Vancouver International Centre for Contemporary Asian Art

Gallery closure

January 8th, 2024

We are now closed to the public until March 2024 for renovation, which will help us better serve our future visitors. We look forward to seeing you soon!

Keefer St.mp3 & Centre A Tote Bag Launch

September 21st, 2023

Keefer St.mp3 & Centre A Tote Bag Launch

Friday, November 10, 2023

7 – 10 PM

Centre A

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Purchase your tickets for Keefer St.mp3, HERE.  

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We invite everyone to Keefer St.mp3 & Tote Bag Launch, Centre A’s end-of-year party that will be held simultaneously to our first-ever launch of our tote bags. Before we say our winter holiday goodbyes as we close our gallery for space renovations, we will be hosting a Y2K-themed party with our Tote Bag launch, where we have prepared a variety of throwback materials for you to customize your very own Centre A Tote Bag.

For the party, we also invite ticket holders to submit up to five of your favorite early 2000s music to contribute to the Keefer St.mp3 shared playlist that will be responsible for the tunes, all night long. 

For the tote bag launch, we will have a station where you can customize your tote bag with a range of patches, rhinestones, and markers to your liking. Regular tote bag price will be $30.  

There will be drinks, sangria, snacks, as well as a special Keefer St.mp3 cocktail that awaits. 

Keywords for dress code are: Y2K, 2000s, and throwback. 

Sliding Scale: $15 – $25

Pay it forward: Create a donation to Centre A for an X amount of tickets. We’ll pool the tickets and provide it to individuals or organizations of your recommendation. (If you’re donating through CanadaHelps, please write a memo on the notes.)

Regular Cover: $25

Friends of Centre A: Free entry

Tote Bag Launch Price: $10 (includes customization material) 

All else, email us at [email protected], and we’ll add you to the list of pooled tickets, generously provided by our Friends and supporters.

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*Become a friend of Centre A today to have the cover fee waived! 

*Centre A Tote Bags will be available for purchase at the event.


Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected].

Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.

Intimacy and Distances: Artist & Curator Talk

September 2nd, 2023

Intimacy and Distances: Artist & Curator Talk

Saturday, September 16, 2023

2 – 4 PM 

Centre A; 205 – 268 Keefer St., Vancouver, BC, V6A 1X5 

No RSVP required.

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Join us in person at Centre A for an artist talk in conjunction with our current exhibition, Intimacy and Distances, with Tokyo-based interdisciplinary artist Maiko Jinushi and guest curator Makiko Hara. The artist and curator will be joined by artist Akira Takaishi. Takaishi’s solo exhibition, Place Far Away From Anyone or Anywhere, at CSA Space is happening in collaboration with Centre A. 

Find out more about Intimacy and Distances here.

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Artist Biography:

Maiko Jinushi, born 1984 in Kanagawa, Japan. Lives and works in Tokyo. Jinushi obtained her MFA in Painting from Tama Art University in Tokyo, Japan, and recently participated in a residency at the Jan van Eyck Academie in Maastricht, the Netherlands in 2019-20. 

Her work has evolved from drawings and novels on themes of personal tales, to the creation of a new form of literary experience that comprehensively combines elements including video, installations, and performances. 

Her recent solo exhibitions include “MAM Project 031: Jinushi Maiko” (Mori Art Museum, Tokyo, 2023), “Brain Symphony” (Hospitale Project, Tottori, Art Center Ongoing, Tokyo, 2020), “Sound of Desires” (Hagiwara Projects, Tokyo, 2018). Recent group exhibitions include “Universal / Remote” (Contemporary Art Museum Kumamoto, Kumamoto, 2023), “Till We Meet Again IRL, Best Wishes, Asia-Art-Activism (Co-curated by Annie Jael Kwan, Arianna Mercado, Cuong Pham and Howl Yuan)” (Online, 2020), “The Yebisu International Festival for Art & Alternative Visions” (Tokyo Photographic Art Museum, Tokyo, 2019), “The Ecology of Expression -Remaking Our Relations with the World” (Arts Maebashi, Gunma, 2019), “Zero Gravity” (Matadero Madrid, Madrid, 2015), “Koganecho Bazaar 2014” (Koganecho area, Kanagawa, 2014). 

