The Audain Visual Artist in Residence (AVAIR) program brings artists and practitioners to Vancouver who have contributed significantly to the field of contemporary art and whose work resonates with local and international visual art discourses. The visiting artists interact with the students and faculty of the School for the Contemporary Arts as well as the broader visual arts and cultural communities and the community-at-large. In keeping with the experimental nature of the School for the Contemporary Arts the terms of engagement are open and change from artist to artist. The cornerstone of the residency is the sharing of artistic research. The program is generously funded by the Audain Foundation Endowment Fund.

Tadasu Takamine

Tadasu Takamine

Image: Tadasu Takamine, God Bless America, 2002, video still. Courtesy: Yokohama Museum of Art.

Born in Kagoshima, Japan, in 1968, Tadasu Takamine is a controversial, thought provoking, and irreverent media, video, and installation artist. His performance and moving image works engage almost masochistic levels of endurance, often focusing on themes of sexuality, humanity, and the body. Takamine received his degree from Kyoto City University of Arts and Music’s Craft Division. He later studied at the International Academy of Media-Arts and Sciences (IAMAS) in Gifu, Japan. He is a frequent collaborator with dancers and other performance and media artists, including the influential Japanese multimedia-performance group Dumb Type, which he was an active member of from 1992 to 1997. He has been an artist-in-residence at the Jerusalem Center for the Visual Arts, Banff Center for the Arts, Saw Video Centre for the Media Arts, Ottawa, and the Yokohama Museum of Art, which culminated in a solo exhibition entitled Too Far To See (2011). He has exhibited extensively throughout Asia, North America, and Europe, including as part of the 2003 Venice Biennale, the 2004 Busan Biennale, the 2005 Yokohama Triennial, and the 2010 Aichi Triennial, as well as exhibited in Australia, Israel, Mexico, and South Africa.

For his residency, Takamine will give a public talk and visit interdisciplinary, graduate, and undergraduate art classes.

February 06, 2018 at 6:00pm
Djavad Mowafaghian World Art Centre
SFU at Goldcorp Centre for the Arts
149 W. Hastings, Vancouver

Presented by the SFU School for the Contemporary Arts and the Audain Visual Artist in Residence Program.

Oana Avasilichioaei

Oana Avasilichioaei

MOUTHNOTES (2016), multimedia performance; concept, text, images, and sound by Oana Avasilichioaei, video design by Jessie Altura, 12 min.

Oana Avasilichioaei

THRESHOLDS (2015), multimedia performance; concept, text and sound by Oana Avasilichioaei, design and visual effects by Jessie Altura, 19:11

Simon Fraser University’s School for the Contemporary Arts (SCA) is pleased to welcome Oana Avasilichioaei as the Audain Visual Artist in Residence in January 2018. Avasilichioaei’s practice is concerned with textuality, polylingual poetics, the social and political forces/voices of the polis, and the intermediary spaces between word, sound and image, exploring the transgressions of these terrains through poetry, translation, performance, and sound work.

During her time in Vancouver, Avasilichioaei will do a public talk and multimedia performance, as well as visit interdisciplinary, graduate and undergraduate art classes and facilitate a workshop. In conjunction with faculty member Allyson Clay, Avasilichioaei will work with third-year visual art students towards conceptualizing and creating work for the annual student exhibition in the Audain Gallery. Conceived as a laboratory of research and making, her intervention will focus on unpacking various notions of border—border as wall, border as place, border in translation—proposing some theoretical and aesthetic reflections on its reverberations. Given current polylingual contexts, migration and displacement, wall-building and global-village thinking, various boundary disputes around the world, and the increasingly hazy distinction between private and public, this is a crucial moment to consider how one conceptualizes national, physical and personal boundaries, in order to discover whether productive crossovers are possible, as opposed to more rigid and entrenched responses. Some questions worth considering include: How do we enact borders? How do we translate them? What are the ethical implications of this translation? Is a language a border? By encouraging various translations/transpositions between text and performance, image and sound, text and image, the organic and the technological, materiality and musicality, etc., the lab will investigate the border as a potential in-between, porous space; disputed, yet also productive.

As part of her residency, Avasilichioaei will present LIMBS & THRESHOLDS, an immersive multimedia performance of poetic texts, involving layered voices and live vocal play, sampled sounds, effects pedals and electronics, a theremin, and textured projections of poems and images (created in collaboration with Jessie Altura). In a world where the political, linguistic and bodily border is a place of strife and violence, LIMBS & THRESHOLDS explores ways of rethinking the border by breaking down the boundaries between word and sound, sense and resonance, original and translation, image and reflection. Based on Avasilichioaei’s hybrid book Limbinal (Talonbooks 2015) as well as current project Eight Track, the performance presents a series of phonotopes, in-between places of sound and figure, orchestral and in flux, generative and inhabited.

Oana Avasilichioaei: LIMBS & THRESHOLDS
January 24, 2018 at 7:00pm
Djavad Mowafaghian World Art Centre
SFU at Goldcorp Centre for the Arts
149 W. Hastings, Vancouver

Oana Avasilichioaei’s five poetry collections include feria: a poempark (2008; a poetic investigation of the fractured historicities of Vancouver’s Hastings Park), We, Beasts (2012, awarded the A. M. Klein Prize for Poetry; a textual architecture of orality, animality and the fairytale) and Limbinal (2015; a multi-genre polylingual work on notions of borders). Increasingly interstitial, her work has also gone outside the bounds of the book, encompassing various formats such as multimedia performance, sound work, photography, graphic score, and installation; recent multimedia performances include THRESHOLDS (2015) and MOUTHNOTES (2016). Also a translator of prose and poetry from French and Romanian, her most recent translation is Bertrand Laverdure’s Readopolis (2017 Governor General Literary Award for Translation). Avasilichioaei has performed her work and given talks in festivals, art spaces, universities, theatres and other venues in Canada, USA, Mexico and Europe and was the 2009 Writer in Residence at Green College, UBC and the 2010–2011 Writer in Residence at the University of Calgary. Her curatorial and collaborative work has taken numerous forms, such as founding and curating the Atwater Poetry Project (2004–2009), writing “Folding Borders: Experimenting in the Canadian Laboratory” (series of commentaries on Jacket2, 2011), and co-writing Expeditions of a Chimæra with Erín Moure (2009). Multimedia collaborations include videos such as “Mirrored” (with Jessie Altura, 2011), text for From what hand to speak (composer Adam Scime, 2015), and the libretto for Marionette (composer Anna Hostman, forthcoming). Avasilichioaei’s current book/beyond-the-book project is Eight Track, a poetic, sonic investigation of the multifold meanings of track and tracking. Based in Montreal, she frequently crosses borders.

Walid Raad & Jalal Toufic

Walid Raad & Jalal Toufic

Walid Raad, Sweet Talk: Beirut (Commissions)_1992 (detail), 1992. Black and white photograph. © Walid Raad.

Walid Raad & Jalal Toufic

Jalal Toufic, How to Read an Image Past a Surpassing Disaster no. 5 (detail), 2010. © Jalal Toufic.

Walid Raad & Jalal Toufic

This fall the School for Contemporary Arts and SFU Galleries are hosting Walid Raad and Jalal Toufic, contemporaries whose art and writing are, almost uncannily, aligned. Walid Raad was AVAIR in Fall 2016 and returns to present his exhibition Sweet Talk: Commissions (Beirut 1994) in Audain Gallery. Jalal Toufic will present a series of lectures and screenings, his first in Canada.

The works of Raad and Toufic destabilize narratives of history by way of fictive philosophical and logical constructions that fold time. Each artist’s work engages a divergent range of topics, but repeatedly returns to query the history of Lebanon and its civil wars. Always eschewing a positivist reading, their works ask us to consider the form, logic and conditions of the question as to how violence affects bodies, minds and culture.

Fiction has to reveal to us the anomalous, labyrinthine space-time of ruins; and, in case no ruins subsist for the ghost to appear, to supplement reality as a site of return of the revenant. In postwar countries, fiction is too serious a matter to be left to “imaginative” people.

–Jalal Toufic, Ruins, 2010.

Walid Raad was born in Chbanieh, Lebanon and works in New York where he is Professor of Art in The Cooper Union. Solo exhibitions include the Louvre, Paris; Museum of Modern Art, New York; Kunsthalle Zurich; Whitechapel Art Gallery, London; and Hamburger Bahnhof, Berlin. His works have been shown in Documenta, Venice Biennale, Whitney Biennial, Sao Paulo Bienale, Istanbul Biennial, and Homeworks. He is a member of the Home Workspace Program in Beirut and The Gulf Labor Coalition.

