119 Debra Sparrow p. 119 Isaiah Sparrow p. 119 Kim Simon pp. 17–19 Michael Stone p. 22 Barbara Strigel p. 114 Eknoor Thind pp. 130/134–135 Fatimah Tuggar p. 117 Stephen Waddell p. 115 Parumveer Walia pp. 130/135 Jeff Wall p. 115 王晨釔 Rebecca Wang p. 128 Janet Wang p. 119 Holly Ward p. 119 Carleton Watkins p. 115 Tania Willard p. 119 Letha Wilson p. 22 Mary Sui Yee Wong pp. 60/67/124 Miao Xiaochun p. 112 Lan “Florence” Yee pp. 75/78/87 Lawrence Paul Yuxweluptun p. 119 Artist Index
Visit the Art Gallery at Evergreen Serving the Tri-Cities for over twenty-five years, the Art Gallery at Evergreen (AGE) engages visitors through curated exhibitions, activated by public programs and dynamic school workshops. The AGE focuses on contemporary art and ideas explored by professional artists working in all mediums. Image (top): Installation view of Janet Wang: To Exit is to Enter, site-specific installation at the Art Gallery at Evergreen, 2023. Images (left to right): Installation view of Rebbecca Bair: Where the Light Meets My Shoulder, 2023; Sarah Anne Johnson, Woodland (2020-), 2024; and Paths, 2024, exhibitions at the Art Gallery at Evergreen, Evergreen Cultural Centre. Photos by Rachel Topham Photography. Gallery Hours: Wednesday, 12 - 5pm Thursday - Friday, 12 - 6pm Saturday - Sunday, 12 - 5pm Free to attend.
heffel f ine Art Auction house www.heffel.com · 1 888 818 6505 · [email protected] From iconic lens-based art to timeless masterpieces, Heffel connects extraordinary works with exceptional collectors. rodney GrAhAm Oxfordshire Oak, Swalcliffe monochrome colour print 84 x 60 in, 213.4 x 152.5 cm sold for: $175 , 250 (estimate: 60,000 – 80,000)
Restless by Nature Mary Sui Yee Wong, 1990s to the present 7700 Minoru Gate, Richmond, BC richmondartgallery.org #richmondartgallerybc This exhibition is part of the 2025 Capture Photography Festival Selected Exhibition Program Image: Mary Sui Yee Wong, Nature Morte, 1999, found objects, powder turf (installation detail), Courtesy of the artist April 12 – June 8, 2025
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Tenille Campbell Severn Cullis-Suzuki Rotimi Fani-Kayode Liz Ikiriko Anthony Kiendl Godfre Leung Eve Schillo Dr. Mark Sealy Emmy Lee Wall Chelsea Yuill