got art?
Irma Arkus, The Peak

Last year, SWARM, organised by The Pacific Association of Artist Run Centres (PAARC), made an unprecedented impact in Vancouver. The concept was simple: all the galleries in Vancouver have a grand opening night with pieces from local artists. The public is invited and, equipped with a small map, some enthusiasm and a critical eye, is given a chance to observe, mingle with and meet the artists. In other words, "It's a party, and everyone's invited." I even gave it a fond nickname: the ultimate schmooze party. Party-plus-art cannot be bad in my book, especially when it includes that ever-needed dress-up excuse. So last week, when I finally got a glossy poster with SWARM written all over it, I rejoiced, jumping up and down, my little sweaty palms gripping onto the schedule with excitement. I should have saved my strength. I found out, to my dumbfounded amazement and sorrow, that more than a few galleries closed last year because of that pesky money thing. The surviving spaces, however, held within them more than a few nuggets of precious and interesting ideas.

Onepointsix gallery held an exhibit by Elizabeth Graham of ingenious mixed media pieces featuring geographic and architectural elements of Vancouver's grandeur, some of which are endowed with those funky painted glass panels that gave them a multi-layered look. Right next door at Helen Pitt Gallery, Andrew Dadson's struggle with photography and suburbia was experiencing a full glory. His "Aforementioned" was one of those surprising pieces - think large colour photo - that have the capacity to present something as boring as a view of pavement from one's patio as beautiful and intriguing.

Centre A Gallery, known for its pedestrian-style photography, did it again. Mo Sa'lemy, a Vancouver-based artist, got his first spotlight at Centre A by combining photographs from Iran with images of Ayatollah Khomeini, a cultural icon and leader of an Islamic fundamentalist movement in Iran. Some turned out to be quite interesting, but most I found odd and creepy because of the very spirit of fundamentalism displayed. The most interesting part of the exhibit was the careful tip-toe of visitors. Absolutely frightened and conscious of 9/11 events, they approached the subject of Khomeini with confusion and awe, accentuated by displays of religious tolerance - all of which I despise intensely, because it deprives a show of any potential for independent thought, questioning or criticism.

The Crying Room held a solo exhibit, 40, by Ann Catton. Possibly one of the best SWARM shows this year, 40 approached the subject of drugs, their status in our society and their altering effects on the human body. A short set of photos showing labelled bottles of prescription drugs faced another wall lined with photos of repossessed cocaine bags. Grams of fluffy cocaine sitting like some snowy substance in a plastic bag was enough to get the questions of legal versus illegal drugs, consumerism and the role of packaging out in the open.

One of the funniest pieces was Laura Madera's Private Moments in Public Spaces at the Blinding Light Cinema. A station wagon with a projector aimed at the back seat window showed a set of passengers doing what all station wagon couples do. Madera's work is an interesting, charming piece of art that will capture everyone's attention for a good few minutes.

Artspeak Gallery,on the other hand, was strangely disappointing and annoying at the same time. A wall lined with EasyFile boxes, either for storage of luggage or dead bodies (I couldn't figure out which) is one of those exhibits that is supposed to make you wonder. A few white lab-coat artists walking around asking for guesses and responses regarding the ugly EasyFile boxes were enough to get me frustrated after not getting any answers in return.

Despite all the show and tell, SWARM seemed somehow smaller this year, the schedule tighter, and the crowds too young. The most frustrating bit of the evening though, was the announced Alibi Room after party, which must have been some kind of a nasty marketing trick. Arriving with sore feet and in need of refreshments, the last thing I expected was to be sent away. A small swarm of SWARM visitors gathered outside, all gaping in disbelief when told that the Alibi Room after party had turned into a private event and that there was no entry because they were full. We all felt cheated, but after sneaking a peek inside, I realised that it was okay because they all looked like Yaletown clones - I wouldn't have liked them anyway.

[ Back to issue 3 ] [ Send The Peak a comment on this story ]

The contents of The Peak are protected by copyright. For information on rights regarding specific articles (including reprinting, where applicable), please contact epeak@mail.peak.sfu.ca with the full URL of the content in question.