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. His books, a number of which were published by Forthcoming Books, are available for download at his website. And his videos are available for viewing at: He, along with artists and pretend artists, was a participant in the Sharjah Biennials 6, 10 and 11, the 9th Shanghai Biennale, the 3rd Athens Biennale, and “A History: Art, Architecture, and Design, from the 1980s Until Today” (Centre Pompidou). In 2011, he was a guest of the Artists-in-Berlin Program of the DAAD; and in 2013–14, he and Anton Vidokle led Ashkal Alwan’s third edition of Home Workspace Program, based in Beirut. He has been the director of the School of Visual Arts at the Lebanese Academy of Fine Arts (Alba) since September 2015.

Co-presented by SFU School for the Contemporary Arts' Audain Visual Artist in Residence Program and SFU Galleries, with the Vancouver Art Gallery and Western Front.


Walid Raad in Conversation with Jayce Salloum on Beirut
Tuesday, October 10, 7pm
Djavad Mowafaghian World Art Center, SFU Vancouver

Walid Raad Opening Reception
Wednesday, October 11, 6 - 9pm
Audain Gallery

Walid Raad Artist Talk
Wednesday, October 11, 7 - 8pm
Djavad Mowafaghian World Art Center, SFU Vancouver

Scrivener's Monthly: Jalal Toufic on "The Dancer's Two Bodies"
Thursday, October 12, 7pm
Western Front, 303 E. 8th Ave.

Screening and Discussion of a Trilogy of Videos by Jalal Toufic and Graziella Rizkallah Toufic
Saturday, October 14, 8pm
Djavad Mowafaghian Cinema, SFU Vancouver

Jalal Toufic on "The Withdrawal of Tradition Past a Surpassing Disaster" 
Tuesday, October 17, 7pm
Djavad Mowafaghian World Art Center, SFU Vancouver

Book Launch and Talk for Jalal Toufic's What Was I Thinking (Sternberg Press, 2017)
Wednesday, October 18, 3pm
Vancouver Art Gallery, 750 Hornby St.

Exhibition Tour with Curator Melanie O'Brian in Dialogue with Art Historian Jeff O’Brien 
Saturday, November 18, 2pm
Audain Gallery (part of a downtown exhibition tour with the CAG at 3pm)

Screening of Jayce Salloum's This is Not Beirut (There Was and There Was Not), 1994 and Walid Raad and Jayce Salloum’s Talaeen a Junuub (Up to the South), 1993
Wednesday, November 22, 7pm
Djavad Mowafaghian Cinema, SFU Vancouver

Jacqueline Hoàng Nguyễn

Jacqueline Hoàng Nguyễn

Jacqueline Hoàng Nguyễn, Detail from “Space Fiction & the Archives,” 2012, Installation, Credit (Photo and courtesy of the artist).

Jacqueline Hoàng Nguyễn

Jacqueline Hoàng Nguyễn, “Challenge for Change / Société Nouvelle: Documents in Participatory Democracy,” 2014, video screenings, Credit (Ph

Jacqueline Hoàng Nguyễn
SCA Audain Visual Artist in Residence, Spring 2017

Simon Fraser University’s School for the Contemporary Arts (SCA) is pleased to welcome Jacqueline Hoàng Nguyễn as the SCA’s 2017 spring Audain Visual Artist in Residence. Nguyễn is a research-based artist currently living and working in Stockholm (Sweden). She uses a broad range of media while primarily relying on archival material to investigate issues of historicity, collectivity, utopian politics, and multiculturalism within the framework of feminist theories.

Together with the third-year visual art students, Jacqueline Hoàng Nguyễn will develop counter-archives of vernacular images and micro-histories. The artist proposes theoretical and aesthetic reflections on the significance of the archive and its aporias. The aim of the workshops is to investigate the function of the archive and how it can be built from the bottom up to counter the conventional historical narratives of settler colonialism. In contrast to given, state-constructed narratives, the everyday migrants’ or aboriginals' story is disordered, uneven, and complicated. Various archival modalities will be experimented with including unorthodox approaches to classification, contested notions and forms of representations of citizenship, and knowledge production. Within the context of the classroom, Nguyễn hopes to tease out the role of the artist as an activist archivist, which theorist Mark Wigley describes as “one who designs an archive whose purpose is to polemically rearrange the standard perception of the worlds outside [...] to change the direction of thinking.” The students’ work with the Audain Visual Artist in Residence will culminate in a project exhibited at Simon Fraser University’s Audain Gallery in March 2017.

Nguyễn will also run a series of digitizing workshops as part of The Making of an Archive, in partnership with Grunt Gallery, while in Vancouver (January 21-26, 2017). For more details, please contact the gallery.

Jacqueline Hoàng Nguyễn completed the Whitney Independent Study Program, New York, in 2011, having obtained her MFA and a post-graduate diploma in Critical Studies from the Malmö Art Academy, Sweden, in 2005, and a BFA from Concordia University, Montreal, in 2003. Nguyễn’s work has been shown internationally in institutions including the EFA Project Space (2016); Mercer Union, Toronto (2015); MTL BNL at the Musée d’Art Contemporain, Montreal (2014); Kunstverein Braunschweig, Germany (2013); Apexart, New York (2013); Institute of Contemporary Art (ICA), Philadelphia (2011); Mason Gross Galleries, Rutgers University, New Brunswick, NJ (2011); and Gasworks, London (2010). In 2011 she was commissioned by CC Seven to produce a site-specific sound piece for The Woodland Cemetery, a UNESCO World Heritage site in Stockholm. In 2015, as part of SWICH, a collaborative project involving ten European museums of Ethnography and World Cultures she was the first artist-in-residence at the Museum of Ethnography in Stockholm. Currently she is working with curator Rado Ištok on editing Crating the World: Displaced Myths, Desires and Meanings, a compendium to Nguyễn's exhibition Black Atlas to be published in Spring 2017. Both the exhibition and publication are made possible with the generous support of Sharjah Art Foundation.

Artist Talk: Jacqueline Hoàng Nguyễn
January 19, 2016, 7:00pm
Djavad Mowafaghian World Art Centre
SFU at Goldcorp Centre for the Arts
149 W. Hastings Street

SCA Third Year Visual Arts Exhibition
March 22 – April 1, 2016
Audain Gallery
SFU at Goldcorp Centre for the Arts
149 W. Hastings Street

Audain Visual Artist in Residence

This program brings artists and practitioners to Vancouver who have contributed significantly to the field of contemporary art and whose work resonates with local and international visual art discourses. The visiting artists interact with the students and faculty of the School for the Contemporary Arts as well as the broader visual arts and cultural communities and the community at large. In keeping with the experimental nature of the School for the Contemporary Arts, the terms of engagement are open and change from artist to artist. The program is generously funded by the Audain Foundation Endowment Fund.

Walid Raad

Walid Raad

Walid Raad


We are very pleased to welcome Walid Raad as the 2016 Audain Visual Artist in Residence (AVAIR).

During his time in Vancouver Raad will pursue research toward a new project by meeting with local specialists with knowledge on a heterogeneous range of topics, including human sweat, near-death experiences, meteorological measuring devices and Islamic art museums. In addition to a talk and public seminar (see below), Raad will do class and studio visits with graduate and undergraduate students. A solo exhibition of new work by Raad will be held at the Audain Gallery in 2017.

Walid Raad: TALK
Thurs., Sept. 29, 7PM
Fei & Milton Wong Experimental Theatre
SFU at Goldcorp Centre for the Arts, 149 West Hastings St., Vancouver

Over the last 25 years artist Walid Raad (b. 1967, Lebanon) has produced an extraordinary body of work that examines the instability of documents and archives in the public realm, the role of memory and narrative in conflict discourses, and the construction of histories of art in the Arab world. Raad works in photography, video, sculpture and performance to engage with forms of storytelling.

In his talk as part of his AVAIR residency at SFU, Raad will concentrate on two of his long-term art projects. The first is The Atlas Group (1989-2004), which examines the contemporary history of Lebanon, and the second is Scratching on things I could disavow (2007-present), which looks at the Arab art world alongside that region’s conflicts. Both projects engage how forms of violence affect bodies, minds and culture.

