UPCOMING
Sebastian Maquieira | Lost and Found Gardens
Drawings of things
The ones that exist and the ones we invented
They mix like water and earth
They look like living promises
They touch without measuring distances
They turn their edges to show their other self
Thus attempting to insinuate its totality.
(Sebastian Maquieira)
The ones that exist and the ones we invented
They mix like water and earth
They look like living promises
They touch without measuring distances
They turn their edges to show their other self
Thus attempting to insinuate its totality.
(Sebastian Maquieira)
Zoom Conversations
Andrea Taylor | "We can only hint at this with words"
Virtual Contributor Panel | Hosted by the Gordon Smith Gallery | July 2022
The artist Andrea Taylor, Russna Kaur and M.E. Sparks speak about their exhibition "We can only hint at this with words" at the Gordon Smith Foundation with curator Kate Henderson.
A selection of Andrea Taylor's work included in that exhibition are currently on view at our Mackenzie Heights location.
The solo exhibition "Points of Contact" continues until August 13.
A selection of Andrea Taylor's work included in that exhibition are currently on view at our Mackenzie Heights location.
The solo exhibition "Points of Contact" continues until August 13.
From our past exhibition Superlucent - All the Colour You Cannot See
Time-lapse of Simulated Suns III | Annie Briard
Time-lapse of the colour-changing lightbox "Simulated Suns III" by Annie Briard - part of our past exhibition at our Mackenzie Heights location.
Brady Cranfield and Kathy Slade on Bridge Beardslee
SFU Galleries' "Listening to Pictures"
In the central courtyard of SFU’s Burnaby campus is a steel framed, cerulean blue pyramid created by sculptor Bridge Beardslee. Energy Alignment Sculpture (1976) was made to reference the proportions of Cheops’ pyramid in Egypt, and positioned to align with the rotation of the Earth’s axis; although some questioned whether it was appropriately positioned to harness “pyramid power.” Brady Cranfield and Kathy Slade read letters and articles written following the sculpture's installation in 1977, to map a heated and often humorous exchange of local controversy surrounding the artwork. The sounds of a synthetic drone and gong are heard throughout, in reference to metaphysical speculations of the frequency 432 Hz, a number which also has connections to mythologies surrounding the Great Pyramid of Giza.
Listening to Pictures: Artists on the SFU Art Collection is a 10-episode radio program featuring voices of artists with lived experience on the West Coast. After selecting a work from the Collection that is meaningful to them, each participant (often together with a collaborator) was invited to develop a unique response to that artwork to share with listeners, which range from meditative homages to barbed political reflections to playful sonic experiments. This accompanying suite of limited-edition cards — each picturing one of the selected artworks — is offered as a visual reference while listening.
click here to get to SFU Listening to Pictures
Listening to Pictures: Artists on the SFU Art Collection is a 10-episode radio program featuring voices of artists with lived experience on the West Coast. After selecting a work from the Collection that is meaningful to them, each participant (often together with a collaborator) was invited to develop a unique response to that artwork to share with listeners, which range from meditative homages to barbed political reflections to playful sonic experiments. This accompanying suite of limited-edition cards — each picturing one of the selected artworks — is offered as a visual reference while listening.
click here to get to SFU Listening to Pictures
Institutional Exhibitions
Talia Shipman Turquoise Period
Art in the Trees at Gallery Stratford, ON
I fell to the bottom of the sea. All I could see was the turquoise that surrounded me. Or was it all in my head? Where did it come from and where was it going? So I followed it far and wide, across the universe. I wandered the streets amidst the grays, browns, and beiges, and asked myself: does warm mean bright and bright mean happy? It’s only a color, after all; and so began my fascination with the colour turquoise.
Turquoise is not often used in North American architecture and design and began as a project I gave myself while I traveled. Ironically, it has completely taken me over and become the eyes in which I now see the world – often to the point of obsession. In colour psychology, turquoise controls balance and stability and evokes the infinite. A combination of blue and a small amount of yellow, it fits in on the colour scale between green and blue – a neutral colour in between extremes.
After being raised on the ocean, and leaving home at seventeen years old, turquoise is the balance and consistency that I have carried with me throughout the ups and downs and that life has taken me on – the different tones and shades, like crashing waves. Over the time span of eight year, fifteen apartments, twelve countries, and fifty cities, it has become my religion, my sanity, my reality and escape; the recurrent emptiness and intimacy of the images calming, evoking the notion of absence and solitude as possibility." (Talia Shipman)
Turquoise is not often used in North American architecture and design and began as a project I gave myself while I traveled. Ironically, it has completely taken me over and become the eyes in which I now see the world – often to the point of obsession. In colour psychology, turquoise controls balance and stability and evokes the infinite. A combination of blue and a small amount of yellow, it fits in on the colour scale between green and blue – a neutral colour in between extremes.
