All posts by pwpadmin

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Please follow paulwongprojects on Instagram – my favourite platform .

Please follow paulwongprojects on Instagram – my favourite platform .

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#mimmic #mobile #interactive #modular #multiscreen #ipad #canvas #work-in-progress by @ paulwongprojects #software by @Patrick Daggitt Developed by On Main Gallery .#installation #mediaart #book

 

@paulwongprojects

#mimmic #mobile #interactive #modular #multiscreen #ipad #canvas #work-in-progress by @ paulwongprojects #software by @Patrick Daggitt Developed by On Main Gallery .#installation #mediaart #book

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#multiscreen,
#ipad,
#canvas,
#mediaart,
#installation,
#mimmic,
#mobile,
#work,
#modular,
#book,
#software,
#interactive,

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Mainstreeters: Taking Advantage 1972-82 exhibition Satellite Gallery Jan.8-March…

Mainstreeters: Taking Advantage 1972-82 exhibition Satellite Gallery Jan.8-March 14, 2015 co-presented by Presentation House Gallery and grunt gallery. Curated by Allison Collins & Michael Turner


MAINSTREETERS: Taking Advantage, 1972 – 1982

http://grunt.ca/exhibitions/mainstreeters-taking-advantage/Exhibition Dates: January 9 – March 14, 2015Exhibition Location: Satellite Gallery (560 Seymour, 2nd Floor, Vancouver, BC)The Mainstreeters—Kenneth Fletcher, Deborah Fong, Carol Hackett, Marlene MacGregor, Annastacia McDonald, Charles Rea, Jeanette Reinhardt and Paul Wong—were an “art gang” who took advantage of the times, a new medium (video), and each other. Emerging from the end-stage hippie era, the gang drew from glam, punk and a thriving gay scene to become an important node in the local art scene. Their activities connect the influential interdisciplinary salon of Roy Kiyooka in the early 1960s with the collective-oriented social practices that emerged worldwide in the early years of the 21st century.

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Scott Billings 'Fall' @waap Will Aballe Art Projects #videoart #projection #installation #film

 

@paulwongprojects

Scott Billings ‘Fall’ @waap Will Aballe Art Projects #videoart #projection #installation #film

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#videoart,
#installation,
#projection,
#film,

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April 10, 2015 in Venice, Italy A MOVING Paul Wong, 2013 Video. 18:21 min., col…

April 10, 2015 in Venice, Italy

A MOVING
Paul Wong, 2013
Video. 18:21 min., color, stereo

A performance created and presented in the context of ‘ Letters’ an exhibition of 1968 paintings by Michael Morris at the Belkin Gallery.

Dance performed and created by Rob Kitsos and Kim Stevenson with music by Martin Gotfrit. The title of this new dance is taken from a discussion in 1982 between Monroe Beardsley, Sally Banes, and Noel Carroll about the nature of what constitutes dance movement. This debate, which continues today (and was challenged in the post-modern dance movement in the 1960s) hinges on the difference and the context between the way we move in everyday life and the added “vigor, fluency, expansiveness or stateliness” found in ‘dance’ movement. “A Moving” pushes the boundaries of this question in the context of a contemporary moving installation.

Performed March 29, 2012 in conjunction with “Letters: Michael Morris and Concrete Poetry Exhibition”, Jan. 12 – Apr. 8 Belkin Art Gallery, Vancouver, BC.

Credits:
Choreographer: Rob Kitsos
Performers: Katie DeVries, Rob Kitsos, Kim Stevenson
Music: Martin Gotfrit
Paintings: Michael Morris
Video Concept: Paul Wong
Camera: Brian Gotro & Paul Wong

Distributor: Vtape

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http://www.disfiguringidentity.com/portfolio/paul-wong-2/

 

http://www.disfiguringidentity.com/portfolio/paul-wong-2/


Paul Wong | Disfiguring Identity
www.disfiguringidentity.com
“25 years ago, I looked around and didn’t see what I wanted to see, and that was work that spoke to me about questions that I was asking, questions that had denied answers by my community, my family, and particularly the art world, the film and television industries. I set out to answer some of thos…

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RUPTURES IN ARRIVAL: ART IN THE WAKE OF THE KOMAGATA MARU JORDAN STROM Excerpt…

RUPTURES IN ARRIVAL: ART IN THE WAKE OF THE KOMAGATA MARU JORDAN STROM

Excerpt from the essay. THE BOOK @disruptingidentity.com, published March 21, 2015