Raad’s solo exhibitions include the Louvre (Paris), The Museum of Modern Art (New York), Kunsthalle Zurich, The Whitechapel Art Gallery (London), Festival d’Automne (Paris), Kunsten Festival des Arts (Brussels), and The Hamburger Bahnhof (Berlin).  His works have been shown in Documenta 11 and 13 (Kassel), The Venice Biennale, Whitney Bienniale 2000 and 2002 (New York), Sao Paulo Bienale, Istanbul Biennal, Homeworks I and III (Beirut) and in numerous other museums, biennials and venues in Europe, the Middle East, Asia, and the Americas. 

His books include Walkthrough, The Truth Will Be Known When The Last Witness Is Dead, My Neck Is Thinner Than A Hair, Let’s Be Honest The Weather Helped, and Scratching on Things I Could Disavow. Raad is also the recipient of the ICP Infinity Award (2016), the Hasselblad Award (2011), a Guggenheim Fellowship (2009), the Alpert Award in Visual Arts (2007), the Deutsche Börse Photography Prize (2007), the Camera Austria Award (2005), a Rockefeller Fellowship (2003), among other grants, prizes and awards. He is a member of the Home Workspace Program in Beirut and The Gulf Labor Coalition. Raad lives and works in New York where is Professor of Art in The Cooper Union.

This talk is co-produced with SFU Galleries.

Please check back here and to be advised of the dates and times of other public activities.

Walid Raad: SEMINAR
Mon., Oct 3, 2016, 6PM
Room 4390
SFU at Goldcorp Centre for the Arts, 149 West Hastings St., Vancouver

In this seminar Walid Raad will lead a discussion about his resent research. This will be an opportunity to witness the artist’s process and encounter his ideas taking shape first hand. This generous approach reminds us that there is no formula for producing an artwork: an artist’s process may proceed without regard for established divisions between categories of thought, action, matter or discipline to stage encounters between research, politics and aesthetics. Raad pursues several parallel, sometimes intersecting paths. Where these paths “lead”—if in fact this teleology applies—is not always clear, even to him. His research spans inquiry into the building of the Louvre and the Guggenheim in Abu Dhabi, labour issues, human sweat, WW1’s effects in shaping the modern Middle East, death, near death, forensic science, medical examiners, coffins, biological decay, Islamic Arts, carpets, dyes, wool, exports, designs and colour. The seminar invites participants into conversation with Raad along these paths of inquiry.

Space is limited. Please email AVAIR coordinator Judy Radul at to pre-register for the seminar.

Image Credits: (top) The Atlas Group/Walid Raad. ​I might die before I get a rifle_Device III. 1993/2002. Pigmented inkjet print, 63″ × 6′11″ (160 × 210.8 cm). Courtesy the artist and Paula Cooper Gallery, New York. © 2015 Walid Raad; (bottom) Preface to the Third Edition: Version Française. 44 x 51 inches. Courtesy the artist and Paula Cooper Gallery, New York. © 2014 Walid Raad

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min

Yong Soon Min: Dear Leader, What I Love . . .

Audain Visual Artist in Residence at the School for the Contemporary Arts, Simon Fraser University
March 24 – April 2, 2016
Audain Gallery

Simon Fraser University’s School for the Contemporary Arts  welcomed Yong Soon Min as the 2016 spring Audain Visual Artist in Residence. In the Audain Gallery, Yong Soon Min’s video work focusing on North Korea, Bungabsubnida and On the Road: Northern Exposure, was exhibited alongside collaboratively produced projects and performances by the second and third year undergraduates in the Visual Art Program.

As a variation of our annual third year undergraduate exhibition, the Audain Gallery functioned as a hybrid pedagogical space to explore the formal, conceptual and political aspects of monuments, counter-monuments and the notion of alternative archives. Public events and informal discussions on questions concerning war, ideology, colonialism, multiculturalism and transnationalism–which Yong Soon Min has addressed over her long career–were an integral part of this project.

The second and third year students constructed and installed a (counter) monument loosely based on the Robo-Lenin from Magnitorsk (1931), which was destroyed in 1932, yet remains documented in a photograph for Life Magazine by Margaret Bourke-White. A large pedestal base related to the reclining horizontal monument served as a platform for readings and performances by the students. In addition, the students made sculptural spheres inspired by Yong Soon Min’s work. Framed by discussions concerning the hierarchies by which materials get preserved and monumentalized, students worked with texts and images that have inspired and transformed their habitual sense of the world and place these into the work as personal archives. What can we learn from the extremes of failed utopian visions as a way forward, without cynicism? This central question anchors the disparate elements.

Yong Soon Min was born near Seoul in 1953, the year the Korean War ended in Armistice. Min immigrated with her mother and brother to the U.S. in 1960 to join their father and grew up in Monterey, CA. She received her MFA degree from UC Berkeley in 1979 and a postdoc at the Whitney Museum’s Independent Study Program in 1981. She lives in Los Angeles and is Professor Emeritus at UC Irvine.

Min’s art practice, including national and international exhibitions and curatorial projects, engages interdisciplinary sources in the examination of issues of representation and cultural identities and the intersection of history and memory. Min has received numerous grants and awards, including recently a Fulbright Senior Research Grant, COLA Individual Artist Fellowship from the City of Los Angeles Cultural Affairs Department and Korea Foundation Grant.


Opening Reception
Audain Gallery, Wednesday, March 23, 2016, 7–9PM

SCA Students, Performances and Readings
Audain Gallery, Thursday, March 24, 1:30–4PM

Young Soon Min Artist Talk
Djavad Mowafaghian World Art Centre, Thursday, March 24, 7PM

Art and the Pacific Rim Legacies of War: Round table discussion with Yong Soon Min, David Khang, Cindy Mochizuki, Ho Tam. Moderated by Jin-me Yoon
Audain Gallery, Saturday, March 26, 1PM

Exhibition tour with SCA Students
Audain Gallery, Saturday, March 26, 3PM

Discussion with Elle-Máijá Tailfeathers
4th floor, Rm 4955, Wednesday March 30, 2:30-4:30PM

The School for Contemporary Arts Audain Visual Artist in Residence and Audain Gallery

Simon Fraser University
149 W. Hastings Street
Vancouver, BC Canada
Gallery Hours: Tuesday–Saturday, 12–5pm

Images: Yong Soon Min: Dear Leader, What I Love . . . , Installation view, Audain Gallery. Yong Soon Min and SCA Visual Arts students, 2016.

Lili Reynaud-Dewar

Lili Reynaud-Dewar

Lili Reynaud-Dewar, My Epidemic (performance at 56th Venice Biennial, Biblioteca dei Giardini), 2015 Banners, posters, bean bags.

Reynaud-Dewar is a 2015 Audain Visual Artist in Residence, which is co-presented by SFU Galleries and SFU’s School for the Contemporary Arts. Her residency and exhibition are supported by the Institut français and the Consulat Général de France à Vancouver.

Lili Reynaud-Dewar uses a range of mediums such as textiles, sculpture, text, performance and video to create environments in which she examines how gestures of vulnerability and concealment catalyze both exploitation and empowerment. Her practice considers the historical, social and economic construction of the institutions she produces in, and her works expose how these spaces privately and publicly codify bodies and experiences. Reynaud-Dewar works towards mutability, circulation and synthesis. She addresses cultural trauma by performing her own personal history alongside the legacies of transgressive cultural figures of the twentieth century, such as Cosey Fanni Tutti, Josephine Baker and Guillaume Dustan.

My Epidemic is an iteration of artworks, texts, seminars and exhibitions in which she quotes and edits numerous texts influenced by AIDS and its impact on bodies and culture. This body of work performs the virality of artistic, intellectual and social life, by circulating between discourses of epidemiology, collective action, artistic production and identity formation.

My Epidemic (Teaching Bjarne Melgaard’s Class) follows the project My Epidemic (small modest bad blood opera) that Reynaud-Dewar produced for “All the World’s Futures” 56th Venice Biennale in 2015. The project featured a libretto produced with Macon, and a public reading with her students from the Haute École d’art et design. During the Biennale she also released her book My Epidemic (texts on my work and the work of other artists), which was designed in in collaboration with Ramaya Tegegne.

In both the exhibition and the SCA seminar she will host in the Audain Gallery, Reynaud-Dewar will perform Norwegian artist Bjarne Melgaard’s seminar “Beyond Death: Viral Discontents and Contemporary Notions about AIDS”. The seminar was held during the 54th Venice Biennale in 2011 for post-graduate students at the Università IUAV di Venezia. Seminar participants responded to Melgaard’s syllabus with texts and artworks that contributed to his exhibition for the Norweigan pavilion, Baton Sinister.

