Derya Akay

Vivienne Bessette

*Looking at the Garden Fence* is an art project initiated by Vivienne Bessette and Derya Akay across the growing season of 2021, for which they invited a group of artists, neighbours, organizers, and gardeners to collectively create an exercise on urban agriculture, neighbourhood organizing, and friendship. The project is centred around four urban garden spaces — Sahalli Park Community Garden, Elisabeth Rogers Community Garden, Harmony Garden X̱wemelch'stn pen̓em̓áy, and Garden Don’t Care — and the communities that care for them. 

To conclude the project, a website designed by Cristian Hernandez-Blick and Salem Sharp, with assistance from Syed Haris, brings together documentation from the project’s numerous contributors: Adassa Brooks, Anita Devi, Conor Fanning, Cristian Hernandez-Blick, Damla Tamer, Dana Phillips, Daniel Mendoza, Dean Jackson, Derya Akay, Grayson Truong, Haruko Okano, Ingrid Figueroa Manelik, Jaz Whitford, E. Kage, Moses Ayamega, Mt. Pleasant Neighbourhood House, Nil Alt, Salem Sharp, Senaqwila Wyss, TJ Felix, Vines Art Festival, Vivienne Bessette, and Zion Greene-Bull. 

Visit the website [here](http://www.lookingatthegardenfence.com/).

As part of the project, a recorded conversation with [T’uy’t’tanat Cease Wyss](https://tuyttanatceasewyss.ca/), Jaz Whitford, Heather Lamoureux, Vivienne Bessette, Ingrid Figueroa Manelik, and Derya Akay reflects on the question “How was your growing season?” at Harmony Garden in X̱wemelch'stn / Squamish Nation Capilano Reserve.  

Listen to the recorded conversation [here](http://www.lookingatthegardenfence.com/harmony.html).

*Looking at the Garden Fence* was funded by the Canada Council for the Arts. Additional programming support was provided by the BC Arts Council, Vines Art Festival, the Contemporary Art Gallery, and Western Front.

Looking at the Garden Fence

Hannah Rickards

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by Hannah Rickards. Hannah has compiled a series of short texts on remote viewing and perception, including selections from *Limitless Mind: A Guide to Remote Viewing and Transformations of Consciousness* (2004) by Russell Targ, “Funes the Memorius” (1954) by Jorge Luis Borges, and excerpts on visualization from Robert Ashley’s *Yes, But Is It Edible?* (2014), John McPhee’s *The Pine Barrens* (1967) and Stanislaw Lem’s Solaris (1961). All texts will be provided to participants upon registration. 

Rickards’ interdisciplinary practice explores the fluxive, non-linear dynamic between site, gesture, staging, and recording integrating elements of the language of performance, film, sound, drawing, and installation. Rickards’ solo exhibitions include the Polygon Gallery, Vancouver; Modern Art Oxford, UK; the Fogo Island Gallery, Newfoundland; and Whitechapel Gallery, London. Her work has been included in group exhibitions at the Walker Art Center, Minneapolis; Palais de Tokyo, Paris; the Art Gallery of Alberta, Edmonton; ICA, London; Witte de With, Rotterdam, and in the Hayward Gallery’s touring exhibition *Listening*. She received the Max Mara Art Prize for Women in 2008; was awarded the Philip Leverhulme Prize in Visual and Performing Arts in 2015; and in 2018 she was the recipient of the Nigel Greenwood Art Prize. Hannah lives and works in Vancouver. 

### Getting the texts
Participants will receive a PDF file of Hannah’s selections via email following registration. 


An aerial view of a person with a black hair standing in front of an artwork placed on the floor. The work is a large paper with a diamond- shaped cut-out in the middle.

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Hannah Rickards– Main image.jpg

Hannah Rickards presents Russell Targ, Jorge Luis Borges, Robert Ashley, John McPhee, and Stanislaw Lem

CAG Reads 

Chad MacQuarrie

Charlene Vickers

Open Studio is a monthly program for young visitors and families inspired by contemporary art practices and CAG’s current exhibitions. Please join us for an art-making workshop and special performance with artists and musicians Charlene Vickers and Chad MacQuarrie. Offered twice this fall—once in November and again in December—participants are invited to watch Vickers and MacQuarrie perform and then take part in a mixed-media exploration inspired by their performance.

Charlene Vickers is an Anishinaabe artist based in Vancouver. Her painting, sculpture and performance works explore memory, healing and embodied connections to ancestral lands. She is the recipient of the 2018 VIVA Award. Recent exhibitions include a co-presentation with Lawrence Paul Yuxweluptun *Lets’lo:tseltun*, Macaulay & Co. Fine Art (2021); Rain Shadow, Nanaimo Art Gallery (2021); *Where Do We Go From Here?*, Vancouver Art Gallery (2020); *Biennale nationale de sculpture Contemporaine*, Quebec (2020); *An Assembly of Shapes*, Oakville Galleries (2018); *Speaking with Hands and Territories*, SFU Galleries (2018); and *Vancouver Special: Ambivalent Pleasures*, Vancouver Art Gallery (2016). International group exhibitions include *the map is not the territory*, Portland Art Museum (2019); *Connective Tissue: New Approaches in Contemporary Fibre Art*, MoCNA, Santa Fe (2017); *From The Belly of The Beast*, Grace Gallery, Brooklyn (2017); and *If We Never Met*, Pataka Art Museum, Porirua, New Zealand (2016). Vickers graduated from Emily Carr University of Art and Design (1994) and Simon Fraser University (Critical Studies of the Arts, 1998; MFA, 2013)

Chad MacQuarrie is a guitarist, musician and artist, active on numerous fronts of Vancouver’s music scene since arriving here from eastern Canada in 1995. With an emphasis on using jazz and rock styles to explore new forms of practice, MacQuarrie’s experience ranges across a variety of styles, including commercial, classical and traditional genres. These projects include work with Karen Foster, Assertion, The Now Orchestra, Benzene, Carol Pope, Doundounba and many more.


A black and white photograph of Charlene Vickers and Chad MacQuarrie playing guitars inside a house. 

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Open Studio- Charlene Vickers & Chad MacQuarrie- Main Image.jpg

Sound, Music and Mixed Media with Charlene Vickers and Chad MacQuarrie

Open Studio

In conversation with her exhibition *Ancestor Gesture*, Charlene Vickers will present a new work in performance. Attendance will be limited; pre-registration required.  