Paul Wong’s 3-channel video Class of 2000 (2000) layers together image-text relationships, revealing the language of xenophobia and racism that is so often rooted in fear and misinformation. in these three short videos, Grade 12 students from vancouver’s Sir charles tupper Secondary School were recorded stating the following phrase: “My name is __, i was born __, i am a refugee, i am a __ and i want to be __.”21 wong creates a video assemblage of pictures, words, graphics and images depicting racist, sexist, political and religious social unrest, highlighting acts of institutionalized racism and xenophobia. Class of 2000 explores the use of everyday racial, sexist and homophobic slurs that equally enforce how we, as a society, construct and apply stereotypes. with these videos the
artist juxtaposes those things that are used to divide people against the hopes and dreams of individuals who strive to succeed and contribute as canadians. each video was originally made for presentation on television. they were produced as part of the canadian race relations Foundation’s “unite Against racism” campaign and were first aired on January 15, 2000. evident in some of the background scenes is footage from the detention of migrants from the Fujianese ships that arrived on british columbia’s west coast in 1999.
As hamid naficy has pointed out, “in tandem
with the globalization of capital and the mobility
of peoples and goods, the integrity, security, sovereignty and protection of physical borders have assumed heightened attention, budgets
and resources.” According to naficy, “national borders [increasingly] hardened into sacrosanct and highly militarized edifices over which passive but intrusive surveillance-driven cold wars, as well as active and particularistic lethal hot wars, are being waged throughout the world.”22 wong’s video montage captures this shift, in addition to the equally damaging process of naming associated with xenophobia within the culture at large.
mediatized image: mass aRRival
and evan lee

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#book In The Wake Of The Komagata Maru #website disfiguringidentity.com launch #projection #art #migration #exile #symposium #artist @soar55 @tommychain @cindy_mochizuki @yuenkenneth @steven.tong @summerpervez @vivekshraya @naveengirn onmaingallery.com surreyartgallery

 

@paulwongprojects

#book In The Wake Of The Komagata Maru #website disfiguringidentity.com launch #projection #art #migration #exile #symposium #artist @soar55 @tommychain @cindy_mochizuki @yuenkenneth @steven.tong @summerpervez @vivekshraya @naveengirn onmaingallery.com surreyartgallery

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Camp Potlatch | PAUL WONG PROJECTS
paulwongprojects.com
This is a re-staging of Kenneth Fletcher’s original for-the-camera performance in 1976. This performance was based on a handful of black & white photographs taken by Paul Wong. This was re-staged as a live event for the Mainstreeters: Taking Advantage 1972-82 exhibition at the Satellite Gallery, Jan…

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Mo Simpson taking in 'in ten sity' at last day of exhibition. Overcome with emot…

Mo Simpson taking in 'in ten sity' at last day of exhibition. Overcome with emotion seeing the work again, she was at original performance dec. 6, 1978 at Vancouver Art Gallery

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Sunday, March 15 Free

 

Sunday, March 15 Free


Art this week: Counterculture legacies and celebrating Gordon Smith
www.vancouversun.com
Tune into the counterculture of the ’60s and ’70s as curators, critics and artists present talks, screenings and performances exploring the era’s cultural legacy.

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#tbt #1979 Final week Mainstreeters:Taking Advantage 1972-82 #exhibition @satellitegallery #vancouver #mainstreeters are coy about the origin of the name S.S. Girls. An inflammatory moniker devised to both shock and offer a retort to the seriousness of the art world, the girls often adopted blank looks and totalitarian gestures as part of their performative and public personae. A literal representation can be found in photographic documentation of the group's Drag Balls (1976 –1980), where Carol Hackett appears in a Nazi uniform. Another playful take on the S.S. moniker occurs on the set of Slow Scan (1978), where both Deborah Fong and Jeanette Reinhardt are seen with the double-sig rune insignia of the Nazi Schutzstaffel written in black felt pen on the undersides of their arms. Overt political overtones gave way to more benign understandings, as Jeanette refers to her semi-regular "sewing and swimming" dates with Carol. Regardless of its origin, the S.S. Girls (which emerged after the passing of Kenneth Fletcher) reiterated a collective identity for Deborah Fong, Carol Hackett, Annastacia McDonald and Jeanette Reinhardt. Paul Wong, as the missing S.S. Girl, serves as both a foil and a director of the group. After their appearance in Slow Scan, and a stint on stage at the Living Arts Performance Festival, the S.S. Girls, with Paul, took part in tour de '4' (1980) and its video follow-up, '4' (1980).

 

@paulwongprojects

#tbt #1979 Final week Mainstreeters:Taking Advantage 1972-82 #exhibition @satellitegallery #vancouver #mainstreeters are coy about the origin of the name S.S. Girls.

An inflammatory moniker devised to both shock and offer a retort to the seriousness of the art world, the girls often adopted blank looks and totalitarian gestures as part of their performative and public personae. A literal representation can be found in photographic documentation of the group’s Drag Balls (1976 –1980), where Carol Hackett appears in a Nazi uniform. Another playful take on the S.S. moniker occurs on the set of Slow Scan (1978), where both Deborah Fong and Jeanette Reinhardt are seen with the double-sig rune insignia of the Nazi Schutzstaffel written in black felt pen on the undersides of their arms.

