Not Extinct: Keeping the Sinixt Way
Marilyn James, Taress Alexis, and the Blood of Life Collective

The Fogg Gallery, Not Extinct presents an immersive audio experience of Sinixt stories. The exhibition invites you to step inside the pages of the book by the same name. Enlarged illustrations and original artworks provide a backdrop for recorded readings while quotes from the book give a contextual background. The heritage courthouse that houses Gallery 2 is fundamentally a symbol of colonial power whose legacy continues to underpin everything that we do. Within the larger national conversation about Truth and Reconciliation with Indigenous people, it is often difficult to know where to begin. Not Extinct provides a step – through hearing the stories we can begin to acknowledge that there were other people here first. Indigenous stories are an oral tradition; this exhibition is first and foremost an audio experience. As with all stories, there are lessons to be learned – in order for that to happen, the stories must be told – and heard.

Sanguine Through the Storm
Robyn Moody

The Reid Gallery, Sanguine Through the Storm takes a hard look at the unsettling times that we live in; acknowledging the breakdown of evidence based discourse and ultimately finding inspiration and hope in human ingenuity. Robyn Moody’s ambitious installation began as an homage to clever repair for leaky pipes – strings of linked buckets drip water from the ceiling, activating lights within and music from a vintage organ. What began as a joyful treatment of space and material results in a cacophony of light and sound that reflects our collective anxiety. The installation takes advantage of the double height volume of the Reid Gallery, juxtaposing the coffered wooden ceiling details and vintage stained glass clerestory windows with multi-coloured hardware store buckets and utilitarian tubing. The experience of Sanguine Through the Storm manifests the cognitive dissonance surrounding the current global political and ecological climate, eliciting conflicted emotional responses.

The Muriel Lake Incident
Janet Cardiff and George Bures Miller

The West Gallery, The Muriel Lake Incident invites viewers to the cinema.

Within the large plywood box, you look over a miniature model movie theatre constructed in hyper perspective. A western noir plays on the screen. Put on the headphones, and you become immersed in a classic theatre experience. Recorded using binaural audio, the audio gives you the sensation that you are sitting in an actual movie theatre. Beside you, there is rustling and your companion asks if you’d like popcorn.  A multi-layered storyline emerges that combines the content of the film with the whispering of your accomplice. All the elements converge on a surprise ending. As a viewer, you become by turns a voyeur, witness, and participant in the narrative. Ultimately, this piece will displace you and question what constitutes a “real” experience.