Beginning with the Seventies
Ruins in Process: Vancouver Art in the Sixties

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Postscript
UBC Master of Fine Arts Graduate Exhibition 2018

Aileen Bahmanipour, Christopher Lacroix, Cameron McLellan, Candice Okada, Madiha Sikander

The Morris and Helen Belkin Art Gallery is pleased to present Postscript, an exhibition of work by the 2018 graduates of the University of British Columbia’s two-year Master of Fine Arts program: Aileen Bahmanipour, Christopher Lacroix, Cameron McLellan, Candice Okada and Madiha Sikander. This program in the Department of Art History, Visual Art and Theory is limited each year to a small group of four to six artists, who over the two years foster different sensibilities developed within an intimate and discursive working environment.

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Beginning with the Seventies
Radial Change

How is an archive formed? Memories of performance often exceed the containment of the document, whether photography, film, prop or testimony. As communities disperse and regroup over time, figures may slip away from the centre. Circling around the embodied archive, the exhibition Radial Change is drawn from the title of a dance work by Helen Goodwin. Evann Siebens and Michael de Courcy have created new works in film, photography, sound and performance to explore the elusive histories of Goodwin’s choreography and her influence on the interdisciplinary art scene of the 1970s. Works and objects from the Belkin’s collection and archive track the performance of alter egos and overturn gender constructs, including Kate Craig’s film record of the final death-defying flight of Lady Brute and Jin-Me Yoon’s Hey You, Ya You! (Jimmie Yoo), among many others.

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Beginning with the Seventies
Activism, Art & Archives

The Morris and Helen Belkin Art Gallery is pleased to announce the launch of Beginning with the Seventies: Activism, Art & Archives, an ongoing project investigating the 1970s, an era in which social movements of all kinds – feminism, environmentalism, LGBTQ rights, access to health services and housing – began to coalesce into models of self-organization. Many non-profit organizations formed in Vancouver to provide direct assistance, engender and distribute new knowledge, and resist forms of oppression, thereby creating a network that overlapped with the production of art and culture. The history of these organizations and their founders is preserved across archives, collections and networks; these resources vary in terms of public accessibility and are not well known to younger producers. We speculate: what if these archival materials are examined through an interdisciplinary lens that includes art and cultural practices?

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