Reynaud-Dewar will teach Melgaard’s syllabus, which was published in the catalogue for Baton Sinister, and will work with undergraduate SCA students through his selected texts and films. In collaboration with Tegegne, seminar participants will edit, transpose and collage excerpts from the texts, to produce posters that convey their individual and collective reading of the works. The seminar takes place on Fridays and Saturdays in October. Once the exhibition opens on October 21, gallery visitors will encounter the performance and seminar in process. The exhibition also features a video produced by BookTV, an initiative by Beckbooks in Geneva.

Lili Reynaud-Dewar (1975) is a French artist who lives and works in Grenoble. She has recently presented solo exhibitions at the New Museum, New York; Index, Stockholm; Outpost, Norwich, England; and Kunsthalle Basel, and participated in the 12th Lyon Biennial, the 2012 La Triennale, and the 5th Berlin Biennial. Since 2010 she has held a professorship at Haute école d’art et design in Geneva.

Reynaud-Dewar is a 2015 Audain Visual Artist in Residence, which is co-presented by SFU Galleries and SFU’s School for the Contemporary Arts. Her residency and exhibition is supported by the Institut français and the Consulat Général de France à Vancouver.


Opening Reception and Artist’s Talk
Wednesday, October 21, 7 - 10PM

Lili Reynaud-Dewar’s SCA seminar My Epidemic (Teaching Bjarne Melgaard’s Class)
Friday and Saturday, October 9 - 10; 16 - 17; 23 - 24; 30 - 31, 12 - 5PM - Ramaya Tegegne joins the seminar October 23 - 24.

Ramaya Tegegne
You don't always have to be you to be yourself  "Version#17: Annie Sprinkle"
Friday, October 23, 9PM
MODEL Projects, 147 Main Street

Ramaya Tegegne lives and works in Geneva, Switzerland. She currently co-runs the contemporary art space Forde and the bookshop Oraibi Books with Beckbooks. She has recently presented her work at Marbriers 4, Geneva; Galerie Emanuel Layr, Vienna; Sunview Lunchoenette, New York; Berlin; Maladie d’Amour, Grenoble; and Curtat Tunnel, Lausanne. Her latest artist’s book, Menage a trois, has just been published by Fri Art Fribourg on the occasion of her solo exhibition there.

Exhibition Tour with Amy Kazymerchyk, Lili Reynaud-Dewar and SCA students
Saturday, October 31, 1PM

Join us for a tour of the exhibition led by curator Amy Kazymerchyk with the artist and seminar students. Afterward, walk with us to the Or Gallery for a 2pm tour of Myfanwy Macleod’s exhibition, led by curator Jonathan Middleton, then continue to Contemporary Art Gallery for a 3pm tour of Ryan Gander’s exhibition Make every show like it’s your last led by curator Shaun Dacey.


Full photo caption: Lili Reynaud-Dewar, My Epidemic (performance at 56th Venice Biennial, Biblioteca dei Giardini), 2015 Banners, posters, bean bags. Performance with Naim Bityqy, Etienne Chosson, Maud Constantin, Diego de Atucha, Galaxia, Tayb Kendouci, Sarah Margnetti, Lea Meier, Coline Mir, Andrea Nucamendi, Lili Reynaud-Dewar, Sarah Sandler. Texts by Gregg Bordowitz, Douglas Crimp, Tim Dean, Samuel R. Delany, Guillaume Dustan, Gran Fury, Didier Lestrade, Paul Morris, Scott O' Hara.

Judith Barry

Judith Barry

From Receiver to Remote...channeling Spain, 2010 Judith Barry/Ken Saylor/Project Projects. Installation with Spain/US timeline + TV programm

Simon Fraser University's School for the Contemporary Arts is pleased to announce artist Judith Barry as the Audain Visual Artist in Residence in February 2015. Barry’s photographic and video works from the 1980’s and 90’s were formative in their engagement with gender issues, film theory, perceptual processes, media and architecture. Barry had an early interest in exhibition design and media art, designing the exhibition From Receiver to Remote Control (with Ken Saylor) for the New Museum, New York, in 1990. In 2010, an updated version of the research was presented as From Receiver to Remote…channelling Spain (with Ken Saylor and Projects Projects), which focused on the differences and similarities in television history between Spain and the US in relation to ‘participatory democracy’.  First person accounts and the personal, social and political functions of the voice are an ongoing interest in Barry’s work. From 2003 to 2011 she conducted over 200 interviews with women in Cairo, Egypt, and these resulted in her video and photographic installation …Cairo stories.

During her time in Vancouver, Barry will do a public presentation of her work and discuss her approaches to art, exhibition design and the relationship between an image and its spatial representation. In conjunction with faculty member Sabine Bitter, Barry will work with third-year visual art students as they conceptualize and organize the annual student exhibition in the street-front Audain Gallery. This seminar and workshop enables students to work with this Kiesler-prize winning artist to devise their exhibition and to gain exposure to Barry's ideas about critically informed exhibition-making. 

Judith Barry is an artist and writer trained in architecture, art, literature, film theory and computer graphics and whose work crosses a number of disciplines: performance, installation, sculpture, architecture, photography and new media. She has exhibited internationally in a range of venues and contexts including Documenta XIII, the Berlin Biennale, Venice Biennale(s) of Art/Architecture, Sharjah Biennial, Sao Paolo Biennale, Nagoya Biennale, Carnegie International, Whitney Biennale, and the Sydney Biennale, among others. In 2000 she won the Kiesler Prize for Architecture and the Arts, and in 2001 she was awarded "Best Pavilion" at the Cairo Biennale. A major survey of her work was mounted at DA2 Salamanca, Spain, 2008 and Berardo Museum, Lisbon, 2010. She is a 2011 Guggenheim Fellowship recipient. Recent exhibitions include Theatrical Fields, CCA, Singapore, …Cairo stories, Slought, Philadelphia (solo), …Cairo stories, Rosamund Felsen Gallery, Los Angeles (solo), Take It Or Leave It, Hammer Museum, Los Angeles, and Americana, Perez Miami Art Museum, Miami, all in 2014. Her work is represented in the collections of MoMA, Whitney Museum, DIA Foundation, Generali Foundation, Mumok, Centre Pompidou, La Caixa, MACBA, FRAC Lorraine, Goetz Collection, among many others.

Barry also writes critical essays and fiction and has several publications, including Public Fantasy, a collection essays published by the ICA in London (1991). The monograph Body without Limits, was published in 2009 and features several essays considering Barry’s work. Her work is included in the collection of MoMA, NYC, Whitney Museum, NYC, Generali Foundation, Vienna, MCA, San Diego, Pompidou Center, Paris, Le Caixa, Barcelona, MACBA, Barcelona, FNAC, Paris, Goetz collection, Munich, Frac Lorraine, Metz, and CIFO, Miami among others. She has taught and lectured extensively in the USA, Asia and Europe. Currently, Judith Barry is Professor/Director of the MFA VA at Lesley University College of Art and Design, Cambridge, MA.

Judith Barry, Artist Talk
Tuesday, February 24, 2015 1:00 PM  |  FREE
Goldcorp Centre for the Arts, Djavad Mowafaghian World Art Centre
149 W. Hastings Street, Vancouver

Ricardo Basbaum

Ricardo Basbaum

Ricardo Basbaum, collective-conversation, 2013,. Text, voices, live reading, live recording (with Daniela Mattos, Faia Díaz, Jesus Lopez Vil

Ricardo Basbaum

Ricardo Basbaum

Ricardo Basbaum

Ricardo Basbaum

October 2014

Ricardo Basbaum: The Production of the Artist as a Collective Conversation

Intensive Class: Weekends in October with SCA students

Exhibition: Audain Gallery, Vancouver
October 16 - December 13, 2014

See other events below

For the month of October the Audain Visual Artist in Residence Program is partnering with Audain Gallery to present a project with Brazilian artist Ricardo Basbaum. The project combines an intensive class with Basbaum and exhibition. It is an unique opportunity for students and the community to work through Basbaum’s ideas about “collective conversation.”

Since the early 1990s, Brazilian artist Ricardo Basbaum has incited artistic encounters by inviting people to engage with and respond to systems of symbols and rules embedded in objects, scripts, diagrams, maps and games. In his projects, Basbaum quotes artistic and graphic communication tactics that are both vernacular and abstract, thereby easy to learn, interpret and memorize. Through interaction with these fluid sets of visual and linguistic terms for the production of an artwork, Basbaum seeks to collectively consider the material, social and spatial membrane between artist, contemporary art system, art object and participant.