After being raised on the ocean, and leaving home at seventeen years old, turquoise is the balance and consistency that I have carried with me throughout the ups and downs and that life has taken me on – the different tones and shades, like crashing waves. Over the time span of eight year, fifteen apartments, twelve countries, and fifty cities, it has become my religion, my sanity, my reality and escape; the recurrent emptiness and intimacy of the images calming, evoking the notion of absence and solitude as possibility." (Talia Shipman)
Gallery Stratford’s new outdoor exhibition venue extending the gallery experience into the physical and natural environment. Positioned in the trees between Upper Queens Park, home of The Stratford Festival’s Festival Theatre, and Gallery Stratford, Art in the Trees provides opportunities for artists working in lens based or digital media to take their work outside the gallery space, interacting with new audiences and animating public space in a four season 24/7 outdoor environment.
follow this link for the feature about this project on akimbo
follow this link for the feature about this project on akimbo
Kriss Munsya
"Descendance" at SPAO Gallery, Ottawa ON
Descendance explores themes of identity and a sense of belonging that come from one's personal family history and inherited cultural traditions. Drawing from acts of storytelling and memory-keeping, the exhibition explores the intentional or sometimes unintentional selection of which memories are preserved and which ones are left behind. The exploration of carefully crafted histories can unearth and inform a sense of ‘place’; the way in which one’s history is tied to the land, and to each other. How does one grow new roots in relation to our stories, our communities and our adopted lands?
Descendance is co-curated by Myriam Farah Cobb and Darren Pottie in consultation with a wide range of Canadian curators and artists from across the country. Featuring first-generation Canadian and immigrant artists, this deeply intimate exhibition invites visitors to reflect on their own lineage and how their past impacts their present and influences the future.
continue reading and exploring the artists included in the show here
Descendance is co-curated by Myriam Farah Cobb and Darren Pottie in consultation with a wide range of Canadian curators and artists from across the country. Featuring first-generation Canadian and immigrant artists, this deeply intimate exhibition invites visitors to reflect on their own lineage and how their past impacts their present and influences the future.
continue reading and exploring the artists included in the show here
Jason McLean at Gallery Stratford, ON
Dad Club - Jason McLean and Ross Bell
akimbo essay by Bill Clarke
"When it comes to artists working together, the least obvious pairings can sometimes produce the most interesting results – think Andy Warhol and Jean-Michel Basquiat. Such partnerships are about solo artists breaking away from long-held approaches to artmaking and embracing collaboration. [...]"
continue reading the essay by Bill Clarke on akimbo here
continue reading the essay by Bill Clarke on akimbo here
Amber Frid-Jimenez
The Imitation Game: Visual Culture in the Age of Artificial Intelligence
at the Vancouver Art Gallery
March 5 - October 23, 2022
The Imitation Game surveys the extraordinary uses (and abuses) of artificial intelligence (AI) in the production of modern and contemporary visual culture around the world. The exhibition follows a chronological narrative that first examines the development of artificial intelligence, from the 1950s to the present, through a precise historical lens. Building on this foundation, it emphasizes the explosive growth of AI across disciplines, including animation, architecture, art, fashion, graphic design, urban design and video games, over the past decade. Revolving around the important roles of machine learning and computer vision in AI research and experimentation, The Imitation Game reveals the complex nature of this new tool and demonstrates its importance for cultural production.
Featured artists, designers and architects include *airegan, Stafford Beer, BIG, Ben Bogart, Gui Bonsiepe, Sougwen Chung, Muriel Cooper, DeepDream, Stephanie Dinkins, Scott Eaton, Epic Games, Amber Frid-Jimenez, Neri Oxman, Patrick Pennefather and WETA, among others.
The show is featuring Amber Frid-Jimenez' two-channel video Après Ballet mécanique (2018), which is part of the collection of the Vancouver Art Gallery.
Organized by the Vancouver Art Gallery and curated by Bruce Grenville, Senior Curator and Glenn Entis, Guest Curator.
Featured artists, designers and architects include *airegan, Stafford Beer, BIG, Ben Bogart, Gui Bonsiepe, Sougwen Chung, Muriel Cooper, DeepDream, Stephanie Dinkins, Scott Eaton, Epic Games, Amber Frid-Jimenez, Neri Oxman, Patrick Pennefather and WETA, among others.