Overt political overtones gave way to more benign understandings, as Jeanette refers to her semi-regular "sewing and swimming" dates with Carol. Regardless of its origin, the S.S. Girls (which emerged after the passing of Kenneth Fletcher) reiterated a collective identity for Deborah Fong, Carol Hackett, Annastacia McDonald and Jeanette Reinhardt. Paul Wong, as the missing S.S. Girl, serves as both a foil and a director of the group. After their appearance in Slow Scan, and a stint on stage at the Living Arts Performance Festival, the S.S. Girls, with Paul, took part in tour de ’4′ (1980) and its video follow-up, ’4′ (1980).

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#mainstreeters,
#vancouver,
#exhibition,
#1979,
#tbt,

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These photographs are few, but only small fragments of time before I was born….

 

These photographs are few, but only small fragments of time before I was born. I walked the room immediately overcome with the plethora of information that surrounded me. My eyes were racing from wall to wall. They danced about like a schizophrenic. Images of an era so far from me , but yet so close. It was a feeling as if I could have been there, or that I could have found my face somewhere inside these moments. My impossible yet extremely wishful thinking, had gotten the better of me.
It struck me long and hard, seeing their instant film cameras now replaced with an app on your phone.
Their film video presented in old tube televisions screen, so honestly. Their documentation from old transcribed notes, to friends and loved ones turned artifact.
Paintings of daily objects, such as coffee filters. Photography of murder scenes, in fallen snow.


Mainstreeters, Taking Advantage 1972-1982 @ Satellite Gallery
lesartefact.tumblr.com
These photographs are few, but only small fragments of time before I was born. I walked the room immediately overcome with the plethora of information that surrounded me. My eyes were racing from wall…

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CURATORS INTRODUCTION TO EXHIBITION MAINSTREETERS: Taking Advantage, 1972 – 1982…

CURATORS INTRODUCTION TO EXHIBITION
MAINSTREETERS: Taking Advantage, 1972 – 1982
January 8 to March 15, 2015

This exhibition surveys the activities of a group of artists and creative practitioners who lived along Vancouver's Main Street, the traditional dividing line between the city's working-class multicultural east side and its more affluent anglocentric west side. Based on a foundation of childhood friendships and shared residences, the "Mainstreeters," as they were known, took up art on their own terms and on their own turf, drawing the art world into their East Vancouver orbit as they explored and contributed to the city's larger cultural ecology.

The exhibition traces the evolution of a gang whose core formed at Vancouver’s Charles Tupper Secondary in 1968, when Kenneth Fletcher, Deborah Fong, Jeanette Reinhardt and Paul Wong entered eighth grade. Meetings with older students Annastacia McDonald and Charles Rea soon followed, as did the arrival of Marlene MacGregor from Toronto and Carol Hackett, who attended high school in Vancouver's West End. The Mainstreeters eschewed formal art education for learn-as-you-go, hands-on experience. While still in high school, they participated in large-scale community arts events, taking advantage of exploratory workshops in video, both as students and as teachers. Like the "digital natives" of today, the Mainstreeters travelled the city with cameras, recording their findings, stagings, arguments and experiments. For this self-described "art gang," video was a means to rehearse, edit, duplicate and distribute their world – as art.

At the time of their graduation, half of the Mainstreeters were employed by the Vancouver Art Gallery's Extension Program (Stadium Gallery, later Satellite Gallery), where meetings with Michael Goldberg led to their involvement in the creation of Video Inn and accelerated their interest in media. The gang also formed relationships with the Fluxus-influenced Western Front, an artist-run centre with an international reach whose "eternal network" included collectives like Toronto's General Idea, whom the Mainstreeters collaborated with on a 1978 Slow-Scan performance, and Willoughby Sharp, who hosted the gang's S.S. Girls during their 1980 Tour de 4 stop in New York City.

The Mainstreeters came of age at a time when abstracted landscape painting remained a dominant regional mode, and when internationally-oriented art-as-life manifestations and photo-based conceptual strategies had only just announced themselves. In the space between these stories, the group acts as a hinge, linking the interdisciplinary Vancouver salons of the early 1960s to the more participatory "social practices" of today. At the same time, they developed an artmaking methodology as rigorous as those associated with the city's more discursive research-based practices. As friends and roommates, the Mainstreeters excelled at creating social spaces, organizing events of an increasing scale that resulted in the first of five gender-busting "drag balls," the last of which was formalized in 1980 as a ticketed event at a public hall. By then the gang had explored a downtown demimonde that included emergent artist collectives like Pumps, as well as the nouveau riche art-collecting enclave of West Vancouver (through the Vancouver Art Gallery's Karen McDiarmid). More importantly, the Mainstreeters had successfully challenged an art world whose notions of art were formed primarily by schools, studios, textbooks and museums.