Basbaum lives and works in Rio de Janeiro. His work has been widely exhibited including the 30th Bienal de São Paulo; 2012 Busan Biennale; and documenta 12. Basbaum is the author of Manual do artista-etc (Azougue, 2013) and Além da pureza visual (Zouk, 2007). He is also a Professor at the Instituto de Artes, Universidade do Estado do Rio de Janeiro.

School for Contemporary Arts Students have the opportunity to participate in an intensive course with Ricardo Basbaum and SCA Faculty member Sabine Bitter. This course offers students to work with Basbaum in relation to his exhibition The Production of the Artist as a Collective Conversation. Their participation is central to the accumulation of conversations, experiences, and audio, visual and print documents that comprise the exhibition at the Audain Gallery. Most of the classes actually take place within the gallery.

The course develops a conversation about what constitutes the image of the contemporary artist. Written exercises contribute to the development of the problem of how one produces oneself as an artist. The history of dematerialization in art practice from the 1960's, and the discussion of globalization that emerged in the 1980’s are considered and discussed. The group considers how the role and identity of the artist constructed in relation to various histories and to the prevailing movements of the moment such as institutional critique and relational aesthetics – including recent developments in media and mediation theory. A sound piece, combining writing and speech will be developed as outcome. This course is open to SCA students of all disciplines who are interested in how the artist is constructed, not only as role or identity, but as a production site.

The exhibition offers visitors the opportunity to consider the production of the artist through Basbaum’s long-term project Would you like to participate in an artistic experience? Since 1994, Basbaum has extended the invitation to engage with a simple steel polygon object called NBP (New Bases of Personality) both inside and outside the gallery. NBP has been introduced into communal dinners, sports games, domestic cleaning, dance choreography, landscaping, tattooing and industrial fabrication. NBP mediates an inquiry into what the possibilities for an artistic experience are, how one participates in it, and what its the potential effects are.

Presented with SFU Galleries.


Artist Talk
Wednesday, October 15, 6:00pm
Djavad Mowafaghian World Art Centre

Opening Reception
Wednesday, October 15, 7:00pm
Audain Gallery

Wednesday October 29, 6:00pm
Audain Gallery

Exhibition Tour
Amy Kazymerchyk and Sabine Bitter
Saturday November 22, 1:00pm
Audain Gallery

Would you like to participate in an artistic experience?
Ongoing throughout the exhibition
Audain Gallery

Would you like to participate in an artistic experience with Ricardo Basbaum’s NBP (New Bases for Personality) object? You just have to accept to use the NBP, for up to one week, for performing a solitary or collective experience. The object can be signed out with the gallery sitter. If you document the experience through text, photography, video or audio, you can add your records to the NBP public archive at, and submit them to the Audain Gallery (at for inclusion in the exhibition’s archive display.

Andreas Bunte

Andreas Bunte

Andreas Bunte Still from Underdruck (Low-Pressure), 2013 16mm film transferred to HD Video, colour, sound, 12 min. part of the Installation

Andreas Bunte

Andreas Bunte Still from O.T. (Kirchen), 2012 16mm film, colour, sound, 10:27 min. part of the installation Welt for der Schwelle, 2012 two

Andreas Bunte

Andreas Bunte Still from Künstliche Diamanten (Artificial Diamonds), 2013 16mm film transferred to HD Video, colour, sound, 13:16 min. part

Andreas Bunte

Andreas Bunte

September/October 2014

Andreas Bunte, Artist Talk
Wednesday October 1, 6:00 pm  |  FREE
Goldcorp Centre for the Arts, World Art Studio 
149 W. Hastings Street, Vancouver

Andreas Bunte is a Berlin based artist who has, over the past years worked within the format of short experimental film and film installations, which frequently incorporate a variety of other media such as collages, architectural structures, sound, texts. His installations and films examine how the interplay of architecture, technology, ideology and the human body produces different physical and psychological spaces. Bunte’s process is at once meticulous and highly imaginative, blending fiction with historical fact in order to give rise to analytical and visionary narratives. In his PhD research project at the Academy of Fine Art in Oslo he examines the genre of so-called Scientific-Research-Film and its attempt to subjugate film to the idea of utmost realism. The project looks at the genre’s use of filmic grammar, its narrative structures as well at how its concept of "realism" relates to most recent philosophical developments such as object-oriented ontology or speculative realism.

Deformation of Glass: Roundtable discussion with Andreas Bunte, joined by Christopher Pavsek and Judy Radul 
Wednesday, October 8, 6:30 pm  |  FREE
Goldcorp Centre for the Arts, Room 4390, 
149 W. Hastings Street, Vancouver

Andreas Bunte will show a selection of clips from scientific research films and related visual material. For Bunte, films and videos made for scientific research escape certain conventional languages of cinema and open conversations into media’s role in “empirical observation." The discussion will consider the films in relation to their pretense of being pure visual information. Against their supposed task of visual demonstration, the films’ visual intensity and focus sometimes have the effect of heightening the sense of hors champs (off screen space) and an unexpected narrative drive emerges. The conversation will consider these films in relation to recent philosophical struggles with "object oriented ontologies" and how material states unavailable to human perception might be recognized. In the case of some of these films, the camera as a form of machine vision comes to the fore. In terms of contemporary production, the work of Harvard's Sensory Ethnography Lab, and specifically the 2012 video Levianthan—shot with lightweight, remotely positioned cameras on a fishing trawler— will also be a node of conversation. 

Bunte's Audain Residence is in partnership with the Or Gallery and Republic Gallery, Vancouver and SFU Galleries. 

Duane Linklater

Duane Linklater

Duane Linklater

Artist Talk
Wood Land School: In the Land of the Head Hunters
Monday, January 27, 6pm
Djavad Mowafaghian World Art Centre

Edward Curtis: In the Land of the War Canoes (1914/1973), 47 mins
Tuesday, January 28, 6pm
Room 4955

Conversation with Duane Linklater, Raymond Boisjoly, Walter Scott and Marcia Crosby
Wednesday, January 29, 6pm
Room 4390

Conversation with Duane Linklater, Raymond Boisjoly and Marcia Crosby
Friday, January 31, 6pm
Room 4390

The Wood Land School project emerges out of Linklater's investigation into Indigenous artists who were based in northern Ontario in the 1970s. That generation of artists consisted of image-makers who engaged with Indigenous art forms and histories, both contemporary and ancient. Each new iteration of this project is interested in continuing and expanding those artists' work through the viewing of historic and contemporary films, reading of articles and books, and through open discourse with artists, writers, curators and anyone else who wishes to take part and contribute.

In this fifth iteration of the project, Linklater and his guests Raymond Boisjoly, Walter Scott and Marcia Crosby will facilitate a set of roundtable discussions about topics generated by a screening of In the Land of the Head Hunters, a 1914 film by the American photographer Edward Curtis which featured non-professional actors from Kwakwaka’wakw (Kwakiutl) communities in British Columbia. The discussions will be supplemented with additional texts brought in by the guests.

Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario and is currently based in North Bay, Ontario. He was educated at the University of Alberta, receiving a Bachelor of Native Studies and a Bachelor of Fine Arts. Linklater attended the Milton Avery Graduate School of Arts at Bard College in upstate New York, completing his Master of Fine Arts in Film and Video. Linklater produces a range of work, including video and film installation, performance and sculptural objects, and often works within the contexts of cooperative and collaborative gestures. He has exhibited and screened his work nationally and internationally, including the Vancouver Art Gallery, Art Gallery of Alberta and Family Business Gallery in New York, and has an upcoming exhibition at the Institute of Contemporary Arts in Philadelphia. His collaborative film project with Brian Jungen, Modest Livelihood, was originally presented at the Walter Phillips Gallery at The Banff Centre as a part of dOCUMENTA (13), with subsequent exhibitions at the Logan Centre Gallery at the University of Chicago, Catriona Jeffries Gallery in Vancouver and the Art Gallery of Ontario. Linklater is the recipient of the 2013 Sobey Art Award, an annual prize given to a Canadian artist under 40.



Hito Steyerl

Hito Steyerl

Hito Steyerl, Adornos´s Grey. Installation view, Audain Gallery, 2013. Photo: Blaine Campbell.

Hito Steyerl

Hito Steyerl, Adornos´s Grey. Installation view, Audain Gallery, 2013. Photo: Blaine Campbell.

