Exhibitions

• Up and Down: Downtown Eastside Architecture

  ARNI HARALDSSON
  March 15–April 19, 2003

  Arni Haraldsson’s photographs of buildings in the Downtown Eastside show us that to understand this neighbourhood and its politics and its fate, you must understand architecture. Shot from public and private spaces with the aid of local residents, these photographs show us a neighbourhood we didn’t know existed: a beautiful and stately procession of century-old hotels. Landmarks like the Carnegie, the Empress, and the Regal are given their due, and that staple of film noir, the alley, is provided for our edification. But this exhibition does not shy away from the seamier side of the DES, and grimy gated condos are shown in all their tired gentrification chic. Accompanying the exhibition will be a set of postcards, with Haraldsson’s photographs on one side and texts ­ imaginary messages ­by Burnham, on the other side. Taking on the voices of various DESers ­from tourists and the police to activists and residents, artists and workers—­these messages explicitly connect Haraldsson’s imagery with the social context of the neighbourhood: the language of architecture and the architecture of language.

  Born in Iceland and based in Vancouver since 1979, Arni Haraldsson has been exhibiting his work nationally and internationally since the the mid-1980s. He received his Master of Fine Arts from the University of British Columbia in 1990, and currently teaches at Emily Carr Institute of Art and Design. Since the late-1980s, ths scope of Haraldsson’s photographic work has expanded from an exploration of the lost aspirations of the utopian principle of modernism to an emphasis on the design and social life of the city. His interest in the city as subject centres on the the notion of urban space as a type of monad which encapsulates the characteristic features of the social and economic structure of our present age.

  Clint Burnham was born in Comox in 1962 and has lived in Vancouver since 1995. He teaches at UBC and Emily Carr. His work includes a collection of short stories, Airborne Photo, a work of theory, The Jamesonian Unconscious, a book of poetry, Buddyland, and the performance installation (with Mark Laba) Cop Puppet, which was at Artspeak gallery in 1999. For three years Clint was academic coordinator of the Humanities 101 program, a liberal arts introduction at UBC for low-income students; he has also taught poetry classes with the Carnegie street program, a humanities program with the Elizabeth Fry society in New Westminster, and a creative writing class for seniors on Commercial Drive. He is currently at work on a book about Vancouver photo-conceptual art, in which he locates the critical aesthetics of the Vancouver school in terms of local social, geographic, and historical conditions, rather than international art & theory.

  All works courtesy of the artist and Catriona Jeffries Gallery, Vancouver.

  anarchive 22

  anarchive presents a selection of intriguing objects, catalogues, publications and artists’ books from our archive collection, investigating the relationship between visual art and writing.

  Bibliography

  Bellerby, Greg, ed. Vertical Cities, Vancouver: Charles H. Scott Gallery, 1999.

  Burnham, Clint, “Postmodernism is the Theory, Gentrification is the Practice: Jameson, Haraldsson, Architecture, and Vancouver”, Jameson Reader. Homer, Sean and Kellner, Douglas, ed., London: Palgrave, 2003.

  Brydon, Anne, at first sight: Arni Haraldsson, London: London Regional Art and Historical Museums, 1997.

  Kleyn, Robert, Beneath the Paving Stones, Vancouver: Charles H. Scott Gallery, 1993.

  Lawlor, Michael Christopher, Social Complex, Fredericton: Gallery Connexion, 1988.

  Ritchie, Christina, Arni Haraldsson: Firminy, Vancouver: Contemporary Art Gallery, 2001.

  Simon, Cheryl, “Arni Runar Haraldsson”, The Zone of Conventional Practice and Other Real Stories / À Propos de Conventions et Autres Fictions, Montréal: Optica, 1989, p. 211-222.

  Postscript 07: Andrew Sharpe and Kyla Mallett on Up and Down: Downtown Eastside Architecture (PDF)

• Joes I Know

  LORRAINE WEIDEMAN
  February 3–March 10, 2001

  Lorraine Weideman’s Joes I Know is a new series of honourific photographic portraits of G.I. Joe dolls from a pristine collection accumulated through the sixties and seventies. Using the devices of commemorative portraits, Weideman photographs the dolls in the collection as individuals, with an atmosphere of poignancy and loss—the toys resemble tragic heroes of mythic proportions. The Joes are bear identical facial scars, yet their eye colour and shape and skin colour varies, as does their fetishized accessories—dog tags, plumed helmets, weapons—these heroes are highly decorated.

  Weideman notes that “G.I. Joe first came on the market in 1964 at a New York Toy Fair—prior to that a ‘doll for boys’ was viewed with mixed feelings. This 12 inch figure has an articulated body based on the ubiquitous artists’ mannequin.”

  As a series, the portraits create a fascinating study of the representation of race, ethnicity, nationality and masculinity in popular culture. The elaborately detailed uniforms of a range of nations and ranks are reminders of the shifting allegiances between the U.S. and nations such as Japan, Russia and Germany over the past forty years. and the changing levels of public receptivity to the military through the the late sixties and early seventies and beyond.

• Cop Puppet

  CLINT BURNHAM, MARK LABA
  October 23–November 20, 1999

  ‘Clint Burnham and Mark Laba are Vancouver artists whose practice includes cutting open, stuffing, and sewing up toy animals in the context of political allegory.’

  As part of the city-wide performance festival Live at the End of the Century Artspeak is pleased to present a performance and installation by Clint Burnham and Mark Laba. Cop Puppet will begin with an opening night performance in the gallery, in which puppets stand in for local political figures and ‘spokespersons’. The performance props—surgically altered stuffed animal toys, freezers, obselete televisions and other ‘millennial signs’ found in thrift shops—will remain installed throughout the exhibition period along with pulp fiction paperbacks, and production stills from their video. The tape features Laba, the ‘Top Jewish Cop’ taking down Burnham in a basement suite drug bust using only accelerated invective and a set of hair clippers.

  Their Collaborative Crime Puppet Shows have included ‘Casey and Finnegan’s Drug Deal Goes Bad’ at LaQuena in 1997 and the ‘Molson Indy Princess Di Memorial Landmine & Syringe Race’ for Kootenay School of Writing in 1998. Real crime shows, kids’ programming, the local news and CNN overlap and merge in a hyped delivery of text and image.

  In addition to their performance work, Burnham and Laba are well known for their diverse range of writing practices. Laba’s Mack Bolen Poems was awarded the bpNichol chapbook award in 1996 and his food writing, such as ‘Who’s Who at Hooters’ have been published in CityFood Magazine. Burnham has been a frequent contributor to Boo Magazine and his most recent book is Airborne Photo, a collection of short stories.

  Copies of the screenplay will be available in the gallery.