The Or Gallery / 30th Anniversary

Seemed Like a Good Idea at the Time  Aleesa Cohene, Alex Da Corte, Jon Pylypchuk, Markus Vater September 11 - October 23, 2010 Curated by Kim Nguyen

A project of the Helen Pitt Gallery.

Scott McFarland New Works  January 10 - February 8, 1998

Buddy Palace  Jason McLean, Lisa Prentice, Brian Jungen, Christine Corlett May 03 — May 24,  Curated by Geoffrey Topham and Reid Shier

"Douglas Scott’s installation at the OR Gallery consists of shelved plaster tablets which contain randomly selected library texts about the city of Vancouver."

Ingrid Bachmann Berlin Stories July 6 - July 31, 1993

Julie Arnold List  February 9 - February 27, 1993

Kyla Mallett and Allison Hardy, Zin Taylor Secondhand  October 13 - November 10, 2001

Matthew Buckingham Creative Destruction  10 September - 22 October, 2011

Recent Past: Ian Wyatt presents his Slow Riffs project at the last rendition of the Clamour and Toll series, curated by Eli Bornowsky 

A still moment before the re-launch of Vancouver Anthology in 2011

Tangential to Podesva’s colourschool project*, Brown Globe marks the first in a series of colour studies undertaken by the artist that engages exclusively with the colour brown. Despite its regular appearance in everyday life, the colour brown does not exist on the visible light portion of the electromagnetic spectrum, and, as pigment, cannot be made without mixture. It posesses no pure, nor singular, nor truly opposite form…It is a special case.

Work by Terrence Houle from 2010's Friend or Foe Exhibition

Karin Bubas, Trevor Mahovsky, Scott Myles Monument Valley  November 21 - December 19, 1998

Tyler Ingolia Somewhere  March 21 - April 18, 1998 Curated by Geoffrey Farmer

Public Speakers is a collective of autonomous cells in five cities that commissions and presents new public lectures for a popular audience

Using materials derived from a camping vernacular (tent poles, beer bottles, wire, found speaker, recovered electronics, metal pot, AA batteries), Uzelman assembles a shortwave receiver with the goal of making attributes of the campsite’s ‘hertzian space’ audible. Herzian space is a term sometimes used to describe the invisible landscape of the electromagnetic spectrum, complete with electrogeography and electroclimate. Uzleman’s practice has long involved the use of found and salvaged materials, and with her recent work she takes increasing interest in expanding this practice to include found radio waves — normally invisible and inaudible, yet highly regulated for use by government and commercial interests.