Posted May 2018
2018 National Indigenous Peoples Day Public Art Bus Tour
Saturday June 23, 2018
The Gulf of Georgia Cannery National Historic Site, meet at Steveston’s Legacy, the bronze sculpture outside the main entrance to the building. Wheel Chair accessible (maximum 2).
Join Tarah Hogue, Indigenous Curatorial Fellow at the Vancouver Art Gallery and Shaun Dacey, Director of the Richmond Art Gallery on a bus tour to visit public artworks by contemporary indigenous artists across the City. The tour will pick-up passengers from the Gulf of Georgia Cannery NHS at 12:30 p.m. and back again at 2:00 p.m. to enjoy the National Indigenous People’s Day festivities, presented by Pathways Aboriginal Youth Centre and the Gulf of Georgia Cannery Society. The tour is free, however registration is required. Children 12 and under must be accompanied by an adult.
To register, please RSVP to firstname.lastname@example.org and include full name and telephone number in your e-mail. Maximum 19 seats available.
Saturday June 23, 2018
Richmond Cultural Centre Plaza
Community members of all ages are invited to paint pianos in preparation for this year’s summer interactive tradition of Pianos on the Streets Program. Led by local artists, PianoPalooza in the Plaza will take place on Saturday, June 23 and will launch the fourth year of this very popular program. Painting will take place from noon to 4 p.m. in the Richmond Cultural Centre Plaza.
Five pianos will be artfully designed and painted and then located in Richmond Nature Park, Britannia Shipyards, Terra Nova Community Gardens, the Richmond Cultural Centre and King George Park. These pianos are for the community to play and enjoy from July through September.
Richmond artist Catherine Adamson, as well as artists from the Richmond Youth Media Lab and Richmond Society for Community Living, will lead the hands-on painting event, allowing participants to leave their personal touch on a piano. All ages and artistic abilities are welcome to participate in this free drop-in event.
The Pianos on the Street Program is sponsored by the City of Richmond Public Art Program and Pacey’s Pianos in partnership with local community groups and artists. For more information about PianoPalooza, The Pianos on the Street Program or the Richmond Public Art Program, call 604-204-8696, email email@example.com
Posted April 2018
Richmond Arts Strategy 2018
What is your vision for a vibrant future for the arts in Richmond? What kind of art activities and cultural spaces would you like to see in your community? Join the conversation about how we can best move the arts forward in our communities by visiting www.howartworks.ca. Take part in the process over the next few months, by completing an online survey, or visit the Arts Strategy booth at events, drop-in cultural cafes and other pop-up activities.
In developing a new Arts Strategy, the City aims to improve Richmond’s quality of life through broad accessibility and involvement with the arts. The Strategy will serve as a five-year guide for decision-making to empower ideas, people and resources around a shared vision and set of goals, strategies and tactics. Artists and arts organizations, businesses, audiences and other interested people are invited to participate in the creation of the Strategy.
For more information about the Richmond Arts Strategy and the arts in Richmond, visit www.howartworks.ca
Doors Open Public Art Bus Tour
Saturday June 2, 2018
Cultural Centre, Meet at the book drop on Minoru Blvd.
Wheel Chair accessible
By placing artwork in our everyday environment, the City Richmond Public Art Program sparks community participation in the building of our public spaces; offers public access to ideas generated by contemporary art; encourages citizens to take pride in public cultural expression; and creates a forum to address relevant themes and issues. The benefits of public art are numerous. It has the power to energize our public spaces, arouse our thinking, and transform the places where we live, work, and play. Hop on the bus and join a public art specialist on an engaging bus and walking tour of some of Richmond’s public artworks in Steveston Village, and the Waterfront Neighbourhood. The tour is free, however registration is required. Children 12 and under must be accompanied by an adult. Light refreshments will be provided.
Doors Open brochures are available now. Register at richmond.ca/register or call 604-276-4300 in May.
For more information please contact Public Art at 604-204-8696.
Capture Photography Festival on the Canada Line
April - September 2018
Capture Photography Festival is an annual celebration of photography and lens-based art throughout Metro Vancouver. Capture Festival on the Canada Line in Richmond are presented in partnership with the Richmond Art Gallery, Canada Line, Capture Festival, and the City of Richmond Public Art Program.
Bridgeport Canada Line Station
Title of Artwork: Perimeter
These two works from the Perimeter series explore Vancouver’s shared border with Richmond, along the natural boundary formed by the Fraser River. Captured in proximity to Bridgeport Station where they are now installed, the works show details of these landscapes: the log booms that have displaced salmon runs in the Fraser River in Vancouver Transit Centre, 3.3.13, and the greenway behind a luxury golf course in Fraser River Trail, 9.3.13.
Over the last 200 years, this site has been rapidly transformed, from an Indigenous-managed estuarine environment and settlement to an industrial working river, now turned toward leisure and luxury accommodation.
Aberdeen Canada Line Station
Artist: Karilynn Ming Ho
Title of Artwork: Mirror Flower, Water Moon
Karilynn Ming Ho’s alluring installation Mirror Flower, Water Moon utilizes deceptive technologies. The work is derived from universal adversarial perturbations (UAPs), textures and algorithmic vectors meant to disarm, confuse, and deceive artificial intelligence. Artificial intelligence (AI) from self-driving cars to robot cashiers is predicated on being intelligent enough to identify, with 85–100 percent accuracy, an object or image that is placed in front of it. However, when these disarming patterns and algorithms are placed in front of the object or image, it causes the AI system to misrecognize what it is looking at.