Artist Website: http://maikojinushi.com 

Akira Takaishi (born/resides in Japan, b.1985) has been creating land art, installations and implicit paintings showing distorted spaces using twisted perspectives. Through them, Takaishi focuses on hole-shaped structures as convoluted reflections of societal structures and individual identities, at times somewhere to escape into, and at the same time, be trapped by. Takaishi has had numerous solo and group shows, and recently also curated a group show ‘Subterraneans’ at Gallery ?M, Tokyo (2021).

Artist Website: http://www.akiratakaishi.com 

Curator Biography:

Makiko Hara is an independent curator, lecturer, writer, and art and cultural consultant based in Vancouver, BC. Makiko Hara received The Alvin Balkind Curator’s Prize in 2020. From 2007 to 2013, she was the Chief curator / deputy Director of Centre A —Vancouver International Centre for Contemporary Asian Art. She has worked with many visual artists on a variety of international projects as an independent curator, including: ScotiaBank Nuit Blanche, (Toronto, Canada, 2009), AIR YONAGO, Tottori Geijyu Art Festival (Yonago, Japan, 2014-15), Fictive Communities Asia-Koganecho Bazaar (Yokohama, Japan, 2014), Rock Paper Scissors, and Cindy Mochizuki, (Yonago City Museum of Art, Tottori, Japan, 2018). Hara was appointed to the Advisory director of the International Exchange Center, Akita University of Arts, Akita, Japan in 2017-2020. Hara is a co-founder of Pacific Crossings, BC based curatorial platform since 2018 that has initiated and organized numerous conversations, residency and online /off line cultural exchange across the pacific. Hara founded My Kitchen Anthropology Museum in 2020 in response to the Covid 19 Pandemic lockdown, and held Hank Bull and Marcia Crosby solo exhibitions. Recently Hara was a guest curator for Vancouver Art Gallery’s Offsite and curated Lani Maestro (2022-23) and Pedro Reyes (2023-24).   

Maiko Jinushi photo credits: Marisa Shimamoto. Akira Takaishi photo credits: Guenter Zorn.


Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected].

Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.

Intimacy and Distances

August 24th, 2023

Intimacy and Distances

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September 9 – November 10, 2023

Opening: September 9, 4 – 6 PM (remarks at 5 PM)

Curated by Makiko Hara 

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Current Gallery Hours:

Wednesday to Saturday, 12 PM – 6 PM*

*Subject to change as per COVID-19-related protocols. Face masks or face coverings are optional during your visit.

Intimacy and Distances, the first solo Canadian exhibition by Tokyo-based interdisciplinary artist Maiko Jinushi, consists of four recent video installations and preliminary drawings. For over a decade, Maiko Jinushi has been creating artworks examining relationships with others in unique ways through dialogue and collaboration with various artists. Using a wide range of media, including drawing, poetry readings, performance, and video installations, and quoting text from novels and poems, the artist describes her art practice of exploring a new way of story-telling as “a visual form of literary experience”. 

In this exhibition, the relationship between self and others is unraveled through the seemingly contradictory keywords “Intimacy” and “Distances”, reflecting the physical and emotional distance experienced during the Corona pandemic to explore intimate relationships with others through remote and digital communication.

Six years prior to this exhibition, in 2017, I invited Jinushi to Vancouver to present a new live work for the LIVE International Performance Art Biennial at the Western Front. She collaborated with Vancouver-based sound artist and percussionist John Brennan on a live public video recording performance called Sound of Desires. As an audience member, through the improvisational dialogue between Jinushi and Brennan, the drum sounds, and one’s own attempts to interpret the elements of each, the experience of time and space became fraught with considerable tension and drama, a physical sensation and emotional “energy” of the intimate exchange. How could such dynamic and intimate relationships with others actualize through remote, digital communication?

The works in the Intimacy and Distances exhibition were largely created during the physical and emotional distancing of the recent Covid pandemic. They are experiments reflecting on the experience to explore ways of communicating intimate feelings with others through digital media in post pandemic times. 

Lip Wrap / Air Hug / Energy Exchange, a short animation in the first room, is a prologue message depicting the artist’s sense of entrapment, anxiety, and distance from family and friends in the early period of the lock down, describing the desire for a possibility of an exchanging intimate sensation not involving physical contact. The poem was written in pre-pandemic in 2018 as a kind of prescient imagining of near-future human connections in a digital society.