### Biography

Charlene Vickers is an Anishinaabe artist based in Vancouver. Her painting, sculpture and performance works explore memory, healing and embodied connections to ancestral lands. She is the recipient of the 2018 VIVA Award. Recent exhibitions include a co-presentation with Lawrence Paul Yuxweluptun *Lets’lo:tseltun*, Macaulay & Co. Fine Art (2021); *Rain Shadow*, Nanaimo Art Gallery (2021); *Where Do We Go From Here?*, Vancouver Art Gallery (2020); *Biennale nationale de sculpture Contemporaine*, Quebec (2020); *An Assembly of Shapes*, Oakville Galleries (2018); *Speaking with Hands and Territories*, SFU Galleries (2018); and *Vancouver Special: Ambivalent Pleasures*, Vancouver Art Gallery (2016). International group exhibitions *include the map is not the territory*, Portland Art Museum (2019); *Connective Tissue: New Approaches in Contemporary Fibre Art*, MoCNA, Santa Fe (2017); *From The Belly of The Beast*, Grace Gallery, Brooklyn (2017); and *If We Never Met*, Pataka Art Museum, Porirua, New Zealand (2016). Vickers graduated from Emily Carr University of Art and Design (1994) and Simon Fraser University (Critical Studies of the Arts, 1998; MFA, 2013).


A large wood sculpture is installed in a gallery space. It is the shape of a house with a large window in the middle. A painting depicting the silhouette of a woman sits in the window.

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Vickers-5.jpg

Performance

Woojae Kim

As part of his current WEDGE residency—presented in partnership with Ground Floor—artist Woojae Kim invites participants to a brief one-on-one encounter. Welcoming guests one at a time to an outdoor space, Kim will offer participants a photograph printed on handmade incense paper coated with an original fragrance. The artwork will then be burned, releasing its scent as the artist reads a short text. Kim writes: 

“The scent was made as I recalled the fear of loss I felt during the past 18 months. The fear of losing someone close. The fear of losing my sense of smell. The fear of losing my chance to say goodbye. A photograph turns to smoke releasing the embedded scent into the air. The scent goes into our nose and comes out as words.”

Each encounter will last approximately five minutes and is best experienced without a mask. All encounters will be held outdoors—rain or shine—with appropriate distancing protocols in effect. The artist is fully vaccinated.

Woojae Kim combines his research on biology with somatic experiences. He often invites organisms to influence the process of artmaking and change the experience of artwork throughout its lifespan. He is currently learning about soil science as a way to think about colonization, (bio)diversity and non-human intelligence. Woojae is an immigrant from Korea and now lives in Vancouver, the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and Sel̓íl̓witulh (Tsleil-Waututh) Nations.

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Woojae Kim.jpg

WEDGE OUTPUT

Gord Hill

Skeena Reece

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by Skeena Reece and Gord Hill. Skeena has selected the new reissue of Gord’s landmark graphic novel *The 500 Years of Resistance Comic Book* (Arsenal Pulp Press). First published in 2010, the book powerfully portrays flashpoints throughout history where Indigenous peoples have risen up and fought back against colonizers and other oppressors. Now in colour for the first time, this revised and expanded edition provides a necessary antidote to conventional histories of the Americas.

Skeena Reece is a Tsmishian/Gitksan and Cree artist based on the West Coast of British Columbia. Her multi-disciplinary practice includes performance art, spoken word, humour, “sacred clowning,” writing, singing, songwriting, video, and visual art. Skeena studied media arts at Emily Carr Institute of Art + Design, and was the recipient of the British Columbia Award for Excellence in the Arts (2012), the VIVA Award (2014) and the Hnyatshyn Award (2017). Recent exhibitions include *Moss*, OBORO, Montreal (2017); *Sweetgrass and Honey*, Plug In ICA, Winnipeg (2018); *Surrounded,* Morris and Helen Belkin Art Gallery, Vancouver (2019); and *Interior Infinite*, The Polygon Gallery, Vancouver (2021).

Gord Hill is the author of *500 Years of Indigenous Resistance* (2002), *The Anti-Capitalist Resistance Comic Book* (2012) and *The Antifa Comic Book* (2018). He is a member of the Kwakwaka’wakw nation whose territory is located on northern Vancouver Island and adjacent mainland in the province of “British Columbia.” He has been involved in Indigenous people’s and anti-globalization movements since 1990.
​​
### Getting the text

Copies of *The 500 Years of Indigenous Resistance Comic Book: Revised and Expanded* have been made available in our bookshop ($19.95). The book can also be pre-ordered from [Arsenal Pulp Press](https://arsenalpulp.com/Books/T/The-500-Years-of-Indigenous-Resistance-Comic-Book-Revised-and-Expanded). Use discount code CAG25 for 25% off the book. First editions of *The 500 Years of Indigenous Resistance Comic Book* can also be found at the [Vancouver Public Library](https://www.vpl.ca/).


A cover of a comic graphic novel titled The 500 Years of Resistance Comic Book by Gord Hill. It illustrates a physical fight between indigenous people and western colonizers.

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CAG Reads Skeena & Gord.jpg

Skeena Reece & Gord Hill present The 500 Years of Resistance Comic Book

Michelle Sound

On October 16, 2021, please join us at CAG for a watercolour workshop with artist Michelle Sound. Using mark-making and tape resist techniques, Michelle will lead the group in creating their own unique painting inspired by Charlene Vickers’s zig-zag paintings. 

Michelle Sound is a Cree and Métis artist and mother. She is a member of Wapsewsipi/Swan River First Nation in Northern Alberta and was born and raised on the unceded and ancestral home territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. She holds a BFA from SFU, School for the Contemporary Arts, and a Master of Applied Arts from Emily Carr University. Michelle is currently an Indigenous Advisor at Douglas College and has taught workshops as a guest artist at the Richmond Art Gallery and Bill Reid Gallery. Michelle is a 2021 Salt Spring National Art Award Finalist and has upcoming solo exhibitions at the Art Gallery of St Albert and Daphne Art Centre, Montreal. Michelle is a multidisciplinary visual artist and her art practice includes a variety of mediums including photo based work, textiles, painting and Indigenous material practices. Her artwork often explores her Cree and Métis identity from a personal experience rooted in family, place and history.


A portrait photograph of Michelle Sound. Michelle wears a pair of pink glasses and beaded earrings. The photograph is framed by a detail of her rabbit-hair drum. 