Over the course of their ten post-high school years, the Mainstreeters’ videotapes (most of which exist as "sketches" of their lives and ideas) became less collective. The gang remained connected throughout the 1980s, and involved in one anothers' lives and projects; but where there was active collaboration in works like ‘4’ (1980), or committed interventionist performance, such as in ten sity (1979), individually-motivated pieces like Paul Wong's Prime Cuts (1981) utilized the Mainstreeters as a work force and an expert production crew. Confused Sexual Views (1984) follows Prime Cuts as a signature Paul Wong project, and the subsequent controversy surrounding its rejection by the Vancouver Art Gallery, and an ensuing legal battle, left Wong, the solo artist, taking a principled stand in the community. Not a break-up, per se, this moment marks an end to the productive era of the Mainstreeters’ collective artistic activities. Gang members by then had became more singular in their pursuits, no longer preoccupied by what danced in the cracks of their city, or Main Street itself, which became increasingly gentle and less familiar as the division of Vancouver began to shift from east-west to north-south.

Allison Collins and Michael Turner
Curators

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#mainstreeters #eastvan 10×10" crest stitched red & white thread on black cloth based on design by Annastacia McDonald . limited edition #art $80 cdn #vancouver takingadvantage.ca

 

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#mainstreeters #eastvan 10×10" crest stitched red & white thread on black cloth based on design by Annastacia McDonald . limited edition #art $80 cdn #vancouver takingadvantage.ca

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Revolution Countrer Revolution FUSE video by The Screen Girls

 

Revolution Countrer Revolution FUSE video by The Screen Girls


FUSE: Revolution Counter Revolution

http://thescreengirls.com/fuse-revolution-counter-revolution/ The latest FUSE party, titled “Revolution Counter Revolution” gave the city a chance to interact with…

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Hot Item Available Now Main Streeters East Van crest based on original two macj…

Hot Item Available Now
Main Streeters East Van crest based on original two macjacket denim vests 2015 created by Annastacia McDonald
Limited Edition Crest 10"x 10" , red & white thread stitched on black cloth $80.
Wear the colours with pride.

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Hot Item Available Now Main Streeters East Van crest based on original two macj…

Hot Item Available Now
Main Streeters East Van crest based on original two macjacket denim vests 2015 created by Annastacia McDonald
Limited Edition Crest 10"x 10" , red & white thread stitched on black cloth $80.
Wear the colours with pride.

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FINAL WEEK to see Mainstreeters: Taking Advantage exhibition . I will be there 2…

 

FINAL WEEK to see Mainstreeters: Taking Advantage exhibition . I will be there 2-4pm Saturday, March 14, 2005


Part 1: “Mainstreeters: Taking Advantage 1972-1982” curated by Allison Collins and Michael…
vancouverartreview.wordpress.com
Finding the right way to discuss the show currently on at Satellite Gallery, “Mainstreeters: Taking Advantage 1972-1982” has been difficult. I’ve opted to split my review into two parts, the first …

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#livingthedream @berlinmstiller #photograph @nneale @flowerfactory @jewelietteshop @gruntgallery @satellitegallery @foxcabaret #mainstreeters , takingadvantage.ca

 

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#livingthedream @berlinmstiller #photograph @nneale @flowerfactory @jewelietteshop @gruntgallery @satellitegallery @foxcabaret #mainstreeters , takingadvantage.ca

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The #bride & #groom #selfie #extraordinary #mainstreeters #dragball #dragqueen #dragking #makeup shoutout to @jewelietteshop for the #bling and to the #gorgeous @berlinmstiller #best #husband Thanks to @flowerfactory and Frocks for #weddinggown

 

@paulwongprojects

The #bride & #groom #selfie #extraordinary #mainstreeters #dragball #dragqueen #dragking #makeup shoutout to @jewelietteshop for the #bling and to the #gorgeous @berlinmstiller #best #husband Thanks to @flowerfactory and Frocks for #weddinggown

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#groom,
#extraordinary,
#dragball,
#selfie,
#makeup,
#husband,
#mainstreeters,
#bride,
#bling,
#dragqueen,
#gorgeous,
#weddinggown,
#best,
#dragking,

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Woah got the #jewels #bling #new #vintage #pearls #rhinestones #shoutout to @jewelietteshop @flowerfactory for making a girl feel and look fabulous so ready 4 #mainstreeters #dragball @foxcabaret

 

@paulwongprojects

Woah got the #jewels #bling #new #vintage #pearls #rhinestones #shoutout to @jewelietteshop @flowerfactory for making a girl feel and look fabulous so ready 4 #mainstreeters #dragball @foxcabaret

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tags
#bling,
#vintage,
#rhinestones,
#jewels,
#mainstreeters,
#dragball,
#new,
#pearls,
#shoutout,

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