A Detective in Mexico City, quotes, and reinterpretes as looking through smartphones and monitors, the poem “Generation of Electric Eyelids” (in English translation), by Chilean novelist Roberto Bolaño, whom Jinushi often refers to in admiration through her artworks. In a remote collaboration, Jinushi asked a friend in Mexico City to shoot a video of lovers on the street with a smartphone, as if stalking them. Later she revisited the same location, alternating the original footage with scenes in which the lovers were absent. Combined with Bolaño’s poem, grumbling about his ex-lover, the work is structured to cross the gap into multi-layered memories of time and place. 

On Telepathy, in the last room, was a pre-pandemic work, but it resonates with the idea of digital exchangeability through cameras and monitors. The invisible exchange of energy emerged between three videographers and Jinushi through the concept of “telepathy”. The invisible power of manipulation can also be interpreted as the mind-control of consciousness through various media in the modern society we live in.

Looking at these works again now that travel is no longer restricted, and social distancing and the wearing of masks have been largely forgotten, we may rethink different impressions. However, they remind us how our current relationship with others has transformed into digital exchangeability through the computer monitor and smartphones. These works appear a reflection of the invisible. Multi-layered exchanges of energy through remote, distanced technology.

Maiko Jinushu’s video works open up a variety of interpretations through poetic fragments of the reality we face in our daily lives. The exhibition, Intimacy and Distances offers a forum for dialogue about how we can reconstruct new relationships between self and others with technology in an uncertain and transforming contemporary society.” 

– Makiko Hara (Curator)

 

This exhibition is co-presented with Akira Takaishi’s solo exhibition, Place Far Away From Anyone or Anywhere at CSA Space curated by Steven Tong. (Online link, here)

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Artist Biography

Maiko Jinushi, born 1984 in Kanagawa, Japan. Lives and works in Tokyo. Jinushi obtained her MFA in Painting from Tama Art University in Tokyo, Japan, and recently participated in a residency at the Jan van Eyck Academie in Maastricht, the Netherlands in 2019-20.

Her work has evolved from drawings and novels on themes of personal tales, to the creation of a new form of literary experience that comprehensively combines elements including video, installations, and performances.

In 2017, Jinushi created a performance “Sound of Desires” in collaboration with a sound artist John Brennan at Western Front, Vancouver, for the LIVE International Performance Art Biennale.

Her recent solo exhibitions include “MAM Project 031: Jinushi Maiko” (Mori Art Museum, Tokyo, 2023), “Brain Symphony” (Hospitale Project, Tottori, Art Center Ongoing, Tokyo, 2020), “Sound of Desires” (Hagiwara Projects, Tokyo, 2018). Recent group exhibitions include “Universal / Remote” (Contemporary Art Museum Kumamoto, Kumamoto, 2023), “Till We Meet Again IRL, Best Wishes, Asia-Art-Activism (Co-curated by Annie Jael Kwan, Arianna Mercado, Cuong Pham and Howl Yuan)” (Online, 2020), “The Yebisu International Festival for Art & Alternative Visions” (Tokyo Photographic Art Museum, Tokyo, 2019), “The Ecology of Expression -Remaking Our Relations with the World” (Arts Maebashi, Gunma, 2019), “Zero Gravity” (Matadero Madrid, Madrid, 2015), “Koganecho Bazaar 2014” (Koganecho area, Kanagawa, 2014).

Artist Website: http://maikojinushi.com

Curator Biography

Makiko Hara is an independent curator, lecturer, writer, and art and cultural consultant based in Vancouver, BC. Makiko Hara received The Alvin Balkind Curator’s Prize in 2020. From 2007 to 2013, she was the Chief curator / deputy Director of Centre A —Vancouver International Centre for Contemporary Asian Art. She has worked with many visual artists on a variety of international projects as an independent curator, including: ScotiaBank Nuit Blanche, (Toronto, Canada, 2009), AIR YONAGO, Tottori Geijyu Art Festival (Yonago, Japan, 2014-15), Fictive Communities Asia-Koganecho Bazaar (Yokohama, Japan, 2014), Rock Paper Scissors, and Cindy Mochizuki, (Yonago City Museum of Art, Tottori, Japan, 2018). Hara was appointed to the Advisory director of the International Exchange Center, Akita University of Arts, Akita, Japan in 2017-2020. Hara is a co-founder of Pacific Crossings, BC based curatorial platform since 2018 that has initiated and organized numerous conversations, residency and online /off line cultural exchange across the pacific. Hara founded My Kitchen Anthropology Museum in 2020 in response to the Covid 19 Pandemic lockdown, and held Hank Bull and Marcia Crosby solo exhibitions. Recently Hara was a guest curator for Vancouver Art Gallery’s Offsite and curated Lani Maestro (2022-23) and Pedro Reyes (2023-24).   