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Open Studio with Michelle Sound.jpg

Watercolours and Mark-making with Michelle Sound

Hyung-Min Yoon

Nicole Kelly Westman

Kit Liu

Khan Lee

Contemporary Art Practices: Visual Arts Summer Intensive is a three-week scholarship program for young artists aged 15 to 19. Hosted by [Arts Umbrella](https://www.artsumbrella.com/programs/art/scholarship-programs/visual-art-summer-intensive/) and the Contemporary Art Gallery, the course supports participants in developing an art practice that critically engages with the world around them.

In the midst of both a second year of the COVID-19 pandemic and human-caused climate change continuing to have observable effects on our daily lives, this year’s students were invited to explore relationships between nature and culture. Taking inspiration from contemporary art and artists investigating similar concerns, the students worked with guest artists Nicole Kelly Westman and Khan Lee over two workshops, providing them with opportunities to deepen their thematic explorations while expanding their engagement with professional arts contexts. Human Nature showcases the results, bringing together the projects of the program’s 2021 cohort across three platforms: here online; in an exhibition at Arts Umbrella; and in printed matter available for free in CAG’s bookshop and at Arts Umbrella.

### Participating Artists

Lily Jones, Maya Lazar Mulabdich, Kaitlyn Lu, Sean Mortenson, Simon Tanglao, Isabelle Trenton, Tatyanna Wilke, Wren Williams, Amy Si Yuan Wong, Mikaela Wong

### Facilitating Artists

Hyung-Min Yoon and Kit Liu

### Guest Artists

Khan Lee and Nicole Kelly Westman 

### Organized by

Roxanne Gagnon, Danielle Green, Jesse Wardell, Katty Wu




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Visual Arts Summer Intensive 2021

Human Nature

Lorna Brown

Faye HeavyShield

Join exhibiting artists Charlene Vickers and Faye HeavyShield for an in-depth discussion about their respective practices and the concerns that drive them in a conversation moderated by artist, curator and writer Lorna Brown.

### Biographies

Charlene Vickers is an Anishinaabe artist based in Vancouver. Her painting, sculpture and performance works explore memory, healing and embodied connections to ancestral lands. She is the recipient of the 2018 VIVA Award. Recent exhibitions include a co-presentation with Lawrence Paul Yuxweluptun *Lets’lo:tseltun*, Macaulay & Co. Fine Art (2021); *Rain Shadow*, Nanaimo Art Gallery (2021); *Where Do We Go From Here?*, Vancouver Art Gallery (2020); *Biennale nationale de sculpture Contemporaine*, Quebec (2020); *An Assembly of Shapes*, Oakville Galleries (2018); *Speaking with Hands and Territories*, SFU Galleries (2018); and *Vancouver Special: Ambivalent Pleasures*, Vancouver Art Gallery (2016). International group exhibitions include *the map is not the territory*, Portland Art Museum (2019); *Connective Tissue: New Approaches in Contemporary Fibre Art*, MoCNA, Santa Fe (2017); *From The Belly of The Beast*, Grace Gallery, Brooklyn (2017); and *If We Never Met*, Pataka Art Museum, Porirua, New Zealand (2016). Vickers graduated from Emily Carr University of Art and Design (1994) and Simon Fraser University (Critical Studies of the Arts, 1998; MFA, 2013).

Faye HeavyShield is a member of the Blackfoot Confederacy from the Kainai (Blood) Nation in the foothills of Southern Alberta. She is a fluent speaker of the Blackfoot language and studied at the Alberta College of Art and Design in Calgary. HeavyShield has exhibited in solo and group exhibitions across Canada, including *Nations in Urban Landscapes*, Contemporary Art Gallery, Vancouver; *rock paper river*, Gallery Connexion, Fredericton; *Into the Garden of Angels*, The Power Plant, Toronto; and *blood*, Southern Alberta Art Gallery, Lethbridge. Her work is held in collections including the National Gallery of Canada, Ottawa; the McMichael Canadian Art Collection, Kleinburg; the Heard Museum, Phoenix; the Glenbow Museum, Calgary; and the MacKenzie Art Gallery, Regina.

Lorna Brown is Acting Director/Curator at the Morris and Helen Belkin Art Gallery, University of British Columbia and a visual artist, writer, educator and editor, exhibiting her work internationally since 1984. Brown was the Director/Curator of Artspeak Gallery from 1999 to 2004 and is a founding member of Other Sights for Artists’ Projects, a collective of artists, architects and curators presenting projects that consider the varying conditions of public places and public life. She has taught at Emily Carr University of Art and Design and Simon Fraser University. Brown received an honorary degree from Emily Carr University of Art and Design (2015), the Vancouver Institute for the Visual Arts Award (1996) and the Canada Council Paris Studio Award (2000). Her work is in the collections of the Morris and Helen Belkin Art Gallery, the National Gallery of Canada, the BC Arts Council, the Surrey Art Gallery and the Canada Council Art Bank.



Three black and white portrait photographs are placed side by side. From the left to the right, the photographs are of Charlene Vickers, Faye HeavyShield, and Lorna Brown. 

thumbnail_USE-In-Conversation-Charlene-Faye-with-Lorna-v3-920x300.jpg

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Charlene Vickers & Faye HeavyShield with Lorna Brown

In Conversation

Christine Howard Sandoval

Each season, CAG releases a series of Video Visits that offer short takes on our exhibitions. Presented in five languages — Cantonese, English, French, Mandarin and Spanish — these videos present a variety of perspectives on the work of Nicole Kelly Westman and Christine Howard Sandoval.
 
### English Video Visits
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/519181266)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/519180839)
 
### Visites vidéo en français
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518298227)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518298159)
 
### Visitas de video en español
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518246658)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518246403)
 
### 普通话视频之旅
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518389750)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518389702)
 
### 粵語視頻參觀
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518364153)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518364087)

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Screenshot 2022-05-27 125035.png

Spring 2021

Video Visits

Leon Polk Smith

Each season, CAG releases a series of Video Visits that offer short takes on our exhibitions. Presented in five languages — Cantonese, English, French, Mandarin and Spanish — these videos present a variety of perspectives on the work of Leon Polk Smith.
 
