Menu
Morris and Helen Belkin Art Gallery

Search Results

← All events

Thursday, 2 Nov 2023 at 6:30 pm

THE CINEMATHEQUE, 1131 HOWE STREET, VANCOUVER

RSVP / Tickets

Film Series: Choreography of the Everyday

  • Carole Itter

    Carole Itter (Canadian, b. 1939) is an artist, writer, performer and filmmaker. Itter began her fine art studies at the University of British Columbia (1958, 1963) and continued at the Vancouver School of Art, now Emily Carr University (1959-1962), and at L’Accademia di Belle Arti in Rome (1964). Itter also worked seasonally at Theatre Under the Stars professional scene shop in Vancouver (1958-61). Solo exhibitions of her work include Western Front, Or Gallery, grunt gallery, Open Space, Vancouver Art Gallery and SFU Galleries’ Audain Gallery. Her work was included in WACK! Art and the Feminist Revolution at the Vancouver Art Gallery in 2008 and in Traffic: Conceptual Art in Canada 1965-80,which toured across Canadian institutions from 2010-13. She is the author of Whistle Daughter Whistle (1982) and with Daphne Marlatt, she compiled and edited Opening Doors (1979), an archive of oral history about Vancouver’s East End. Itter collaborated with artist and musician Al Neil and joined him at the Blue Cabin in North Vancouver in the late 1970s, which was the start of a residency that would span more than thirty-five years. The cabin was a place of inspiration and art production for her while she maintained her residence and studio in the Vancouver neighbourhood of Strathcona, where she has lived since the early 1970s. Itter’s work is included in the collections of the Morris and Helen Belkin Art Gallery, SFU Galleries, Vancouver Art Gallery, Burnaby Art Gallery, Surrey Art Gallery, Nanaimo Art Gallery, Canada Council Art Bank and Vancouver Public Library. She was awarded the VIVA award (1989) and the Audain Prize (2017).

    Read More

  • Justine A. Chambers

    Justine A. Chambers is an artist and educator living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations. Her movement-based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances “that are already there”–the social choreographies present in the everyday. Her choreographic projects have been presented at Libby Leshgold Gallery (Vancouver), Culture Days (Toronto), Contemporary Art Gallery (Vancouver), Helen and Morris Belkin Gallery  (Vancouver), Sophiensaele (Berlin), Nanaimo Art Gallery, Artspeak (Vancouver), Hong Kong Arts Festival, Art Museum at the University of Toronto, Cantor Fitzgerald Gallery at Haverford College (Haverford, PA), Agora de la Danse (Montréal), Festival of New Dance (St. John’s), Mile Zero Dance Society (Edmonton), Dancing on the Edge (Vancouver), Canada Dance Festival (Ottawa), Dance in Vancouver, The Western Front, and the Vancouver Art Gallery. She is Max Tyler-Hite’s mother.

    Read More

On the occasion of the exhibition Carole Itter: Only when I’m hauling water do I wonder if I’m getting any stronger, the Belkin, in collaboration with The Cinematheque, presents a series of short films delving into the artist’s works. These films illuminate the choreography of the everyday within Itter’s artistic realm. Following the screening, there will be a conversation between the artist and Justine Chambers—representatives of two generations of Vancouver artists deeply dedicated to exploring, mining and making sense of the choreography that defines our everyday lives.

Itter’s exhibition at the Belkin highlights the artist’s multidisciplinary works and archival materials from the 1960s to the present. Revealing her attention to locality, language and choreography, the title references Itter’s writing and points to her self-reflexive labour as an artist, as a woman and as an inhabitant of shacks, old houses and cooperatives on the West Coast.

In the short films A Fish Film (2003), The Float (1993) and Tarpaulin Pull (2006), Itter poignantly showcases her contemplation of the places and communities that have shaped her life, through writings, drawings and tangible art, along with the choreography intertwined in her daily practice.

Screening in conjunction with this program is Yvonne Rainer’s Lives of Performers (1972), a film that further underscores the profound connections between art and life.

This event is free, but space is limited; to reserve your spot, visit www.thecinematheque.ca

IMAGE (ABOVE): Carole Itter, Luke Blackstone and Trudy Rubenfeld, The Float (still), 1993. Collection of the Morris and Helen Belkin Art Gallery, Carole Itter Archive

  • Carole Itter

    Carole Itter (Canadian, b. 1939) is an artist, writer, performer and filmmaker. Itter began her fine art studies at the University of British Columbia (1958, 1963) and continued at the Vancouver School of Art, now Emily Carr University (1959-1962), and at L’Accademia di Belle Arti in Rome (1964). Itter also worked seasonally at Theatre Under the Stars professional scene shop in Vancouver (1958-61). Solo exhibitions of her work include Western Front, Or Gallery, grunt gallery, Open Space, Vancouver Art Gallery and SFU Galleries’ Audain Gallery. Her work was included in WACK! Art and the Feminist Revolution at the Vancouver Art Gallery in 2008 and in Traffic: Conceptual Art in Canada 1965-80,which toured across Canadian institutions from 2010-13. She is the author of Whistle Daughter Whistle (1982) and with Daphne Marlatt, she compiled and edited Opening Doors (1979), an archive of oral history about Vancouver’s East End. Itter collaborated with artist and musician Al Neil and joined him at the Blue Cabin in North Vancouver in the late 1970s, which was the start of a residency that would span more than thirty-five years. The cabin was a place of inspiration and art production for her while she maintained her residence and studio in the Vancouver neighbourhood of Strathcona, where she has lived since the early 1970s. Itter’s work is included in the collections of the Morris and Helen Belkin Art Gallery, SFU Galleries, Vancouver Art Gallery, Burnaby Art Gallery, Surrey Art Gallery, Nanaimo Art Gallery, Canada Council Art Bank and Vancouver Public Library. She was awarded the VIVA award (1989) and the Audain Prize (2017).

    Read More

  • Justine A. Chambers

    Justine A. Chambers is an artist and educator living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations. Her movement-based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances “that are already there”–the social choreographies present in the everyday. Her choreographic projects have been presented at Libby Leshgold Gallery (Vancouver), Culture Days (Toronto), Contemporary Art Gallery (Vancouver), Helen and Morris Belkin Gallery  (Vancouver), Sophiensaele (Berlin), Nanaimo Art Gallery, Artspeak (Vancouver), Hong Kong Arts Festival, Art Museum at the University of Toronto, Cantor Fitzgerald Gallery at Haverford College (Haverford, PA), Agora de la Danse (Montréal), Festival of New Dance (St. John’s), Mile Zero Dance Society (Edmonton), Dancing on the Edge (Vancouver), Canada Dance Festival (Ottawa), Dance in Vancouver, The Western Front, and the Vancouver Art Gallery. She is Max Tyler-Hite’s mother.

    Read More

Related