Discover Heritage

The WALL

A public art initiative

Past Exhibits

Since 2010, this outdoor installation has featured artworks of both upcoming and established artists, exploring the theme of Vancouver’s built environment. Information on previous installations is listed below.

2021 – ShowBoat by Kim Kennedy Austin 

ShowBoat is a composite image weaving together archival images of the built and natural environment. These naturally occurring and constructed elements mirror and replicate each other. Using as reference the CBC and City of Vancouver Archives, different viewpoints and time periods are collapsed and collaged together like fragments of memory. In patterning and stitching these images in wool, a tapestry is formed across a grid of plastic canvas.

2020 – “The Giant Hand and the Birth of Gianthropology” by Henri Robideau

In the grand scheme of Vancouver’s heritage, outdoor advertising occupies a fluid place in our collective memory, representing trends and passing fads that encapsulate the eras in our lives. The neon period from 1925 to 1960 is perhaps the city’s most heralded example of its transition from a gloomy rain-soaked sawmill town to vibrant metropolis. At the peak of this glowing epoch there were thousands of electrified gas-filled glass tubes in the Terminal City’s neon jungle. A big hiccup in this bright-lights-big-city story came with the blackouts of World War II when civil defence restrictions led to a new category of no neon outdoor advertising known as “spectaculars”.

2019 – “Night Prowl” by Deanna Bowen

Deanna Bowen’s artistic practice concerns itself with histories of Black experience in Canada and the US. Her focus is the “dark matter” in our midst: that which remains overlooked, not because it is impossible to find but because it is uncomfortable to acknowledge, due to the systematized racism it might expose. Through her work, Bowen asks demanding questions about who records history, reactivating historic documents from overlooked archives through a process of extraction, translation and enlargement, and then reinserting this material into public consciousness in a new form.

2018 “Building A – Livestock Building” by Henry Tsang

Building A – Livestock Building is an infrared photograph of the 1929 Livestock Building located on the Pacific National Exhibition (PNE) fairgrounds. The image has been captured by a thermal imaging camera, normally used by the construction industry, which has been designed to display differences in temperature by detecting light rays that are invisible to the human eye.

2017 – “Excavations” by Michael Love

Excavations is a composite image made from numerous archival photographs of Vancouver, with the earliest images dating back to the 1880s. Elements from selected photographs were reconfigured to build an impossible architectural structure growing out of a landscape destroyed by logging. Excavations expresses the challenge of piecing together a complete history through the archive and its inherent biases, while also retaining the complexity of Vancouver’s history and ever-changing built environment.

2016 – “Picture window” by Emily Neufeld

Our homes are repositories for our memories. As our homes are renovated and changed over time, our memories of them are also overwritten. When a home is demolished, those repositories of lived experiences are destroyed. We may have mementos in the form of photographs of the space, maybe a home video, but the physical materials imbued with histories of deep, personal, human interactions disappear. When a physical vessel for memories is demolished, it weakens the memory itself – so how well do our memories survive as we are continually displaced, and our homes are eventually dismantled?

2015 – “down.town.” by Faith Moosang

down. town. is a large-scale composite photograph created from 164 individual film frames, video stills and digital photographs gleaned from the CBC Archives and Wikimedia Commons. There were three questions behind the work – how many buildings have been demolished in downtown Vancouver between 1954 and 2015, how many of these demolitions were considered newsworthy and how does one represent the notion of absence or missing?

2014 – “Fountain: the source or origin of anything” by Laiwan with support from Centre A

Chosen from the CBC’s analogue media archives, the image is a frame from the 16mm film Summer Afternoon (1956), which follows the adventures of two children near Keefer and Columbia Streets along the northern shores of False Creek – areas that have since been filled in as land. The openness of this moment – of easy access to water, sightlines to a distant shore, and reflection of boats floating beneath the Old Georgia Viaduct – mirrors a space of extended imagination, a fluidity of consciousness.

2013 – “the people are the city. the people are the city, the people are the city” by Paul de Guzman

History is often perceived as an objective account of significant events and facts. These facts are a distillation of historical memory accumulated from personal and monumental truths. As a society, we accept the notion that some experiences are more suited for official historical documentation while most remain within the realm of personal experiences. These personal and everyday experiences are what inform “the people are the city …”.

2012 – “Alvin Armstrong, Room at the Roxy, March 11, 1957.” Curated by CBC Vancouver Media Librarian, Christine Hagemoen

In the early days of TV production, set design was an integral part of the entire production. The ‘set’ established the visual feel and informed the viewer about the concept of the production. According to a 1957 edition of the CBC Times, an in-house produced programme guide, “A television set must be more than just a striking backdrop. It must also be functional.” The set designer’s job is to design the physical surroundings in which all the action will take place. “TV cameras and mike booms are big and unwieldy and trail yards of cable behind them. So the set must allow them to be got from one point to another when the producer calls for them to follow the play’s action”.

2011 – “News of the Whole World” by Holly Ward

News of the Whole World consists of a digital image of a small-scale architectural model loosely based on a combination of Russian Constructivist Agitational Stands and theatrical stage designs.

2010 – “Last Chance” by Eric Deis

In Eric Deis’ architecturally-scaled photograph Last Chance, the image of a small house is framed by a large cedar tree on one side and condominium sales office on the other. In the background, the presence of a residential tower suggests a similar fate for the little house at 1062 Richards Street. The photograph was taken just months before the owner ended her resolute stand off and sold her home of 45 years to make way for advancing development.

Past Events