### English Video Visits
[Leon Polk Smith: Big Form, Big Space](https://vimeo.com/560626474)
 
### Visites vidéo en français
[Leon Polk Smith: Big Form, Big Space](https://vimeo.com/560626928)
 
### Visitas de video en español
[Leon Polk Smith: Big Form, Big Space](https://vimeo.com/560628620)
 
### 普通话视频之旅
[Leon Polk Smith: Big Form, Big Space](https://vimeo.com/560627747)
 
### 粵語視頻參觀
[Leon Polk Smith: Big Form, Big Space](https://vimeo.com/560625780)


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Summer 2021

Peta Rake

Katarina Veljovic

Alongside Nicole Kelly Westman’s exhibition *muddled mirage of memories escaping encapsulation*, the artist invites two colleagues, friends and sisters—curators Peta Rake and Katarina Veljovic—to speak together about artistic practice and the fruitfulness and responsibility of centering care in arts communities. What does it mean to hold sustaining and porus relationships in an art community? Are there ways we can lean into vulnerability and intimacy in these relationships? What might it look like to witness the often invisible labour of garnering trust and respect?

### Biographies

Nicole Kelly Westman is a visual artist of Métis and Icelandic descent that recognizes with indebted gratitude the artists that came before her and strenuously forged space, the curators that place care at the fore of their labour, the communities that foster confidence in her practice, and the institutions and organizations that implement policies prefacing relations of trust. As an artist, she enjoys practices of listening, watching, hosting, poeticizing, foraging, and sharing.

Peta Rake currently lives and works in Meanjin, Brisbane and Cavanbah, Byron Bay. She is the Senior Curator at University of Queensland Art Museum, Brisbane. She has held various roles at CCA Wattis Institute, San Francisco; Institute of Modern Art, Brisbane; and at Banff Centre for Arts and Creativity, including Co-Director of Creative Residencies, Visual + Digital Art Department and Curator of Walter Phillips Gallery/Banff International Curatorial Institute. Peta writes and edits regularly; she has most recently contributed poetry for artists Caroline Monnet, Maggie Groat and Morison Studio for their upcoming publications. Her writing has appeared in C Magazine, Canadian Art, Fillip, San Francisco Arts Quarterly, Rearviews, Institutions by Artists, On Apology and the literary compendium “She would roll petite cigarettes, petite like her” with Jordanian curator Ola El Khalidi. Rake holds a Masters in Curatorial Practice from California College of the Arts.

Katarina Veljovic is a Toronto/Tkaronto based arts organizer and occasional curator, currently working as an Exhibitions Project Manager at the Art Gallery of Ontario. Previous to this role she worked as the Curatorial Research Assistant at the AGO for the exhibitions *Hito Steyerl: This is the future and Haegue Yang: Emergence*. She was the Curatorial Research Associate at the Art Gallery of York University, for the production of Bárbara Wagner and Benjamin de Burca’s film *RISE* (2018). While working at the Walter Phillips Gallery at the Banff Centre, she co-curated with Peta Rake, Nicole Kelly Westman’s exhibition *Rose, Dear* (2016). In 2019, she curated and commissioned two new works from Westman for the group exhibition *On Pause* presented at York University’s Gales Gallery as part of her master’s degree in Art History.


A photograph of Nicole Kelly Westman, Peta Rake, and Katarina Veljovic sitting in a row in front of Nicole’s red curtain. 

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Nicole Kelly Westman with Peta Rake & Katarina Veljovic 

Talk 

Join us for an artist talk with our current WEDGE resident, Michelle Sound. Michelle will provide an overview of her recent work, including the projects she’s been working on during her time in residence at the gallery.

### Biography 

Michelle Sound is a Cree and Métis interdisciplinary artist, educator and mother. She is a member of Wapsewsipi/Swan River First Nation in Northern Alberta and was born and raised on the unceded and ancestral home territories of the Musqueam, Squamish and Tsleil-Waututh people. She holds a Bachelor of Fine Arts from Simon Fraser University, School for the Contemporary Arts, and a Master of Applied Arts from Emily Carr University Art + Design.



A photograph of Michelle Sound standing and smiling outside by the water. Michelle is wearing a pair of black glasses, beaded earrings, and a wine-red shirt. 

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Michelle2019_59_WEB.jpg

Talk with Michelle Sound

Alanna Ho

For our third and final Open Studio with Alanna Ho, Alanna shares a special sound journal activity inspired by Leon Polk Smith’s exhibition *Big Form, Big Space*. Many of Leon Polk Smith’s abstract shapes and colour palettes were inspired by the natural environment of the American Southwest. 

In the video, Alanna demonstrates how you can be inspired by the environment around you through a practice of deep listening—slowing down, listening closely and mapping the sounds around you, from birds and traffic to wind in the trees.

Watch the video to see how Alanna creates her journal out of the provided template. Then start your own journal, capturing the sounds of the world around you, creating a record of marks and shapes representing sounds and experiences that can’t always be described through words.
Gather the materials below at home to get started.

### Materials

- Alanna’s Sound Journal template–download here 
- markers, crayons and/or pencil crayons
- stickers or stamps (optional)
- scissors

This activity is recommended for artists 3 and up. Please ensure adult supervision at all times when working with scissors.


Sound Journal with Alanna Ho

Tristan Unrau

We are pleased to announce our latest instalment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by Tristan Unrau. Tristan has selected Canadian writer Rachel Cusk’s most recent novel, *Second Place* (2021). The novel follows its protagonist’s fixation on the paintings of a mysterious artist, which becomes so consuming she’s led into existential disarray.

Tristan holds an MFA from the University of California, Los Angeles and a BFA from Emily Carr University of Art + Design. He was a resident at the Banff Centre in 2013 and was a finalist for the Royal Bank of Canada Painting Competition in 2015 and 2017. He has held recent solo shows at Phil Gallery, Los Angeles and Towards, Toronto. In 2016 Tristan participated in the survey group exhibition *Vancouver Special: Ambivalent Pleasures* at the Vancouver Art Gallery. He lives and works in Los Angeles.

### Getting the text

Copies of Second Place can be found at the [Vancouver Public Library](https://www.vpl.ca/) or from [Pulp Fiction](http://pulpfictionbooksvancouver.com/) or [Massy Books](https://www.massybooks.com/). Please allow up to 3 weeks for shipping.


 A still image of Tristan Unrau sitting by his desk in his studio. 

