This audio clip constellates a set of relations stretching approximately ten years: from 1983, when Laiwan founded the artist-driven Or Gallery, to 1995, when Marcia Crosby curated the exhibition Nations in Urban Landscapes at CAG. As a form of intergenerational recounting, I spoke to Vitória Monteiro one Saturday afternoon in my East Vancouver laneway studio about this particular time and its significance to my formation as a young artist in Vancouver. I mention my involvement in the Others Among Others exhibition that ran parallel to the important In Visible Colours: Women of Colour and Third World Women International Film/Video Festival and Symposium, both in 1989. I also mention my first solo show (In)Authentic (Re)search at Women in Focus Gallery in 1990, curated by Karen Knights, as well as the prescient, still-extant installation made in the same year by my friend and fellow artist Kathryn Walter on the façade of the old CAG building that reads: “Unlimited Growth Increases the Divide.”
Curated into my body
This audio clip constellates a set of relations stretching approximately ten years: from 1983, when Laiwan founded the artist-driven Or Gallery, to 1995, when Marcia Crosby curated the exhibition Nations in Urban Landscapes at CAG. As a form of intergenerational recounting, I spoke to Vitória Monteiro one Saturday afternoon in my East Vancouver laneway studio about this particular time and its significance to my formation as a young artist in Vancouver. I mention my involvement in the Others Among Others exhibition that ran parallel to the important In Visible Colours: Women of Colour and Third World Women International Film/Video Festival and Symposium, both in 1989. I also mention my first solo show (In)Authentic (Re)search at Women in Focus Gallery in 1990, curated by Karen Knights, as well as the prescient, still-extant installation made in the same year by my friend and fellow artist Kathryn Walter on the façade of the old CAG building that reads: “Unlimited Growth Increases the Divide.”
Jin-me Yoon is a Korea-born, Vancouver-based artist whose work explores the entangled relations of tourism, militarism and colonialism. Since the early ’90s, she has used photography, video and performance to situate her personal experience of migration in relation to unfolding historical, political and ecological conditions. Through experimental cinematography and the performative gestures of family, friends and community members, Yoon reconnects repressed pasts with damaged presents, creating the conditions for different futures. Staging her work in charged landscapes, Yoon finds specific points of reference across multiple geopolitical contexts. In so doing, she brings worlds together, affirming the value of difference.
