Gabi Dao

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This spring, the Contemporary Art Gallery is pleased to present *Previously Viewed*, a series of artist-curated film screenings. Inviting artists from CAG’s recent and upcoming programming to present films that have been formative to their thinking and practice in some way, each screening is a one-night-only event centered on a single feature-length work.

###  
gabi dao has selected *A Useful Ghost* (2025).

> I selected *A Useful Ghost* in light of Wim Wenders’ self-congratulatory statement at this year’s Berlinale that the film world should “stay out of politics.” Director Ratchapoom Boonbunchachoke exemplifies how cinema can be fresh, humorous and a very necessary, contemporary political critique in our time of escalating fascism and oppression.

> Steeped in a lineage of Southeast Asian ghost stories, the film's use of haunting as a form of active remembering that resists erasure resonated with me. Aspirationally rigorous in form and content, Ratchapoom skillfully crafts a story of forbidden ghost-human, cross-class romance, collusion and Thailand’s 2010 Red Shirt massacre. In this film, the real horror isn't the motley cast of possessed household electronics, but a world that forgets violent abuses of government power.

> -gabi dao  

###  
Run time: 130 minutes.

### RSVP
Registration for this event is encouraged; tickets are free. Secure your seat [here](https://www.eventbrite.ca/e/gabi-dao-selects-a-useful-ghost-2025-tickets-1984347506810). 

Rush tickets will also be made available the day of the event, starting at 6:45pm. 

### Accessibility
This event will be held in CAG’s B.C. Binning Gallery, which is wheelchair accessible. Additional accessibility information can be found [here](https://cagvancouver.org/visit/accessibility). This film will be presented with closed captioning. 

###  Biography
gabi dao’s practice is invested in how entanglements with natural and supernatural worlds shape notions of belief and belonging, frequently culminating as sculpture, installation, experimental films, collage, and scent. Through methodologies of gathering, breaking, repairing, listening, and collaboration, their practice insists on blurry temporalities, sensory affirmations and ways of knowing otherwise. Their work often begins within the slippages of “history,” archives and storytelling – towards channeling ineffable tensions between grief and joy, dissidence and complicity, disassociation and sentimentality.

dao’s work has been presented at the National Gallery of Canada, Ottawa; Vancouver Art Gallery; Morris and Helen Belkin Art Gallery, Vancouver; Radius CCA, Delft, NL; Vincom Centre for Contemporary Art, Hà Nội, VN; and the 36th Ljubljana Biennale of Graphic Arts, where they were awarded the Research Residency Award; and has been screened at e-flux Screening Room, New York; Sàn Art, Sài Gòn, VN; and numerous festivals including the BFI London Film Festival and International Film Festival Rotterdam. dao holds an MFA from Piet Zwart Institute and has been in residence at Triangle Astérides, Marseille, FR; EKWC, Oisterwijk, NL; and Jan van Eyck Academie, Maastricht, NL. They are represented by Unit 17.  

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gabi dao presents A Useful Ghost (2025)

Previously Viewed

Faye HeavyShield

[RSVP](https://www.eventbrite.com/e/cag-faye-heavyshield-presents-of-mice-and-men-1939-tickets-1984436926266 "button")

This spring, the Contemporary Art Gallery is pleased to present *Previously Viewed*, a series of artist-curated film screenings. Inviting artists from CAG’s recent and upcoming programming to present films that have been formative to their thinking and practice in some way, each screening is a one-night-only event centered on a single feature-length work.

###  
Faye HeavyShield has selected *Of Mice and Men* (1939).

> Everything and nothing specific about (the memory of) seeing this film as a child, though thinking of it here, I would call it an experience of birth and after-birth.

> My early childhood was spent in relative isolation. On a cattle ranch at the north end of the reserve that my father managed for the Blood Band. Horses, cows, chickens, and dogs, and television was new. Dada hunted deer and each one was a feast. Calves and foals were born and there was blood each time.

> *Of Mice and Men* tells of loyalty, heroes, land, love, brutality, hopes, and dreams.

> These I recognized — even before knowing of this writer John Steinbeck and before watching this movie — as all things present in Sommitsikanaki’s/gramma Kate’s voice relating the adventures of Kutoyis, Napi and our world of living with rocks and animals with whom we shared our language. So there is that power of a good story animated through another medium: film. It would happen that this shift in lens, perspective (reality, even) would evolve and serve me well. I don’t know if it was over time or something innate, but I am thankful to be both participant and observer. That liminality of neither here nor there, but here And there. The time at St. Mary’s Residential School necessitated a place of retreat, when I couldn’t be with family. Books and pictures did that. In particular, I am reminded of my first time reading. That first time, when marks became meaning. And those first words I deciphered on my own were “the dark pony.” I consider it more than a thread through this life as not that long ago, my son and I took a 14-hour drive, there and back, during which we listened to *Blood Meridian*.