Hito Steyerl: Adorno’s Grey

Audain Gallery, Vancouver
October 3 - December 14, 2013

Adorno’s Grey features a single channel video set in the Goethe-Universität in Frankfurt, where German philosopher Theodor W. Adorno famously taught. It shows two conservators scraping the walls of a lecture hall, looking for the legendary grey that Adorno had his classroom painted in order to promote concentration. The excavation is staged as a film set: the technical apparatus of the production is exposed and Steyerl’s directions for the excavators can be heard off camera. The video returns to an image of a camera being set up to take a photo of the lectern.

Adorno’s 1969 lecture series, “An Introduction to Dialectical Thinking”, intended to consider the relation between social theory and practice. Amidst a climate of student unrest within the university, Adorno wanted to create an open forum for dialogue and invited questions from students at any time. During his first lecture on April 22, he was bombarded by a series of critical provocations from Students for a Democratic Society, including three female students who emerged from the audience to scatter flower petals and then bare their breasts to him. That “Busenattentat” (Breast Attack) incident is described and interpreted over the forensic performance.

Parallel to the excavation, Steyerl uncovers a constellation of artifacts from the histories of student protests, nude protests and monochrome painting to expand and complicate the aesthetic and social significance of Adorno’s writing and biography. These threads are woven into a timeline on the wall opposite the viewing room’s entrance.

In her practice, Steyerl employs riddles, puns and word play as tools for ideological critique. In Adorno’s Grey, she examines the dialectical properties of grey within philosophy, aesthetics, pedagogy and politics. Formally, the video projection is disrupted across four staggered, oblique panels painted a gradient of greys. The image’s continuity is further disjointed by Steyerl’s editing, which shuffles multiple images across shifting vertical planes.

An imposing form in the gallery, the exterior of the viewing room is painted the supposed grey of Adorno’s classroom. Opaque and monochromatic, it is the central object for interrogation, confining Steyerl’s restaging of the Goethe-Universität lecture hall and the history that took place within its walls.

When the on-set camera finally captures its image, the video cuts to a low-resolution digital video of a recent Book Bloc protest. In it, one student protestor holds the frontline behind a makeshift shield painted as Adorno’s book Negative Dialectics. With this final image, Steyerl exposes the continued negotiation of social relations and theory within contemporary life. The exhibition of Adorno’s Grey at SFU’s Audain Gallery situates Adorno’s classroom within a gallery within a university. With an interest in how the conditions surrounding Adorno’s “Introduction to Dialectical Thinking” lecture series still resonate in contemporary academic and artistic dialogue, the gallery will expand upon the phenomenon in Steyerl’s constellation through a series of public programs.

Steyerl is a Berlin based filmmaker and author in the area of essayist documentary film/video, media art and video installation. She teaches New Media Art at University of the Arts, Berlin and her work has been included in the Venice Biennale (2013), Taipei Biennial (2010), dOCUMENTA (12) (2007) and Manifesta 5 (2004), among others.

Curated by Melanie O’Brian with Amy Kazymerchyk in collaboration with the School for the Contemporary Arts’ Audain Visual Artist in Residence Program.


Opening Reception
Wednesday, October 2, 7–10pm

Artist Talk: Hito Steyerl
Wednesday, October 2, 6pm
Wong Experimental Theatre, Goldcorp Centre for the Arts
149 West Hastings Street, Vancouver

Exhibition Tours guided by SCA MFA Visual Arts Candidates
Saturday, October 19, 1pm with Juan Manuel Sepulveda                                  
Saturday, November 9, 1pm with Didier Morelli          
Saturday, November 30, 1pm with Gabriel Saloman

Grey on Grey Lecture Series
Grey on Grey Lectures excavate the four conceptual threads within Adorno’s Grey: Adorno’s biography, student protests, nude protests and monochrome painting.

Grey on Grey: Samir Gandesha and Jaleh Mansoor
Wednesday, October 16, 6pm, World Art Centre

Samir Gandesha, The Colour of Adorno’s Thought
In Negative Dialectics Adorno posits that “Philosophy, which once seemed obsolete, lives on because the moment to realize it failed.” By considering references to the October Revolution and Karl Marx’s program of simultaneously abolishing and realizing philosophy, Gandesha will explore the extent to which Adorno’s thought manifests a stark opposition between red and grey – the vital, struggling labouring body, and the detached, abstract work of philosophical conceptualization.

Samir Gandesha is Associate Professor of Modern European thought and Culture in the Department of the Humanities and the Director of the Institute for the Humanities at SFU. He is the co-editor with Lars Rensmann of Arendt and Adorno: Political and Philosophical Investigations (Stanford, 2012) and is finishing a book with Johan Hartle entitled The Poetry of the Future: Marx and the Aesthetic (forthcoming 2014).

Jaleh Mansoor: On Monochromy and Repressive Tolerance: Notes on the Post WWII Recrudescence of the Revolutionary Form
Mansoor will speak about monochrome painting in France and Italy in the 1950s and 1960s, in consideration of her research on modernism, European and American art since 1945, and Marxist and Feminist theory and historiography.

Jaleh Mansoor is Assistant Professor in the Department of Art History, Visual Art and Theory at UBC. She received her PhD from Columbia University in 2007. She is currently working on two projects, one that addresses formal and procedural violence in the work of Alberto Burri, Lucio Fontana, and Piero Manzoni; and another on the problem of labor, value and “bare life” in the work of Santiago Sierra and Claire Fontaine, among other contemporary practices that examine the limits of the human.

Grey on Grey: Sara Mourad and Michael Rattray 
Wednesday, November 6, 6pm, World Art Centre

Sara Mourad, From Feminism to Titslamism: The Politics of Bare Breasts
Boobs are making a comeback. Mourad will consider young Egyptian blogger Alia el-Mahdy’s nude photograph, published online in the midst of the Egyptian uprising in 2011, as well as her naked protest action with FEMEN in Sweden in 2012, amongst a litany of global contemporary examples of bared breasts to ask the following question: How do we conceptualize the role and nature of transgression in these media events?

Sara Mourad is a doctoral candidate at the Annenberg School for Communication at the University of Pennsylvania. Her dissertation is about reading silences around sexuality in contemporary Lebanese public culture. Her broader research interests include postcolonial and queer theory, gender studies, media and popular culture and Middle Eastern politics.

Michael Rattray, The Global Artist Amongst Unrest
Adorno’s Grey suggests a vertical presentation of narrative, which reflects a chaotic ordering of related elements that represents, to quote Steyerl, a “radicalization of the paradigm of linear perspective.” Rattray examines concepts drawn from Steyerl’s 2012 essay, “Free Fall in the Vertical Perspective,” and Adorno’s use of “vertiginous”, to consider the theory of the Global Artist and how they inform local manifestations of unrest.

Michael Rattray is a Vancouver based academic and artist. He is a PhD Candidate in Art History through the Department of Art History at Concordia University, Montreal. His PhD dissertation, Functional Anarchism(s) and the Global Contemporary, examines the intersection of anarchist philosophy and global contemporary art.

No Looking After the Internet
Wednesday, November 20, 6pm, Audain Gallery

Robin Simpson, Modern Colour, Concentration, Referred Itch
The popular application of colour therapy can be credited to Swiss psychotherapist Max Lüscher. Grey figures in Lüscher’s spectrum as representative of neutrality, reticence, retreat or indecision. Simpson will present a selection of images that respond the motif of hands and motions of investigative scratching in Adorno’s Grey, alongside a cycle of colours selected from the Lüscher tests.

Robin Simpson is an art historian, curator and student based in Vancouver where he is pursuing a PhD at the University of British Columbia. His current research investigates the history of video psychotherapy and its intersection with artists’ practices during the 1970s and early 1980s in North America and Europe.

Perspectives on a Vertical Plane: Hito Steyerl’s videos and .mov files
Wednesday, November 27, 6pm, Djavad Mowfaghian Cinema

Lovely Andrea. 2007, 30min.
In Free Fall. 2010, 32min.
HOW NOT TO BE SEEN A Fucking Didactic Educational .Mov File. 2013, 15min.

Claire Fontaine

Claire Fontaine

Claire Fontaine, Carelessness Causes Fire
, Installation view, Audain Gallery, 2012. Photo: Kevin Schmidt

Claire Fontaine: Carelessness Causes Fire

Audain Gallery, Vancouver
October 12 - December 22, 2012

Carelessness Causes Fire is the first solo exhibition in Canada by the Paris-based “collective artist” Claire Fontaine, who is the Audain Visual Artist in Residence for fall 2012. Taking her name from a common brand of French notebooks and stationery, Claire Fontaine is a self-described “readymade artist,” founded in 2004 and aided by her “assistants” Fulvia Carnevale and James Thornhill.