 

Supported by Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture)

Centre A would like to acknowledge the generous support of Canada Council for the Arts, BC Arts Council, and Vancouver City Council, the Simon Fraser University David Lam Centre, and the Toshiaki Ogasawara Memorial Foundation for the realization of this exhibition.

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Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected]. Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.

// Liminal Futures // Curatorial Conversation

July 22nd, 2023

// Liminal Futures // 

Curatorial Conversation 

Thursday, July 27, 2023

12 – 1:30 PM 

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No registration required. 

We would like to invite everyone to the public critique and discussion of Centre A’s current exhibition // Liminal Futures // with UBC CCST MA Candidate Diane Hau Yu Wong and Laura U. Marks.

Moderated by Erin Silver and Nuno Porto of the UBC Critical and Curatorial Studies MA Program, the public critique and discussion will be followed by an audience Q&A.

This program is presented in partnership with the Killy Foundation and the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at The University of British Columbia.

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Diane Hau Yu Wong (She/Her) is a Cantonese-Canadian emerging curator based on the unceded territories of the Musqueam, Tsleil-Waututh and Squamish First Nations. She received her BFA in Art History from Concordia University and is currently an MA Candidate in the Critical Curatorial Studies program at the University of British Columbia. She is also the Programming Manager at Centre A: Vancouver International Centre for Contemporary Asian Art and has curated exhibitions at espace pop, Art Matters Festival, Nuit Blanche, articule, and Centre A. She was the inaugural recipient of the articule x MAI Curatorial Mentorship in 2020/2022 and the 2020 Momus Emerging Critics Residency program.

Her curatorial practice and research are broadly based on the intersection between technology and new media art, predominantly focusing on the world-building possibilities of different iterations of Futurism, such as Afrofuturism, Indigenous Futurism, and Asian Futurism. She is particularly interested in examining the depiction of Asian bodies as cyborgs and non-humans in science fiction through Techno-Orientalism and the current development of Asian Futurism.

Laura U. Marks: I work on media art and philosophy, with an intercultural focus and an emphasis on appropriate technologies. My fifth book, The Fold: From Your Body to the Cosmos, is forthcoming from Duke University Press. With Azadeh Emadi I co-founded the Substantial Motion Research Network. I founded the Small File Media Festival, and lead research on the carbon footprint of streaming media. A Fellow of the Royal Society of Canada, I teach in the School for the Contemporary Arts at Simon Fraser University.

Find out more about the exhibition HERE.


Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected].

Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.

 

Film Screening of SuperNova & Artist Talk with Rah Eleh

July 21st, 2023

Film Screening of SuperNova & Artist Talk with Rah Eleh

Friday, August 11, 2023

2 – 3:30 PM PDT 

Zoom Webinar

Register HERE.

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Join us via Zoom for a film screening of Rah Eleh’s SuperNova followed by an artist talk, facilitated by the curator of // Liminal Futures //, Diane Hau Yu Wong. The artist talk will be followed by a short Q&A period. 

SuperNova (2019, 14:50 min.) is a talent show parody that consists of seven characters the artist performs. The performers are Oreo, Fatimeh, and Coco and each of their acts examine issues of race and ethnic performance; Oreo performs a magic trick with a deck of white “race cards,” Fatimeh sings and performs a neo-orientalist ethnic identity and Coco performs a dance as a diasporic and hybrid subject. The talent show sets an ideal stage to critically examine race and ethnic performance. 

