Persistence of Vision
Holly Ward
June 11 - July 23, 2011 

Holly Ward’s interdisciplinary practice is centered on ideas surrounding social progress and political power, and serves to examine the role of art within this. In Persistence of Vision, Ward investigates symbolic strategies of resistance and the use of utopian discourse as a starting point for revolution. The exhibition creates a linkage between contemporary spaces of protest and historical representations of the “utopian” city square. Featuring new sculptural and print work, the exhibition is an extension of Ward’s ongoing interest in social engagement and the utopian imaginary.

Post-script 43: Jeff Dirksen on Holly Ward

Work Friends
Tricia Middleton
August 1 - August 31, 2011


Comprised of various sculptural works, Work Friends addresses issues of value, modes of display, and the instability of material relations. The installation includes six awkward, oddly shaped plinths that in their non-uniformity are reminiscent of forms that range from anthropomorphized figures to haunting cityscapes. Built from the misshapen and broken brick remnants of Middleton’s 2009 exhibition Dark Souls (Musee d’art contemporain, Montreal), the plinths create unlikely and uneven arrangements that radically transform from day to night.


Divya Mehra, There’s just not enough to go around. (2011) white cake with fruit, custard filling and whipped topping, mahogany British parlour table circa 1890, dimensions variable. For The Party is Over. Photo by Blaine Campbell. 

Divya Mehra, There’s just not enough to go around. (2011) white cake with fruit, custard filling and whipped topping, mahogany British parlour table circa 1890, dimensions variable. For The Party is Over. Photo by Blaine Campbell. 

The Party is Over: Divya Mehra, Your Turn Next (You’ve Got the Juice Now), 2011, off-site aerial advertising, red nylon sailcloth, 60” x 1080”. photo: Blaine Campbell

The Party is Over: Divya Mehra, Your Turn Next (You’ve Got the Juice Now), 2011, off-site aerial advertising, red nylon sailcloth, 60” x 1080”. photo: Blaine Campbell

FINITE+INFINITE An Exhibition in Three Parts: Dan Graham, Opposing Mirrors and Video Monitors on Time Delay, 1974, (installation view) mirror and closed circuit video and time delay, video camera, and monitor. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund. First installed at Palais des Beaux-Arts, Bruxelles, 1975. Photo: Blaine Campbell

FINITE+INFINITE An Exhibition in Three Parts: Dan Graham, Opposing Mirrors and Video Monitors on Time Delay, 1974, (installation view) mirror and closed circuit video and time delay, video camera, and monitor. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund. First installed at Palais des Beaux-Arts, Bruxelles, 1975. Photo: Blaine Campbell

Poste Restante (installation view), 2011. Photo: Blaine Campbell. 

Poste Restante (installation view), 2011. Photo: Blaine Campbell. 

Placeholder: Robert Arndt, Placeholder, (installation), 2011. Photo: Blaine Campbell

Placeholder: Robert Arndt, Placeholder, (installation), 2011. Photo: Blaine Campbell