The show is featuring Amber Frid-Jimenez' two-channel video Après Ballet mécanique (2018), which is part of the collection of the Vancouver Art Gallery.
Organized by the Vancouver Art Gallery and curated by Bruce Grenville, Senior Curator and Glenn Entis, Guest Curator.
FEATURED ARTWORKS
ABOUT THE GALLERY
Mónica Reyes Gallery (MRG) has been backing the growth and development of emerging and mid-career artists at its current location since 2013. Serving the local and international art scene, MRG promotes artist initiatives invested in shaping the economies of art and culture. Located in the heart of Strathcona, the gallery is uniquely positioned to create dialogues with the artists and cultural engineers who call the neighbourhood home.
Our new outpost, located at 2895 West 33rd Avenue – at the intersection of Mackenzie Street, opened in February 2022. This new location in the very heart of Vancouver's west side, will provide a unique opportunity for the gallery’s roster of artists to connect with a new audiences, to present new projects and to participate in curated group exhibitions.
Mónica Reyes Gallery is committed to presenting the work of artists who reflect the diversity of the visual arts community in Vancouver, BC. In particular, we are committed to providing space for artists to present narratives that are often underrepresented in many art galleries. MRG acknowledges it’s role as a commercial gallery in the Vancouver art community and recognizes the importance of continually reflecting on this position in relation to the ongoing impacts of colonialism within our institutional systems. We strive to centre the gallery’s programming around equity, diversity and inclusion and invite our community to engage with us to create a more just and sustainable future for the visual arts.
A project that was inspired by the pandemic and its need to return to the local and foster the community around us, Monica Reyes was one of the founding galleries of a new art fair, called COMBINE. It's purpose is to serve as a platform for new and aspiring art collectors to learn about the West Coast art scene and as an opportunity for seasoned collectors to discover the latest local talents. The predominant concept of collaboration is visible in the make-up of the fair, consisting of five Vancouver galleries and the emphasis of interconnected elements of artists, collectors, galleries, and institutions of this inaugural fair.
MRG's regular exhibition program and special events provide artists with opportunities for artists to show work that includes range of practices from more traditional forms of painting, sculpture and photography to experimental video, durational performance and installation.
We respectfully acknowledge that we live and work on unceded, traditional and ancestral xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish), and səl̓ilw̓ətaʔɬ (Tsleil-Waututh) territories.
Our new outpost, located at 2895 West 33rd Avenue – at the intersection of Mackenzie Street, opened in February 2022. This new location in the very heart of Vancouver's west side, will provide a unique opportunity for the gallery’s roster of artists to connect with a new audiences, to present new projects and to participate in curated group exhibitions.
Mónica Reyes Gallery is committed to presenting the work of artists who reflect the diversity of the visual arts community in Vancouver, BC. In particular, we are committed to providing space for artists to present narratives that are often underrepresented in many art galleries. MRG acknowledges it’s role as a commercial gallery in the Vancouver art community and recognizes the importance of continually reflecting on this position in relation to the ongoing impacts of colonialism within our institutional systems. We strive to centre the gallery’s programming around equity, diversity and inclusion and invite our community to engage with us to create a more just and sustainable future for the visual arts.
A project that was inspired by the pandemic and its need to return to the local and foster the community around us, Monica Reyes was one of the founding galleries of a new art fair, called COMBINE. It's purpose is to serve as a platform for new and aspiring art collectors to learn about the West Coast art scene and as an opportunity for seasoned collectors to discover the latest local talents. The predominant concept of collaboration is visible in the make-up of the fair, consisting of five Vancouver galleries and the emphasis of interconnected elements of artists, collectors, galleries, and institutions of this inaugural fair.
MRG's regular exhibition program and special events provide artists with opportunities for artists to show work that includes range of practices from more traditional forms of painting, sculpture and photography to experimental video, durational performance and installation.
We respectfully acknowledge that we live and work on unceded, traditional and ancestral xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish), and səl̓ilw̓ətaʔɬ (Tsleil-Waututh) territories.
NEWS FEED
CONTACT US
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602 E Hastings Street Vancouver, BC V6A 1R1 T. 604.339.2096 www.monicareyesgallery.com mr@monicareyesgallery.com opening hours: monday and tuesday 11am-2pm; saturday 12-4pm; and by appointment
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2895 W. 33rd Avenue Vancouver, BC V6N 2G3 T. 604.339.2096 www.monicareyesgallery.com mr@monicareyesgallery.com opening hours: wednesday - saturday 12-5pm; and by appointment
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