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Artist Biography: 

Rah Eleh is a video, digital and performance artist and a PhD candidate at the die Angewandte in Vienna, Austria. Rah’s work has been exhibited extensively both nationally and internationally at spaces including: Venice Biennale (ECC Palazzo Mora), Nuit Blanche (Toronto), Museum London, Carleton University Art Gallery (Ottawa), Williams College Museum of Art (Williamstown, Massachusetts), Miami Art Basel, Nieuwe Vide (Haarlem, Netherlands), Pao Festival (Oslo, Norway), Kunst Am Spreeknie (Berlin, Germany), Kunsthaus Graz Museum (Graz, Austria), and Onassis Cultural Center (Athens, Greece). She has been the recipient of numerous awards including: Longlisted for the 2023 Sobey Art Award, Chalmers Arts Fellowship, several CCA, OAC and Toronto Arts Council grants, and a SSHRC Canada Graduate Scholarship for her MFA and her PhD. She has been awarded several residencies including the Intergenerational LGBTQ Artist Residency (Toronto Island, 2019), Koumaria Residency (Greece, 2016), Studio Das Weisse Haus (Vienna, 2014) and the Artslant Georgia Fee Residency (Paris).

Diane Hau Yu Wong (She/Her) is a Cantonese-Canadian emerging curator based on the unceded territories of the Musqueam, Tsleil-Waututh and Squamish First Nations. She received her BFA in Art History from Concordia University and is currently an MA Candidate in the Critical Curatorial Studies program at the University of British Columbia. She is also the Programming Manager at Centre A: Vancouver International Centre for Contemporary Asian Art and has curated exhibitions at espace pop, Art Matters Festival, Nuit Blanche, articule, and Centre A. She was the inaugural recipient of the articule x MAI Curatorial Mentorship in 2020/2022 and the 2020 Momus Emerging Critics Residency program.

Her curatorial practice and research are broadly based on the intersection between technology and new media art, predominantly focusing on the world-building possibilities of different iterations of Futurism, such as Afrofuturism, Indigenous Futurism, and Asian Futurism. She is particularly interested in examining the depiction of Asian bodies as cyborgs and non-humans in science fiction through Techno-Orientalism and the current development of Asian Futurism.

Image courtesy of Rah Eleh.


Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected].

Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.

Chris Hamamoto and Federico Pérez Villoro: Unseen.Garden

July 13th, 2023

Unseen.Garden

Project by Chris Hamamoto and Federico Pérez Villoro

Software development by Greg Monroe

Sound design by Tiger Dingsun

July 13 – December 15, 2023

Web-based project 

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Check out Unseen.Garden, HERE.

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This website compiles a series of stock-image timelapses displaying flowers blooming and decaying with auto-generated captions added to them by a custom-made program. Viewers can toggle between various stages in the machine vision model’s training progress as they are presented with a new plant every time the page is loaded. 

The project explores the intransferability of meaning between text and images and the reproduction of taxonomic orders in both stock imagery and machine vision. A technical reenactment of NeuralTalk, an early model designed to write sentences that describe images’ contents, this adaptation of it for contemporary computers exposes the limits of object recognition technologies — its inaccurate outcomes make explicit the unstable relation between images and their conceptual representations.

The ability for computers to segment and operationalize visuals as textual data marks a major shift in the role of photographs today. In the case of NeuralTalk, and this derivative, the algorithms over-identifies human forms due to their architecture and training datasets. By applying the software to images of plants in stages of transformation, this exploration makes cite of the anthropocentric mischaracterization coded into machines and the capabilities of computer vision when confronted with information that falls outside of a specific worldview.

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Artist Biography:

Chris Hamamoto and Federico Pérez Villoro’s collaborative work investigates the impact of emerging technologies in contemporary culture and politics. 

Chris is based in Seoul, South Korea and works as a designer and educator. He is an assistant professor at Seoul National University, and has taught at Rhode Island School of Design, California College of the Arts, and University of San Francisco. 

Federico is an artist and researcher living and working in Mexico City. In 2019, he founded Materia Abierta, a summer school on theory, art, and technology and has served as a faculty at the Rhode Island School of Design and the California College of the Arts. 

Chris and Federico have lectured as schools such as ETH Zurich, Rutgers University, CalArts, The New School, UNAM, KARTs, and Hongik University and their work has been exhibited, published and recognized by institutions such as Printed Matter, the Walker Art Center, OCAT Shenzhen, The Serving Library, Gwangju Design Biennale, IDEA Magazine, and the Yerba Buena Center for the Arts.

 

Poster design by Chris Hamamoto and Federico Pérez Villoro.


Accessibility: The gallery is wheelchair and walker accessible. If you have specific accessibility needs, please contact us at (604) 683-8326 or [email protected].

Centre A is situated on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. We honour, respect, and give thanks to our hosts.