Claire Fontaine’s exhibition Carelessness Causes Fire, features sculpture, writing, video and painting. These different media are used as “vectors of a specific intensity” to critically explore what the artist identifies as the “crisis of singularity” and the political impotency she sees in contemporary society.

The exhibition presents old and new works to examine the psychological and political consequences of the Arab Spring on the Western perception of reality. The ambiguity of the exhibition’s title, lifted from a security warning found by the artist under an office chair, evokes both the metaphorical fire of the uprising as it invaded streets and buildings, and the actual fire of weapons that often accompanied it.

A climate of blind, even careless violence is also recreated through a number of works in the exhibition that quote the aesthetic codes of abstraction and minimalism. These enduring visual languages, although removed from figuration, still have ethical consequences. Here, the artist confronts these languages directly with the real world economic and political violence that they do not portray but, nonetheless, still intimately relate to.

The series of digital paintings entitled Studies for Tactical Entry, for example, faithfully transcribes the representation of the “cones of action” of firearms held by two armed people as they traverse various corridors and stairways. Although these geometrical figures on the canvases appear very similar to the visual language of Suprematist painting, in reality they are schematic representations used by the armed forces to display dangerous movements in interior spaces.

As part of her residency, Claire Fontaine will work with students from the MFA Visual Arts program at the School for the Contemporary Arts at Simon Fraser University and the MFA in Visual Art program at the University of British Columbia, through the screening of films and presentation of seminars exploring the artist’s notion of the “human strike”. Claire Fontaine’s work with students will culminate in a final public presentation featuring a talk and a screening of excerpts from the selected films, on November 24 at 7pm in the Djavad Mowafaghian Cinema at the Goldcorp Centre for the Arts.

Carelessness Causes Fire is realized with the support of the Consulat général de France in Vancouver and presented in partnership with the Institutions by Artists conference, which runs from October 12 - 14, 2012, at Simon Fraser University at the Goldcorp Centre for the Arts.

Curated by Sabine Bitter.


Opening Reception
Thursday, October 11, 8pm

Artist Talk
Thursday, October 11, 6pm

Lech Kowalski – East of Paradise (2005)
Wednesday, October 3, 6pm

Claude Lanzmann – Sobibor, October 14, 1943, 4 p.m. (2001)
Wednesday, October 10, 6pm

Tamar Yarom – To See if I'm Smiling (2007)
Wednesday, October 17, 6pm

Marco Bellocchio – Devil in the Flesh (1986)
Wednesday, October 24, 6pm

Jean-Luc Godard – La Chinoise (1967)
Wednesday, October 31, 6pm

Sam Green and Bill Siegel – The Weather Underground (2002)
Ralph Arlyck – Sean (1969)
Monday, November 19, 6pm

Lecture and Screening: Claire Fontaine: Human Strike Within Moving Images
Satuday, November 24, 7pm
The Djavad Mowafaghian Cinema

Antoni Muntadas

Antoni Muntadas

Antoni Muntadas, About Academia (production image), 2001. Courtesy of Irina Rozovsky.

Antoni Muntadas: About Academia

Audain Gallery, Vancouver
January 10 - February 23, 2013

Antoni Muntadas, the Spanish-born, New York-based artist, is the second Audain Visual Artist in Residence for the 2012/13 year. For his residency, Muntadas will present his work About Academia at Audain Gallery, give an artist’s talk, participate in a public panel presentation and discussion, engage with students in the School for the Contemporary Arts at Simon Fraser University and work collaboratively with Audain Gallery to produce a new publication derived from his residency and exhibition.

Turning critical attention to the structure and function of the university, About Academia investigates the complicated, often contradictory relationship between the production of knowledge and economic power.  Projected on three large hanging screens in the gallery, the video installation simultaneously juxtaposes scrolling textual quotations drawing from Muntadas’ research, excerpts from interviews by Muntadas with significant figures in contemporary academia, and footage of various universities that emphasizes their architectural characteristics. Together these components form a disassembled and spatialized documentary, encouraging viewers to move amongst the screens. Presented in Vancouver, specifically within the neighbourhood known as the Downtown Eastside, the issues and questions raised by About Academia take on localized significance and urgency.

To compliment the projections in About Academia is a book that offers the complete texts of the interviews, providing a fuller sense of context for the excerpts in the videos. As part of the exhibition at Audain Gallery, copies of this book, with a collection of Muntadas’ other artist books and catalogues, will be presented in a small reading kiosk in the gallery’s walk-in vitrine.

Audain Gallery and Muntadas, in partnership with West Coast Line’s LINEbooks imprint, will also work collaboratively to produce a new publication that will develop out of the panel presentations and discussions that are part of Muntadas’ residency. Addressing the unique social, political and economic context for universities and academia in Canada, British Columbia and Vancouver in particular, this publication will be a valuable contribution to the work initiated by Muntadas’ original project.

Born in Barcelona, Spain in 1942, Muntadas has lived and worked in New York since 1971. His work addresses social, political and communications issues; the relationship between public and private space within social frameworks; and the investigation of channels of information and the ways in which they may be used to censor central information or promulgate ideas. He works in a variety of media, including photography, video, publications, Internet and multi-media installations.

His works have been exhibited throughout the world, including at the Venice Biennale, Documenta Vl and X in Kassel, the Sao Paulo Biennial, the Whitney Biennial, the Lyon Biennial, the Havana Biennial, The Museum of Modern Art in New York, Berkeley Art Museum in California, Wexner Arts Center in Columbus, Musee d'Art Contemporain de Montreal, le Capc de Bordeaux, France, the Museu de Arte Moderna de Rio de Janeiro, Brazil, the Ludwig Museum in Budapest and the Museo Nacional Centro de Arte Reina Sofia in Madrid. Muntadas is currently Professor of the Practice at ACT/Department of Architecture at MIT and visiting professor at the IUAV in Venice, Italy.

Curated by Sabine Bitter.


Artist Talk: Antoni Muntadas
Wednesday, January 9, 6pm
Djavad Mowafaghian World Art Centre.

Opening Reception
Wednesday, January 9, 7pm

Panel Discussion: About Academia
Friday, January 11, 7pm
Djavad Mowafaghian World Art Centre.
Panelists: Ian Angus, Glen Coulthard, Serge Guilbaut, Antoni Muntadas, Geraldine Pratt
Moderator: Kirsten McAllister

Elke Krasny

Elke Krasny

Mapping the Everyday: Neigbourhood Claims for the Future, installation view, Audain Gallery, 2011. Photo: Kevin Schmidt.

Mapping the Everyday: Neighbourhood Claims for the Future

Audain Gallery, Vancouver
November 17, 2011 - February 25, 2012

This process-oriented exhibition is a collaborative project between the Downtown Eastside Women's Centre (DEWC), visiting artist Elke Krasny, the art collective desmedia, the collective red diva projects, the collective Coupe, Out of Bounds: Festival of Site-Specific Interventions, students from the School for the Contemporary Arts at Simon Fraser University and Audain Gallery.

The DEWC is a self-initiated and self-organized space. Emerging out of what is now known as second wave feminism, women in the neighbourhood founded the centre in 1978. In many ways, it is an example of bottom-up feminist urbanism. In its day-to-day operation, the centre primarily represents Indigenous and elder Chinese women, as well as other women in the Downtown Eastside community. What the women of the centre have claimed—and are still claiming—addresses and embodies all of the larger social, political and economic transformations that have challenged the Downtown Eastside of Vancouver. These claims in fact constitute a vivid and vital historical mapping of the neighbourhood. Cecily Nicholson, a coordinator at the DEWC, significantly enabled the involvement of the DEWC in this collaboration.

Elke Krasny is a project-based artist and curator concerned with counter-hegemonic and feminist strategies of intervening in historical narratives, and with creating new constellations in the exchange of different forms of knowledge. The collaboration between the DEWC, Krasny and Audain Gallery centers on research-based mapping that draws from the DEWC’s archives. Presented as a text-based “horizon line” spanning the circumference of the gallery, the exhibition offers a visual map of the demands and aspirations of the DEWC community. These demands, both current and historical, address issues of poverty, violence, insecurity, social exclusion, the deferral of rights and the legacy of colonialism. Although describing specific challenges, these claims are also expressions of conviviality and solidarity. These expressions exist between women, between women and their neighbourhoods, and between the women of the centre and their global context.

