Laiwan: Traces, Erasures, Resists highlights the artist's attention to the material and symbolic vocabularies of print and lens-based media between 1980 and 2000 and features her early interventions into the logic of the book form and the ideology of historical and encyclopedic genres. Guest curated by Amy Kazymerchyk, the exhibition title references processes related to printmaking, while also speaking to the absent narratives, redacted perspectives and critical refusals that are latent in official publications.

On January 17, Laiwan and curator Amy Kazymerchyk walked through the Belkin discussing their exhibition Laiwan: Traces, Erasures, Resists. The two touched on the latent traces, erasures and resists in the artistic and curatorial processes behind the exhibition. While the tour was to take place in front of a live audience, COVID-19 restrictions required that the conversation take place behind closed doors.

Over the course of her career, Laiwan has nurtured extended connections to many arts and community organizations across the city through her engagement with artist-run centres and her participation with queer, feminist, multicultural and visual art print publications. As a way of honouring and highlighting these relationships, the Belkin is cross-promoting events that Laiwan is engaged in across the city and more widely. This list is growing and changing; check often for updates.

From January to April, the Belkin's Outdoor Screen sets a number of works in relation to one another, drawing associations between the exhibition Laiwan: Traces, Erasures, Resists in the gallery, the longterm artist's residency in the Outdoor Art program and the affinities to be found with research partners on campus.

Laiwan: Traces, Erasures, Resists highlights the artist’s attention to the material and symbolic vocabularies of print and lens-based media between 1980 and 2000, and features her early interventions into the logic of the book form and the ideology of historical and encyclopedic genres. Since the early 1980s, Laiwan has made a meaningful contribution to Vancouver’s cultural ecology through her participation with numerous queer, feminist, multicultural and visual art print publications. In addition to the audio-visual works, Traces, Erasures, Resists presents Laiwan’s archive of public writing and community interventions. In addition to showing these writings and works in the gallery, the Belkin includes here a selection of the artist's writings for the duration of the exhibition.

The following are resources related to the artists in Laiwan: Traces, Erasures, Resists. This list is not exhaustive, but rather comprised of suggested readings compiled by researchers at the Belkin. These readings are intended to provide additional context for the exhibition and act as springboards for further research or questions stemming from the exhibition, artist and works involved. Following the introduction, resources are arranged along the themes of traces, erases and resists as explored through and adjacently to Laiwan’s work. This compilation is an evolving and growing list, so check back in the future for more additions.

Laiwan writes, "Begun in 1987 investigating the questions, What is an image? What is a photograph?, she who had scanned the flower of the world... is an ongoing project where I collect flowers from the city I am showing in, placing the petals into slide mounts."

African Notes Parts 1 and 2 are composed of photographs that Laiwan took on a trip home to her birthplace of Zimbabwe in 1982, two years after the country’s independence.