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Screen Shot 2021-10-05 at 11.25.48 AM.png

Tristan Unrau presents Rachel Cusk

CAG Reads

In this installment of Open Studio, Alanna is inspired by both the bold shapes in Leon Polk Smith’s paintings and Nicole Kelly Westman’s shifting images of light and shadow. Watch the video to see how Alanna creates artwork out of music, using markers and found objects to visually capture the experience of sound.

In the video, Alanna will introduce several examples of graphic scores and share tips for making marks and shapes inspired by or representing the music she hears. She’ll also share some sample graphic scores made by elementary school students to get you started.

Once you’ve watched Alanna’s video, grab your materials and large sheet of paper. Alanna recommends setting up your workspace on the floor to give yourself more space. Play *Peter and the Wolf* by Sergei Prokofiev and start creating!

### Materials

- long sheet of paper or multiple pieces taped together in a line
- markers, crayons and/or pencil crayons
- various “loose parts” like twine, beads, buttons, yarn, shells, sticks or fabric

This activity is recommended for artists 3 and up. Please ensure adult supervision at all times when working with small, loose materials.


Graphic Scores with Alanna Ho


We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by Nicole Kelly Westman. Nicole is a visual artist of Métis and Icelandic descent that recognizes with indebted gratitude the artists that came before her and strenuously forged space, the curators that place care at the fore of their labor, the communities that foster confidence in her practice, and the institutions and organizations that implement policies prefacing relations of trust. As an artist, she enjoys practices of listening, watching, hosting, poeticizing, foraging, and sharing. 

Nicole has chosen a series of short excerpts from Audre Lorde’s Poetry is Not a Luxury (1985), Maggie Nelson’s Jane: A Murder (2005), Maria Campbell’s Halfbreed (1973) and “A Gun for Every Girl (Prologue)” from Virginie Despente’s (back-in-print!) King Kong Theory (2006). 

Reading these texts in advance of the event is entirely optional—Nicole will read excerpts from each text as part of her session, so prior familiarity with them isn’t necessary to participate. For those who do wish to read the excerpts in advance, copies will be made available in PDF prior to the session.

### Getting the texts

Copies of Nicole’s selections will be made available to registrants in PDF. For those wishing to pick up complete copies of the texts, *Poetry is Not a Luxury* can be read [here](https://makinglearning.files.wordpress.com/2014/01/poetry-is-not-a-luxury-audre-lorde.pdf). *[Jane: A Murder](https://softskull.com/dd-product/jane/)*, *[Halfbreed](https://www.penguinrandomhouse.ca/books/610927/halfbreed-by-maria-campbell/9780771024092)* and *[King Kong Theory](https://fitzcarraldoeditions.com/books/king-kong-theory)* can be found at the [Vancouver Public Library](https://www.vpl.ca/) or from [Pulp Fiction](http://pulpfictionbooksvancouver.com/) or [Massy Books](https://www.massybooks.com/). Please allow up to 3 weeks for shipping.


Three books are placed on a red flat surface. From the left to the right, Audre Lorde’s Poetry is Not a Luxury, Maggie Nelson’s Jane: A Murder, and Maria Campbell’s Halfbreed. 

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nkwestman_CAG-READS_Promo.jpg

Nicole Kelly Westman presents Audre Lorde, Maggie Nelson, Maria Campbell, and Virginie Despentes

For our first Open Studio video with artist Alanna Ho, Alanna leads us in a drawing activity inspired by Nicole Kelly Westman’s exhibition *muddled mirage of memories escaping encapsulation*. Nicole considers light an essential collaborator when making her artworks, often thinking about how light shapes the way we experience a given moment or feeling.

Watch the video and follow along as Alanna traces the shapes cast by light shining through a jar filled with water. She’ll share tips and tricks for tracing light and shadows, creating layered artworks with markers and tracing paper. 

### Materials

- tracing paper 
- markers 
- glass jar (jam jar, mason jar, etc.)
- 2 tea lights or small, low candles. A battery powered candle works well too. 
- small household objects; small toys, stationery objects etc. 
- flashlight or flashlight on phone 

This activity is recommended for artists 4 and up. Please ensure adult supervision at all times when working with lit candles and permanent markers. 


Tracing Light with Alanna Ho

Corbin Union

Each season, CAG releases a series of Video Visits that offer short takes on our exhibitions. Presented in five languages — Cantonese, English, French, Mandarin and Spanish — these videos present a variety of perspectives on the work of Corbin Union.
 
### English Video Visits
[Corbin Union: OSOSO](https://vimeo.com/519181194)
 
### Visites vidéo en français
[Corbin Union: OSOSO](https://vimeo.com/518298192)

### Visitas de video en español
[Corbin Union: OSOSO](https://vimeo.com/518246520)
 
### 普通话视频之旅
[Corbin Union: OSOSO](https://vimeo.com/518389720)
 
### 粵語視頻參觀
[Corbin Union: OSOSO](https://vimeo.com/518364130)


A detail of Corbin Union's installation work inside a gallery space. A small mirror is placed on top of the wooden staircase. 

thumbnail_Screenshot 2022-05-27 120243.png

Screenshot 2022-05-27 120243.png

Winter 2021

Whess Harman

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by artist Whess Harman. Harman’s multidisciplinary practice includes beading, illustration, text, poetry, and curation. They use their practice as a way of interpreting questions of identity and relation and prioritize internal community dialogue over colonial frameworks. Current projects include the Potlatch Punk series, various text-based works, zines, and comics. Harman currently lives and works on the territories of the Sḵwx̱wú7mesh (Squamish), səlilwətaɬ (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations as the curator at grunt gallery. 

Whess has selected two comics for our spring CAG Reads. *On A Sunbeam* (2018) by Tillie Walden, an epic queer love story and sci-fi graphic novel that echoes classic comic genres while rendering them in Walden’s own unique visual language. *Mami* (2018) by Diigii Daguna is a sweet and savoury detective story told in vivid, time-honored manga style with a touch of romance and lots of food.

### Getting the texts

*On A Sunbeam* can be read [here](https://www.onasunbeam.com/) and is available at the [Vancouver Public Library](https://www.vpl.ca/). *Mami* can be ordered as a digital copy [here](https://gumroad.com/peow?sort=page_layout). Physical copies can be ordered from [Lucky’s Books and Comics](https://luckys.ca/), [Pulp Fiction](http://pulpfictionbooksvancouver.com/), or [Massy Books](https://www.massybooks.com/); please allow 1-3 weeks for shipping.



