While most of these statements emphasized the privilege of institutions such as art museums and galleries, they also lacked clarity — specifically around what actions institutions will take to combat systemic racism in either the short or long term.
The signs — a piece called “WUNISKA,” meaning “arise” — are just one part of the Hatch Gallery’s latest exhibition, Together: Communities of Healing. The exhibition was made in collaboration with the Sexual Assault Support Center (SASC). Together is the second collaboration between the Hatch and the SASC, following last March’s Healing Fires.
I wanted to write you a story.
I am not a philosopher.
I do not have 100 questions about the Hatch’s 100s Day. I mostly have like, four.
This third iteration of Transits and Returns showcases the works of 21 Indigenous artists from around the Pacific, ranging from local First Nations to Alutiiq territory in the north, Māori lands in the south, and the many mainland and island Nations in between. Two prior showings were held in Brisbane and Auckland. The works explore themes of movement, territory, kinship and representation.
It’s a new decade at UBC which means nothing less than a new exhibition at the Hatch gallery. For 2020, we’re starting off with the annual Visual Arts Students’ Association exhibition, called Quick! a last show before I go off my rocker.
You say the green air mattress is always mine, even though it has a hole in it,the edges stitched up with masking tape.
Canned Foreign is a sparse, but deeply emotional multimedia exhibition by four half-Japanese artists and students, exploring themes of identity, diaspora, queerness and cultural heritage. I say sparse because there are only 6 pieces of art, in total. But emotionally and conceptually? Canned Foreign is huge.
Death is a heavy topic that all of us would rather not think about. So how do we celebrate a day dedicated to remembering violence and death in our community? For many, Trans Day of Remembrance is solemn day. A day to think on the friends and family they have lost, the ways the system has let us down.
However, despite the fragmented display and the lack of context for what the actual project detailed, there are still moments of genuine connection in this exhibit.
Yes, it’s pronounced “Baxter-and.” One word.
After all, who has time to examine a sculpture when you’re just trying to get to class on time? With homework and work and sports and everything else that fills up a student’s life, no one could expect thoughtful contemplation of every sculptural work on UBC’s campus.
That is not what GLOVES OFF is. Neither is it experimental or DIY. GLOVES OFF is an exhibition by artists who are also art technicians. This may sound less interesting, but ultimately, it’s far more meaningful.
Baden is a Victoria-based sculptor whose works primarily focus on kinaesthesia, or the physical, tactile awareness of the body and its motion.