> -Faye HeavyShield

###  
Run time: 107 minutes.

### RSVP
Registration for this event is encouraged; tickets are free. Secure your seat [here](https://www.eventbrite.com/e/cag-faye-heavyshield-presents-of-mice-and-men-1939-tickets-1984436926266). 

Rush tickets will also be made available the day of the event, starting at 6:45pm. 

### Accessibility
This event will be held in CAG’s B.C. Binning Gallery, which is wheelchair accessible. Additional accessibility information can be found [here](https://cagvancouver.org/visit/accessibility). Note: This film will be presented without closed captioning. 

###  Biography
Faye HeavyShield is a member of the Blackfoot Confederacy from the Kainai (Blood) Nation in the foothills of Southern Alberta. She is a fluent speaker of the Blackfoot language and studied at the Alberta College of Art and Design in Calgary. HeavyShield has exhibited in solo and group exhibitions across Canada, including Nations in Urban Landscapes, Contemporary Art Gallery, Vancouver; rock paper river, Gallery Connexion, Fredericton; Into the Garden of Angels, The Power Plant, Toronto; and blood, Southern Alberta Art Gallery, Lethbridge. Her work is held in collections including the National Gallery of Canada, Ottawa; the McMichael Canadian Art Collection, Kleinburg; the Heard Museum, Phoenix; the Glenbow Museum, Calgary; and the MacKenzie Art Gallery, Regina. She is the recipient of an Eiteljorg Native American Contemporary Art Fellowship, and received both the Lieutenant Governor of Alberta Distinguished Artist Award and the Gershon Iskowitz Prize in 2021.  

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Faye HeavyShield presents Of Mice and Men (1939)

Ser Serpas

[RSVP](https://www.eventbrite.com/e/cag-ser-serpas-presents-lake-mungo-2008-tickets-1984438266274 "button")

This spring, the Contemporary Art Gallery is pleased to present *Previously Viewed*, a series of artist-curated film screenings. Inviting artists from CAG’s recent and upcoming programming to present films that have been formative to their thinking and practice in some way, each screening is a one-night-only event centered on a single feature-length work.

###  
Ser Serpas has selected *Lake Mungo* (2008).

> *Lake Mungo* is a mockumentary that follows a ghost story and a missing-persons case, slowly unraveling a family at the seams. It presents itself as honest, almost documentary, but the truth it reveals is murky and unstable. What remains unseen becomes more disheveled than what’s shown. Its harrowing, unresolved loop stretches the emotional meaning across layers of family, memory and fabrication. That cyclical uncertainty, the sense of retreading gestures rather than resolving them, feels aligned with how I think about exhibition making, not as closure, but as the re-enactment of a rehearsed tragedy or farce, where value lies in the repetition itself.

> -Ser Serpas 

###  
Run time: 88 minutes.

### RSVP
Registration for this event is encouraged; tickets are free. Secure your seat [here](https://www.eventbrite.com/e/cag-ser-serpas-presents-lake-mungo-2008-tickets-1984438266274). 

Rush tickets will also be made available the day of the event, starting at 6:45pm. 

### Accessibility
This event will be held in CAG’s B.C. Binning Gallery, which is wheelchair accessible. Additional accessibility information can be found [here](https://cagvancouver.org/visit/accessibility). This film will be presented with closed captioning. 

###  Biography
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include presentations at the Kunsthalle Basel, Switzerland; the Pinault Collection, Bourse de Commerce, Paris; and Swiss Institute, New York. Serpas has also participated in group exhibitions at the Rubell Museum, Miami; Aïshti Foundation, Beirut; MoMA PS1, New York; the 2024 Whitney Biennial, New York; the 2024 El Museo del Barrio Triennial, New York; Musée d’art moderne et contemporain Genève; Bonner Kunstverein, Germany; Haus am Waldsee, Berlin; Istituto Svizzero, Rome; Centre d’Art Contemporain Genève; Hammer Museum, Los Angeles; Punta della Dogana, Venice; and Kunsthalle Fribourg, Switzerland. Serpas has solo exhibitions upcoming at Kölnischer Kunstverein, Germany (Fall 2026) and at CAG (opening April 16).

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Ser Serpas presents Lake Mungo (2008)

Christine Sun Kim

[RSVP](https://www.eventbrite.com/e/cag-christine-sun-kim-presents-who-framed-roger-rabbit-1988-tickets-1984437752738 "button")

This spring, the Contemporary Art Gallery is pleased to present *Previously Viewed*, a series of artist-curated film screenings. Inviting artists from CAG’s recent and upcoming programming to present films that have been formative to their thinking and practice in some way, each screening is a one-night-only event centered on a single feature-length work.