A black and white photograph of Whess Harman. They sit by the water and smiling. 

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Whess Harman presents Tillie Walden and Diigii Daguna

Zarmeene Shah

In this public lecture, *Spatial and Visual Impacts of a Conflicted City: Contemporary Art in Karachi*, curator and writer Zarmeene Shah presents a continued investigation into the changing face of the sprawling metropolis of Karachi through codes of overt and covert conflict, as explored through ideas of power and control, geography and territory, right and access. Viewing curating as a series of (interlinked) research-based projects, these concerns have manifested in a broad range of exhibitions and writings, with a sustained focus over some years on the study of the visual and spatial impact of measures of barricading, policing, securitization, militarization, surveillance, and control in the urban context, and how this relates to the position/rights of those that inhabit the city. This investigation branches further into the ways in which conflict manifests in our interaction with the city, its land and its environments, impacting both the human and the non-human. Tracing these concerns through the research-based practices of contemporary Pakistani artists, including Seema Nusrat, Bani Abidi, Seher Naveed, Sohail Zuberi, and Madiha Aijaz, amongst others, and taking as a case study the changing face of the city of Karachi, marked by a history of violence and conflict, Shah’s research unfolds into a larger regional, and then global framework.

This presentation will include a pre-recorded lecture followed by a live Q&A session.

This lecture is presented by the UBC Morris and Helen Belkin Art Gallery and Department of Art History, Visual Art and Theory with support from the Audain Endowment for Curatorial Studies and the Social Sciences and Humanities Research Council Exchange, and in partnership with the Contemporary Art Gallery, Vancouver.

### Biography 

Zarmeene Shah is an academic, and an independent curator and writer currently based in Karachi, Pakistan. Focusing on global contemporary art with specialist knowledge of the Global South, Shah’s research-based practice investigates ideas of power and control, geography and territory, rights and access. Amongst other large-scale projects, she has served as Curator at Large of the inaugural Karachi Biennale (2017). She is currently Associate Professor and Head of the Liberal Arts program at the Indus Valley School of Art and Architecture.



 A portrait photograph of Zarmeene Shah. She has a long brown hair and is wearing a black shirt. She smiles directly at the camera. 

thumbnail_Zarmeene.JPG

Zarmeene.JPG

with Zarmeene Shah

Curatorial Lecture

Nicole Preissl

In our third and final remote Open Studio with Nicole Preissl, Nicole leads us in a lantern making activity inspired by Nicole Kelly Westman’s exhibition *muddled mirage of memories escaping encapsulation*. For her *Waiting on Tomorrow* artworks, Nicole started with light, observing sunshine through trees and the shadows and shapes they cast on her walls as the light passed through her window.

Watch the video and follow along as Nicole creates a lantern out of parchment and tissue paper. She’ll share tips and tricks for working with paper, light and shadows to inspire your lantern designs.

### Materials

- parchment paper
- glue stick or white glue
- tissue paper
- tape
- Cardstock
- collage images
- Scissors

### Other materials you can use if you have them

- natural materials
- white glue
- other collage images

This activity is recommended for artists 4 and up. Adult supervision is recommended for working with scissors and natural materials. Please only use flashlights or electric candles to illuminate your lanterns. 


Shadow Lanterns with Nicole Preissl

Join Corbin Union members Miruna Dragan, Jason de Haan and Warren McLachlan as they talk through their exhibition *OSOSO* and speak about the collaborative nature of their practice over Zoom.

### Biographies

Corbin Union (founded in 2012) is an artist collective comprised of core members Miruna Dragan, Jason de Haan and Warren McLachlan, working site-responsively to the ghost town of Corbin, BC on the unceded lands of the Sinixt, Ktunaxa, Secwepemc, and Syilx Nations. Past Corbin Union projects have been presented at Museo de la Ciudad de Querétaro (2019); Unit/Pitt, Vancouver (2016); Untitled Art Society, Calgary (2015); Bond House Projects, London (2013); and Easts St. Arts, London (2013). In 2022 Corbin Union will present a new iteration of OSOSO at Museo de Arte Contemporáneo de Querétaro (MACQ), accompanied by a monograph co-published by CAG and MACQ.

Miruna Dragan (Bucharest, 1975) is a multidisciplinary artist settled in Mohkinstsis/Calgary on traditional Blackfoot and Metis lands since 2009. Exhibition venues include u’s, Diamond Valley (2020); Living Art Museum, Reykjavík (2019); Museo de la Ciudad de Querétaro (2019); Blackwood Gallery at University of Toronto (2018); Nickle Galleries at University of Calgary (2017); Southern Alberta Art Gallery, Lethbridge (2016); Nanaimo Art Gallery (2015); G Gallery, Toronto (2014); Art Gallery of Alberta, Edmonton (2013); Esker Foundation, Calgary (2013); Museo de la Ciudad de Querétaro (2012); Kyber ICA, Halifax (2011); and Truck Contemporary Art, Calgary (2010). Dragan received an MFA from Rhode Island School of Design in 2001 and is Associate Professor at Alberta University of the Arts.

Jason de Haan (Edmonton, 1981) is a multidisciplinary artist settled in Mohkinstsis/Calgary on traditional Blackfoot and Metis lands. de Haan received an MFA from Bard College, NY in 2015. Exhibition venues include u’s, Diamond Valley (2020); Kling & Bang, Reykjavík (2019); Clint Roenisch Gallery, Toronto (2018); Esker Foundation, Calgary (2017); MASS MoCA, North Adams (2016); De Fabriek, Eindhoven (2016); Art Gallery of Alberta, Edmonton (2016); Kitchener-Waterloo Art Gallery (2014); Art Gallery of Nova Scotia, Halifax (2014); Oakville Galleries (2012); and Southern Alberta Art Gallery, Lethbridge (2012). de Haan’s work has been reviewed in Canadian Art Magazine, Art in America and Artforum, and in 2020 he was co-awarded the Sobey Art Award representing the Prairies and the North.

Warren McLachlan (Calgary, 1975) is a multidisciplinary artist settled on the unceded ancestral territories of the Squamish, Tsleil-Waututh and Musqueam Nations. McLachlan received an MA from Chelsea College of Art and Design in 2007 and a BFA from Alberta College of Art and Design in 2001. Exhibition venues include Burnaby Art Gallery (2020); Museo de la Ciudad de Querétaro (2019); CSA Space, Vancouver (2018); Field Contemporary, Vancouver (2017); Unit/Pitt, Vancouver (2016); The Tetley, Leeds, UK (2014); Supermarket Kulturhuset, Stockholm (2011); Cell Project Space, London (2010); and Manton Lightbox, Tate Britain (2008). McLachlan curated exhibitions and events as a member of Dynamo Arts Association, Vancouver from 2012–2020.