Beginning their practice in the early 2000s, desmedia provided access to the tools and training necessary for members of the Downtown Eastside community of Vancouver to self-produce their own media representations. As part of this practice, desmedia collected a large archive of interviews on digital video, as well as other forms of artwork. On the occasion of this exhibition, Krasny and Audain Gallery have invited members ofdesmedia to reassemble their archive and publicly debate its future.

Playwright and performer Marie Clements has a history of collaboration with the DEWC. Based on a series of workshops with the women of the DEWC, Clements and her collaborator Michelle St. John, working as red diva projects, will produce a new performance work for the exhibition that explores the potential of fiction to express critical truth. Like Krasny, red diva projects explores writing as both a collective process and a process of collectivization formed by way of an expressive multitude of subjectivities.

By initiating this collaboration, Sabine Bitter, the Curator of Audain Gallery, is expanding and changing the institutional parameters of the position, function and mode of operation of a contemporary art gallery. This important, necessary form of “self-challenging of the institution” (and perhaps also “institutional self-challenging”) reacts to a setting defined by rapid urbanization, gentrification and the all-inclusive yet reductive scope of neo-liberal economics—a setting in which Audain Gallery is ultimately situated.

During the exhibition, the gallery will function as a platform and meeting ground for the production and exchange of different forms of knowledge. The “horizon line” will be a framing device and backdrop for a series of events, workshops, performances and projects that aim to build neighbourhood constellations that go beyond familiar exchanges. They also provide opportunities for direct community participation and the fostering of critical dialogue, while also challenging the conventional expectation of what constitutes a gallery exhibition. As part of the series, women from the DEWC will teach a series of hands-on workshops.

Working closely with the women of the DEWC, Elke Krasny and our other collaborators, Mapping the Everydayexamines the possibilities for, and consequences of community-based political activity as articulated in relationship with contemporary artistic and institutional practices.

Mapping the Everyday: Neighbourhood Claims for the Future is realized in partnership with the Downtown Eastside Women's Centre; with support from the City of Vancouver's 125th Anniversary Grants Program; the Austrian Federal Ministry for Education, Arts and Culture; the Vancity Office of Community Engagement as part of Simon Fraser University Woodward's Cultural Unit; and the English Department of Simon Fraser University.

Curated by Sabine Bitter.


Opening Reception
November 16, 7pm

Panel Discussion: How can we collaborate?
With Elke Krasny, Cecily Nicholson and Sabine Bitter
November. 19, 2pm

Workshop: Japanese Brush Painting
Lead by Ari Tomita
November. 24, 1pm

Panel Discussion: Collective Futures in the Downtown Eastside
With the desmedia collective
November. 26, 2pm

Wednesday Night School: Introduction
Reading group with the Coupe collective
November. 27, 5pm

Wednesday Night School: Class Restoration
Reading group with the Coupe collective
December. 18, 7pm

Panel Discussion: Discussing Out of Bounds
Student-lead panel on the Out of Bounds: Festival of Site-Specific Interventions
January. 19, 7pm

Wednesday Night School: Marxism & Factography
Reading group with the Coupe collective
January. 22, 7pm

Screening: Jesus indian and The Language of Love (featuring Stephen Lytton)
Short films produced by red diva projects and Frog Girl Films
February. 7, 7pm

Performance: Jennifer Kreisberg
Genie award winning singer, producer, composer, and frequent collaborator with red diva projects
February. 10, 7pm

Wednesday Night School: How to Trace the Destruction of the Old World on Our Hands
Reading group with the Coupe collective
February. 22, 7pm

Performance: red diva projects
Featuring Marie Clements and Michelle St.John of red diva projects and women from the DEWC
February. 25, 7pm

Young-Hae Chang

Young-Hae Chang

YOUNG-HAE CHANG HEAVY INDUSTRIES, THERE ARE NO PROBLEMS IN ART (installation image), digital video, 9:32 minutes, 2011.


Audain Gallery, Vancouver
September 13 - November 5, 2011

Audain Gallery is pleased to announce YOUNG-HAE CHANG HEAVY INDUSTRIES (YHCHI), the widely recognized, Seoul-based art collective, as the fall 2011 Audain Visual Artist in Residence.

Co-organized with Centre A (Vancouver International Centre for Contemporary Asian Art), THERE ARE NO PROBLEMS IN ART includes exhibitions presented from September 13 - November 5 at Audain Gallery and September 16 - October 21 at Centre A.  A total of three new, commissioned works by YHCHI will be presented in the upcoming exhibitions.

A fast-moving, text-based video artwork synchronized to a jazz score, THERE ARE NO PROBLEMS IN ART at Audain Gallery contrasts the conflict and struggle of daily existence within the seemingly unproblematic and easy life of an artist. In the artists’ characteristically irreverent manner, these issues are examined from the artists’ perspective through the use of a narrator whose musings provoke an empathetic “critique from within” that simultaneously assumes the roles of corroboration and critical inquiry.

YOUNG-HAE CHANG HEAVY INDUSTRIES are the second artists to be hosted by the Audain Visual Artist in Residence Program, following the noted Slovenian artist Marjetica Potrć. A series of workshops and artist talks will be scheduled in September, in conjunction with Centre A, during the artists’ stay in Vancouver.

YOUNG-HAE CHANG HEAVY INDUSTRIES is Its principals, Young-hae Chang (Korea) and Marc Voge (U.S.A.), are based in Seoul. YHCHI has made work in 17 languages and presented much of it at some of the major art institutions in the world. It has made commissioned works for the Tate in London, the Centre Pompidou in Paris, and the New Museum in New York.

Curated by Sabine Bitter.


Opening Reception
Wednesday, September 12, 7pm

Artists' Talk
Wednesday, September 12, 6pm

Wednesday, September 21, 9:30am

Thursday, September 22, 9:30am

Wednesday, September 29, 9:30am

Wednesday, October 5, 6pm

Marjetica Potrc

Marjetica Potrc

Marjetica Potrc: The Making of New Territories and Communities

Audain Gallery, Vancouver
October 7 - December 18, 2010

The Audain Visual Artist in Residence Program will commence in fall 2010 with an exhibition of works by the Slovenian artist and architect Marjetica Potrc.

The Audain Visual Artist in Residence will work closely with Visual Art students in the School for the Contemporary Arts at SFU and the community in Vancouver. A schedule for a series of workshops hosted by the artist, as well as a public artist talk, will be released in September 2010.

Marjetica Potrc is best known for her on-site projects using participatory design, her drawing series and her architectural case studies. Her work focuses on new forms of social practices within urban changes, the issue of citizenship and community-based environmental projects. Potrc’s work has been featured in exhibitions throughout Europe and the Americas, including the São Paulo Biennial in Brazil (1996 and 2006) and the Venice Biennial (1993, 2003 and 2009). She has had solo shows at the Guggenheim Museum in New York (2001), the Max Protetch Gallery in New York (2002 and 2005), and the Nordenhake Gallery in Berlin (2003 and 2007). Potrc has taught at numerous institutions in Europe and North America, including MIT (2005). In 2000, she received the prestigious Hugo Boss prize and was awarded a fellowship at the Vera List Center for Arts and Politics at The New School in New York (2007).

Curated by Sabine Bitter.


Opening Reception
Wednesday, October 6, 8pm

Artist Talk
Wednesday, October 6, 6pm

From the Streets
Guided walks in Vancouver with Am Johal, Michael Barnholden and Annabel Vaughan.
Friday, October 8, 10am 

New Territorializations
Panel Discussion with Marjetica Potrc., Nicholas Blomley, Geraldine Pratt and geography and visual art students.
Friday, October 15, 2pm

Screening: Comuna Under Construction (2010)
By Dario Azzellini and Oliver Ressler.
Tuesday, October 19, 6pm

Workshop: Methods and Practices
With Marjetica Potrc. and Visual Art students from the School for the Contemporary Arts.
Thursday, October 21, 2:30pm

Tirana, Bogota, Medellin: Designs for a New Citizenship
Screening of Anri Sala’s Dammi I Colori (2003) and a talk by Marjetica Potrc about her projects in Tirana, Bogota and Medellin.
Tuesday, October 26, 2:30pm

Exhibition Tours
Wednesday, November 3: With Denise Oleksijczuk for SFU Arts & Culture students.
Thursday, November 4: For Kwantlen University’s Professional Practices Class.
Tuesday, November 9: For SFU faculty and staff.
Wednesday, November 17: For councilors from various local high schools.