###  
Christine Sun Kim has selected *Who Framed Roger Rabbit* (1988).

> I was eight when *Who Framed Roger Rabbit* came out, and it had a big impact on how I tell stories and how I look for connections. It centered on an almost non-existent group of characters known as the Toons of Toontown. The town exists only within Hollywood and was under threat of being erased, or “dipped.” The Toons found themselves threatened by outside forces and changes they struggled to adapt to. Meanwhile non-Toons called the shots. Ultimately, however, the Toons prevailed. Perhaps this reminded me of the constant battles we disabled people face against society and all the ableist laws and mindsets that try to erase us. Much of my art aims to stake a position of visibility and permanence amid a pervasive ableist culture that is sometimes subtle and subconscious and sometimes overt and in your face. So I identify with the Toons and their antic struggles to evade being dipped. 

> I have to give a big shout out to Christopher Lloyd for his role as the supervillain Judge Doom. *Back to the Future* was released in 1985, *Who Framed Roger Rabbit* in 1988, and *Back to the Future Part II* in 1989, placing Roger Rabbit squarely between the two Future films. Seeing Lloyd shift from the good scientist Doc to this deranged and terrifying villain and then back again was seared into my memory. It’s just acting, but young me saw this as a spectrum of human morality, from diligent heroism to true darkness. It’s important to note that this film was made in the ’80s and is full of misogynistic stereotypes and damaging Hollywood tropes, which really stood out to me when I recently rewatched it. But I can’t deny its impact on me.

> -Christine Sun Kim 

###  
Run time: 104 minutes.

### RSVP
Registration for this event is encouraged; tickets are free. Secure your seat [here](https://www.eventbrite.com/e/cag-christine-sun-kim-presents-who-framed-roger-rabbit-1988-tickets-1984437752738). 

Rush tickets will also be made available the day of the event, starting at 6:45pm. 

### Accessibility
This event will be held in CAG’s B.C. Binning Gallery, which is wheelchair accessible. Additional accessibility information can be found [here](https://cagvancouver.org/visit/accessibility). This film will be presented with closed captioning. 

###  Biography
Christine Sun Kim has crafted a renowned practice that considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humor are all recurring elements in her practice. Working across drawing, performance, video and large scale murals, Kim explores her relationship to spoken and signed languages, to her built and social environments, and to the world at large.

Kim has exhibited and performed internationally, including at the Whitney Museum of American Art, New York (2025); Gwangju Biennale (2023); Secession, Vienna (2023); Queens Museum, New York (2022); the Drawing Center, New York (2022); the Museum für Moderne Kunst, Frankfurt (2021); Manchester International Festival, Manchester (2021); MIT List Visual Arts Center, Cambridge (2020); Whitney Biennial, New York (2019); Buffalo AKG Art Museum, Buffalo (2019); Art Institute of Chicago (2018); San Francisco Museum of Modern Art (2017); De Appel Arts Center, Amsterdam (2017); Berlin Biennale (2016); Shanghai Biennale (2016); MoMA PS1, New York (2015) and the Museum of Modern Art, New York (2013), among numerous others. Kim’s awards and fellowships include an MIT Media Lab Fellowship, a United States Artists fellowship, a Ford and Mellon Foundations’ Disabilities Future Fellowship, and the Prix International d’Art Contemporain of the Fondation Prince Pierre de Monaco. Her works are held in numerous prominent collections, including the Museum of Modern Art, New York, LACMA, Tate Britain, Smithsonian American Art Museum, Museum of Contemporary Art, Los Angeles, and the Whitney Museum of American Art, among others.

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Christine Sun Kim presents Who Framed Roger Rabbit (1998)

[RSVP](https://www.eventbrite.com/e/cag-abbas-akhavan-presents-before-night-falls-2000-tickets-1984438652429 "button")

This spring, the Contemporary Art Gallery is pleased to present *Previously Viewed*, a series of artist-curated film screenings. Inviting artists from CAG’s recent and upcoming programming to present films that have been formative to their thinking and practice in some way, each screening is a one-night-only event centered on a single feature-length work.

###  
Abbas Akhavan has selected *Before Night Falls* (2000).

> I first saw *Before Night Falls* in 2001 in the company of an unrequited love. The memory holds strong, as does the texture of the film and the writings of Reinaldo Arenas. While watching the film, I did not know that Julian Schnabel had made it, the camera licking every scene. Aside from the rich colours and textures I found the film and its soundtrack deeply atmospheric, hitting the right notes. Shortly after 2001 when I moved to Montreal, Fairuz's music carried me along the meandering long walks in nightly snow blizzards. 

> -Abbas Akhavan 

###  
Run time: 133 minutes.

### RSVP
Registration for this event is encouraged; tickets are free. Secure your seat [here](https://www.eventbrite.com/e/cag-abbas-akhavan-presents-before-night-falls-2000-tickets-1984438652429). 