A detail of an art installation by Corbin Union. White ceramic bottles are placed on a white wooden surface. A beak-like metal piece is sticking out of each ceramic pieces. 

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CorbinUnion_08.jpg

Talk

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by the interdisciplinary artist Christine Howard Sandoval. Of Obispeño Chumash and Hispanic ancestry, Christine’s work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado.

Christine has exhibited nationally and internationally, including at The Museum of Capitalism, Oakland; Designtransfer, Universität der Künste Berlin; El Museo Del Barrio, Bronx; and Socrates Sculpture Park, Queens. She holds a BFA from Pratt Institute, New York and an MFA from Parsons The New School for Design, New York. She is currently Assistant Professor of Interdisciplinary Art in the Audain Faculty of Art at Emily Carr University, Vancouver. 

Christine has chosen to read “Genealogy of Violence, Part I” (pages 2-32) of Deborah A. Miranda’s *Bad Indians: A Tribal Memoir* (2012), and pages 15-34 of Ariella Aïsha Azoulay’s *Potential History: Unlearning Imperialism* (2019).

### Getting the texts
Copies of *Bad Indians: A Tribal Memoir* and *Potential History: Unlearning Imperialism* can be ordered from [Pulp Fiction](http://pulpfictionbooksvancouver.com/) or [Massy Books]( https://www.massybooks.com/) here in Vancouver within 1-3 weeks. Both books are also available from the [Vancouver Public Library](https://www.vpl.ca/).



A still image of Christine Howard Sandoval working in the studio. 

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IMG_8474 (1).jpg

Christine Howard Sandoval presents Deborah A. Miranda and Ariella Aïsha Azoulay

For our second remote Open Studio with Nicole Preissl, Nicole leads us in a clay-making activity inspired by Christine Howard Sandoval’s exhibition *A wall is a shadow on the land*. Christine’s artwork uses adobe mud, a very old building material, made from a mixture of natural materials. Generations of women in Christine’s family were adobe brick makers.

Watch the video and follow along as Nicole creates a miniature house structure out of clay. She’ll share tips and tricks for working with clay and natural materials.

### Materials

- cardboard
- air-dry clay
- wooden or plastic knife
- popsicle sticks or dowels
- Scissors
- old rolling pin or bottle
- found and recycled objects
- natural materials like shells, moss, or pebbles
- Newspaper
- old cloth or paper towel
- glue

This activity is recommended for artists 4 and up. Adult supervision is recommended for working with clay and scissors. Please only work with natural materials you are familiar with and that are from a place you know!


Clay Houses with Nicole Preissl

A cover of a book titled Bad Indians: A Tribal Memoir and Altar for Broken Things by Deborah A. Miranda. It shows a photograph of a child in a cowboy costume riding on a pony. 

thumbnail_bad-indians.jpeg

bad-indians.jpeg

Deborah A. Miranda

CAG welcomes Deborah A. Miranda, author of *Bad Indians: A Tribal Memoir* and *Altar for Broken Things*, to read a selection of excerpts and poems from her recent books in parallel to Christine Howard Sandoval’s exhibition *A wall is a shadow on the land*.

### Biography 

Deborah A. Miranda is an enrolled member of the Ohlone-Costanoan Esselen Nation of the Greater Monterey Bay Area in California.  Her mixed-genre book *Bad Indians: A Tribal Memoir* (Heyday 2013), received the 2015 PEN-Oakland Josephine Miles Literary Award, a Gold Medal from the Independent Publishers Association and was short-listed for the William Saroyan Literary Award. She is also the author of four poetry collections: *Altar for Broken Things* (2020), *Raised by Humans* (2015), *The Zen of La Llorona* (2005), and *Indian Cartography* (1999). She is coeditor of *Sovereign Erotics: A Collection of Two-Spirit Literature*, and her work has appeared in many anthologies, most recently *When the Light of the World was Subdued, Our Songs Came Through: An Anthology of Native Nations Poetry* (2020). Deborah lives in Lexington, Virginia with her wife Margo Solod. She is the Thomas H. Broadus, Jr. Professor of English at Washington and Lee University, where she teaches literature of the margins and creative writing.


Reading 

Laiwan

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by the interdisciplinary artist, writer and educator, Laiwan. Based on the unceded territories of the Sḵwx̱wú7mesh (Squamish), Stó:lō, səlilwətaɬ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations, Laiwan founded the Or Gallery in 1983, was Chair of the grunt gallery Board of Directors from 2010 to 2014, and teaches in the MFA Interdisciplinary Arts Program at Goddard College. 

Laiwan has been investigating colonialism, with aim toward a decoloniality, since the late 1980s. She has been concurrently exploring embodiment since 2000, through performativity, audio, music, improvisation, and other media, along with bodily and emotional ways of knowing, so as to unravel and engage presence. 

Laiwan has selected *Lao Tzu: Tao Te Ching: A Book about the Way and the Power of the Way* (1998) by Ursula K. Le Guin. Through consultation with literal translations and work with Chinese scholars, Le Guin’s interpretation of the *Tao Te Ching* reveals the ancient text’s immediate relevance and power. Best known for her science fiction novels, here Le Guin examines her own lifelong study of the *Tao Te Ching* and includes her own personal commentary and notes.

### Getting the texts

To access a digital copy of *Lao Tzu: Tao Te Ching: A Book about the Way and the Power of the Way* please follow this [link](http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf). Copies of the full text can be ordered from [Pulp Fiction](http://pulpfictionbooksvancouver.com/) or [Massy Books](https://www.massybooks.com/) here in Vancouver within 1-3 weeks.

A photograph	 of a hand holding a book titled Lao Tzu: Tao Te Ching: A Book about the Way and the Power of the Way by Ursula K. Le Guin against a white wall. 

thumbnail_laiwan.jpg

laiwan.jpg

Laiwan presents Ursula K. Le Guin


For our first Open Studio with Nicole Preissl, Nicole leads us through a collage activity inspired by Corbin Union’s *OSOSO*, an exhibition exploring the land, the histories and the architecture of the abandoned townsite of Corbin, BC.

