Join CAG’s TD Assistant Curator Aretha Pereira for a walkthrough of the current exhibitions.

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ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

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with Aretha Pereira

Curatorial Tour

CFGNY

Since 2016, New York-based artist collective CFGNY has investigated the transnational circulation of style, addressing a constellation of aesthetics across architecture, contemporary fashion, historical collecting practices, and cultures of cuteness. The group’s practice coalesces around exploring an ineffable but shared recognition of being perceived as other that it calls “vaguely Asian.” Approaching identity and subjectivity as relational endeavours, CFGNY conceives its art-making – integrally collaborative within and beyond the collective – as an act of sociality.

In *Continuous Fractures Generating New Yields*, the group presents a new body of porcelain sculptures cast from the imprints of cheap household objects manufactured in China, displayed in an architectural construction that offers deliberately partial points of view. Invoking porcelain’s myriad connotations in the western imagination – including its association with Asian skin, its collectability as a symbol of wealth and its historical role as a privileged commodity in early modern trade – CFGNY reflects on the affects and cultural politics of imported Chinese goods.

#### Biography
CFGNY is an artist collective whose research-based practice takes the form of image making, installation, sculpture, and performance to expand ideas of racialization and subjectivity. Founded in 2016, the collective continually returns to the term “vaguely Asian”: an understanding of racial identity as a specific cultural experience combined with the experience of being perceived as other. Recent exhibitions, performances and projects include Cooper Hewitt, Smithsonian Design Museum, New York (2025), Hammer Museum, Los Angeles (2024), PIN-UP Magazine, Milan (2023), SculptureCenter, New York (2022), Japan Society, New York (2022), X Museum, Beijing (2021), RISD Museum, Providence (2019), and Stedelijk Museum, Amsterdam (2018). In October 2024, CFGNY was named Frieze London’s Focus Stand Prize winner for its presentation with Hot Wheels, Athens and London. CFGNY is composed of Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen.

CAG - CFGNY - Exhibition Guide - Regular Print - web.pdf

CAG - CFGNY - Exhibition Guide - Large Print - web.pdf

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Continuous Fractures Generating New Yields

Lindsay McIntyre

​​Lindsay McIntyre engages filmmaking as a material practice. For over two decades, she has experimented with manipulating the properties of celluloid, creating a diverse body of films grounded in labour, collaboration and process. Working between documentary, experimental film and expanded cinema performance, McIntyre’s oeuvre reflects on displacement from Inuit Nunangat, place- and land-based methodologies, Inuit community, and survivance, often in conversation with her family history.
 
At the Contemporary Art Gallery, McIntyre presents *Tuktuit*, a film installation exploring the interconnectedness of lichen growth, caribou populations and land use in the North. The film, which depicts McIntyre processing a caribou hide, incorporates footage shot on 16mm film made with caribou gelatin emulsion, and is projected on the hide it depicts. Alongside the installation and across CAG’s façade are related caribou hide works and photographs thereof, which extend *Tuktuit*’s concerns with labour and intergenerational knowledge.

The exhibition is accompanied by *What We Never Lost*, an offsite presentation at Yaletown-Roundhouse Station featuring multiple-exposure stills from *Seeing Her*, a film that places McIntyre’s filmmaking in dialogue with her great-grandmother Kumaa’naaq’s skilled beadwork.

#### Biography
Lindsay McIntyre is an artist and filmmaker of Inuit and mixed settler descent who explores place-based knowledge, material practices and personal histories in her experimental/documentary shorts. Her films have received numerous awards and accolades and have been presented at Anthology Film Archives, the Baltimore Museum of Art, Berkeley Art Museum and Pacific Film Archive, the National Museum of the American Indian, Rovaniemi Art Museum, and in film festivals worldwide. *NIGIQTUQ ᓂᒋᖅᑐᖅ (The South Wind)* (2023), her recent leap into narrative, garnered her Best Short at the imagineNATIVE Film + Media Arts Festival and a submission to the 2025 Academy Awards. Her related first dramatic feature, *The Words We Can’t Speak* (in development), won the Women in the Director’s Chair Feature Film Award. She is a fellow of Sundance Native Lab (2024), Forge Project (2024) and the COUSIN Collective (2022), and teaches Film + Screen Arts at Emily Carr University of Art + Design on unceded Coast Salish Territory in Vancouver. 

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