In this case, the UAP pattern is obscuring a particular species of orchids whose reproductive success is based on its own deceptive behaviour. The orchids mimic female pollinators, such as bees and wasps, through visual or chemical means to attract male pollinators to help them reproduce. The images on display encounter tactics and technologies that deceive, connecting natural and digital actions just beyond the reach of human perception. The title, Mirror Flower, Water Moon, is from a Chinese proverb that speaks to something that can only be seen, but not grasped—like a flower in a mirror or the reflection of the moon in the water.
Lansdowne Canada Line Station
Artist: Ho Tam
Title of Artwork: Barbershops
Barbershops is a selection of four photographs from HOTAM #7 (2014). This issue presents a socio-visual investigation of barbershops in Manhattan’s Chinatown. Inside this city within a city, there are over 100 hair salons serving Chinese residents and visitors. Installed at Lansdowne Station on No. 3 Road in Richmond, the work connects to the area’s thriving Chinese diaspora community and the rapidly evolving commercial architecture of the site. Vibrant hubs of social and economic exchange in Chinatown, the barbershops Tam presents are key sites for community building, exchange, and identity construction.
Brighouse Canada Line Station
Artist: Marisa Kriangwiwat Holmes
Title of Artwork: Soon
Richmond-based artist Marisa K. Holmes is interested in the culturally inherited power structures within images and their resulting modes of representation. Her artistic practice attempts to highlight the signs and symbols embedded within media. Working with found images as her referents, Holmes’s practice implicates a public’s subjective reception of signifiers within images. Her work also hopes to initiate a discourse concerning mass media exposure within her generation. Considering herself primarily an image assembler, Holmes hopes to highlight the translation “losses” and accomplishments that occur when an image is presented within the public sphere, keeping in mind all contextual circumstances including the historical time of its viewing and the concurrent cultural spheres within the location of its “unveiling.”
Soon seeks conflict with the commercial advertising surrounding it. Both in reference to and disrupting the global clothing brand adverts wallpapered across the glass facades of the station, Holmes’s work initially blends into this environment but quickly confounds its viewer. The work reverberates the cacophonous visual experience of the Canada Line station. The commuter hub is a friction between the daily corporeal experience of getting from A to B and the brash attack of lifestyle propaganda and marketing. Holmes uses found elements, corporate colour palettes, snap photographs, and industrial textures in the production of a photo-based assemblage that presents a raw and bewildering response to the current sociopolitical conditions. The repetitive text “soon – soon – soon” becomes a spiralling chant that reads as both a superficial promise of the new and a reply to the continual feedback loop of our world headed in the wrong direction.
Art Columns: Exhibit 12 - Migration
Installed February 2018
The exhibition is the accumulation of a Public Art mentoring project for emerging Richmond-based visual artists who had the opportunity to collaborate with professional artists, Evan Lee and Renée Van Halm.
This exhibition invites artists to consider the theme of migration through a broad lens of inquiry. Migration” as it relates to human settlement. People have always moved around the world, traveling in search of food, shelter, and safety. Sometimes migration is necessary, in the case of natural disasters and sometimes voluntary for people looking for better employment opportunities. This exhibition invites artists to consider the stories, traditions and beliefs people bring to new places that inform identity and home.
Artist: Renée Van Halm
Title of Artwork: Pattern Migration
The work is based on patterns printed on or woven into fabrics that come from around the world and serve as a metaphor for the movement of peoples around the world generally and in this region specifically.
In this artwork dense overlays of patterns and colour may remind us of buildings, and the blue backgrounds, the sky that we all share. The common fabric patterns have a familiar, domestic quality and are somewhat out of place in this public, urban setting. They may remind us of home.
Colour acts as a cultural signifier; In Richmond red takes on a special significance not only for its place within Chinese celebrations but also in how it represents the Canadian settler identity domestically and globally.
The processes of making these works has flipped between the hand-made and the digital, I used a combination of painting with the collage of actual printed fabrics that were then enlarged and became the backlit digital photographic prints you see here. Enlarged and printed the traces of painting and collage are still evident and create an expected effect
Artist: Rusna Kaur
Title of Artwork: the power was flowing in her glorious hair
This series of artworks aims to capture the everyday experience of migration and sense of chaos and wonder in places such as cities, festivals and market places. The repetitive movement of crowds and the rhythm of their footsteps create patterns that begin to mimic the beat of their surroundings.
Artist: Patrick Wong
Title of Artwork: Uprooted
"Uprooted" is a state of change, a period of flux, and a "becoming" that more accurately reflects the present moment for many people. Wong's parents were refugees to Canada in the late 1970s and they carried with them multiple sets of cultural values collected from various places they had lived. Having been raised within this context, his artistic production has often echoed a sense of multiplicity, appropriation, and sampling as a central strategy. For Wong, this project began after an interview with a immigrant about his experiences becoming a permanent resident and his sense of national identity. The brief narrative illustrates moments during his travels to and from Canada with travelers symbolically represented as “uprooted” figures.The artist presents the figures as life-sized (or larger) for the viewer to consider how our identities are informed by the places we have been.