Watch the video and follow along as Nicole creates a collage out of local, natural materials gathered from a place that is meaningful to her. She’ll share tips and tricks on how to create your own eco collage that represents a special place to you. 

### Materials

- cardboard
- glue stick
- liquid white (tacky) glue
- natural materials collected from a special place (park, backyard, schoolyard)
- old newspapers (to cover your work surface)
- scissors

### Other materials you can use if you have them

- twine
- popsicle sticks
- old magazines or paper for collage materials

This activity is recommended for artists 3 and up. Adult supervision is recommended for scissor work and handling natural materials. Please only use natural materials you are familiar with and from a place you know!


Eco Collage with Nicole Preissl

A mound-like sculpture made from layers of adobe mud and strips of tape. A postcard with an image of a figure dressed in a religious habit is wedged into the mound, leaving only the torso visible.

thumbnail_CHS_CAG_2021_10.jpg

CHS_CAG_2021_10.jpg

Join exhibiting artist Christine Howard Sandoval and curator Kimberly Phillips for a conversation around the concerns of language, material and the archive that underpin the exhibition *A wall is a shadow on the land*.

### Biographies

Christine Howard Sandoval is an interdisciplinary artist of Obispeño Chumash and Hispanic ancestry. Her work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval has exhibited nationally and internationally at The Museum of Capitalism, Oakland;  Designtransfer, Universität der Künste Berlin;, El Museo Del Barrio, Bronx; and Socrates Sculpture Park, Queens. She is currently Assistant Professor of Interdisciplinary Art at Emily Carr University, Vancouver.

Kimberly Phillips is Director of SFU Galleries at Simon Fraser University. Over the past 15 years, in her roles as gallery director, curator, and teacher based on the unceded territories of the xwməθkwəy̓ əm, Sḵwx̱wú7mesh and səl̓ílwəta /Selilwitulh peoples, she has worked to amplify the voices of under acknowledged artists and practitioners, ethically vision and build organizational capacity, and create meaningful and unexpected ways for contemporary artists and their publics to find one another. From 2017-2020 she held the position of Curator at the Contemporary Art Gallery, Vancouver, overseeing the gallery’s exhibitions, publications and artist residencies. Previous to this she served as Director/Curator of Access Gallery (2013-2017), a Vancouver artist-run centre committed to emergent and experimental practices. Phillips holds a PhD in art history from the University of British Columbia (2007), where she was an Izaak Walton Killam Doctoral Fellow.


Christine Howard Sandoval in conversation with Kimberly Phillips

Patrick Cruz

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This January, CAG Reads will be hosted by Patrick Cruz. Patrick Cruz is a Filipino-Canadian artist based in Quezon City, Philippines and Vancouver, BC as an uninvited guest on the land of the Coast Salish peoples—Sḵwx̱wú7mesh (Squamish, Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations. Cruz studied Painting at the University of the Philippines and received his Bachelor of Fine Arts from Emily Carr University of Art + Design, a certificate in clownology, and a Master of Fine Arts at the University of Guelph. His intuitive inquiry is informed by his interest in cultural hybridity, the project of decolonization, and the paradoxical effects of globalization. Most Recently, Cruz’s work has taken form in playful configurations manifesting in various activities such as cooking, curating, trading, and freestyle rapping.

Patrick has chosen Book 1 (pages 24-225) of the fantasy fiction novel *A Dweller on Two Planets* by Phylos the Thibetan (also known as Frederick Spencer Oliver). Published in 1905, the novel portrays the social, technological, and religious structures that shape society in the lost city of Atlantis. Presented as a true account channelled by the spirit Phylos the Thibetan, A Dweller on Two Planets is acknowledged as source material for many new age belief systems, and has been highly influential as an early work of occult science fiction.

### Getting the texts
To access a digital copy of Book 1 of *A Dweller on Two Planets* please follow [this link](http://iapsop.com/ssoc/1920__oliver___a_dweller_on_two_planets.pdf). Copies of the full text can be ordered from [Banyen Books](https://www.banyen.com/) here in Vancouver, but keep in mind that shipping may take 2-3 weeks!


A detail of Patric Cruz’ black and white drawing. It depicts books, stars, and leaves placed inside a circle. 

thumbnail_Dweller.jpg

Dweller.jpg

Patrick Cruz presents Phylos the Thibetan

Althea Thauberger

Julian Yi-Zhong Hou

Madiha Aijaz

Each season, CAG releases a series of Video Visits that offer short takes on our exhibitions. Presented in five languages — English, French, Mandarin, Spanish and Urdu — these videos present a variety of perspectives on the work of Madiha Aijaz, Althea Thauberger, and Julian Yi-Zhong Hou.

### English Video Visits
[Madiha Aijaz: Memorial for the lost pages](https://vimeo.com/454176959)
[Althea Thauberger: Pagal Pagal Pagal Pagal Filmy Duniya](https://vimeo.com/454174583)
[Julian Yi-Zhong Hou: Grass Drama](https://vimeo.com/454827760)

### Urdu Video Visits
[Madiha Aijaz: Memorial for the lost pages](https://vimeo.com/451275065)
[Althea Thauberger: Pagal Pagal Pagal Pagal Filmy Duniya](https://vimeo.com/451271843)
[Julian Yi-Zhong Hou: Grass Drama](https://vimeo.com/451272233)

### Visites vidéo en français
[Madiha Aijaz: Memorial for the lost pages](https://vimeo.com/451234395)
[Althea Thauberger: Pagal Pagal Pagal Pagal Filmy Duniya](https://vimeo.com/451228039)
[Julian Yi-Zhong Hou: Grass Drama](https://vimeo.com/451231420)

### Visitas de video en español
[Madiha Aijaz: Memorial for the lost pages](https://vimeo.com/451269047)
[Althea Thauberger: Pagal Pagal Pagal Pagal Filmy Duniya](https://vimeo.com/451263446)
[Julian Yi-Zhong Hou: Grass Drama](https://vimeo.com/451266649)

### 普通话视频之旅
[Madiha Aijaz: Memorial for the lost pages](https://vimeo.com/451262875)
[Althea Thauberger: Pagal Pagal Pagal Pagal Filmy Duniya](https://vimeo.com/451259370)
[Julian Yi-Zhong Hou: Grass Drama](https://vimeo.com/451260202)