Rush tickets will also be made available the day of the event, starting at 6:45pm. 

### Accessibility
This event will be held in CAG’s B.C. Binning Gallery, which is wheelchair accessible. Additional accessibility information can be found [here](https://cagvancouver.org/visit/accessibility). This film will be presented with closed captioning. 

###  Biography
Abbas Akhavan’s (b. 1977, Tehran, Iran; lives/works: Montreal and Berlin) practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research is deeply influenced by his engagement with the places in which he works – their histories and architectures, as well as the economies and inhabitants that shape them. The garden – and by extension, the spaces and species just outside the home, such as backyards, public parks and other domesticated landscapes – has been a foundational and recurring subject in his work. In recent largescale installations, Akhavan recreates cultural sites affected by international conflicts, attending to the multivalent ways in which ongoing geopolitics inform historical narratives. Akhavan’s work engages with formal, material and social legacies that define the boundaries between public and private, domesticated and wild, hostile and hospitable.

Upcoming and recent solo exhibitions include La Biennale Di Venezia (2026); the Walker Art Center, Minneapolis (2026); Morris and Helen Belkin Art Gallery, Vancouver (2025); Copenhagen Contemporary and Ny Carlsberg Glyptotek, Copenhagen (2023). Recent group exhibitions include the Galleria Borghese, Rome (2026); Tate Modern, London (2025); Deichtorhallen, Hamburg (2024); 14th Gwangju Biennale (2023) and Palais de Tokyo, Paris (2022). Akhavan received an MFA from the University of British Columbia, Vancouver (2006), and a BFA from Concordia University, Montreal (2004). Recent residencies include Bangkok Kunstahalle, Bangkok, Thailand (2024); Fogo Island Arts, Fogo Island, Canada (2019, 2016, 2013) ; Capp Street Artist-in-Residence, CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2019); Atelier Calder, Saché, France (2017); and The Delfina Foundation, London, UK (2012). He is the recipient of the Hnatyshyn Foundation Mid-Career Award for Excellence in Visual Arts (2025); Fellbach Triennial Award (2017); Sobey Art Award (2015); Abraaj Group Art Prize (2014); and Berliner Kunstpreis (2012).

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Abbas Akhavan presents Before Night Falls (2000)

One Saturday each month, CAG invites a guest host to lead walkthroughs of our current exhibitions, offering their insights and response to the works on view. In February, we welcome Chantal Gibson to speak on the work of Sojourner Truth Parsons.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

### Biography
Chantal Gibson is a poet-artist-educator living on the lands of the Coast Salish Peoples. Working in the overlap between literary and visual art, her practice is grounded in materiality and research creation. Exhibited widely across Canada, her altered historical texts and installations imagine voices silenced by cultural and institutional erasure. 

Gibson is the author two poetry collections: *with/holding* (Caitlin, 2021) and *How She Read* (Caitlin, 2019), a decolonial critique of the Canadian classroom centering Black womanhood, winner of the 2020 Dorothy Livesay Poetry Prize (BC) and the Pat Lowther Poetry Award (Can). 

Recipient of the 2021 3M National Teaching Fellowship, Canada’s highest award for post-secondary teaching, Gibson teaches in the School of Interactive Arts & Technology at Simon Fraser University.

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Chantal Gibson on Sojourner Truth Parsons

Saturday Session

Join CAG’s Curator Godfre Leung for a walkthrough of the current exhibitions.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

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with Godfre Leung

Curatorial Tour

Charles Atlas

[RSVP](https://thecinematheque.ca/films/2025/charles-atlas "button")

Please join us for a screening of works by Charles Atlas at The Cinematheque on the occasion of Atlas' exhibition *Hail the New Puritan*.

Since his groundbreaking work as filmmaker-in-residence at the Merce Cunningham Dance Company from the mid-1970s to the mid-1980s, New York-based film and video artist Charles Atlas has been one of the leading interpreters of performance for camera, known for his relentlessly innovative engagements with genre, technology and style. 

This program features three early works produced by Atlas in collaboration with dancers, each reflecting the exuberant spirit, canny camerawork and anti-documentary approach that defines this period in his practice. *Blue Studio: Five Segments* uses nascent chroma key technology to multiply the choreography of legendary dance artist Merce Cunningham across a series of outdoor landscapes for New York public television station WNET. *From an Island Summer* follows renowned ​“punk ballerina” Karole Armitage and her dancers along the boardwalk of Coney Island and through the streets of Times Square, capturing the garish magic of a 1980s New York summer. And *Because We Must* continues Atlas’s long-term collaboration with Scottish dancer and choreographer Michael Clark, adapting one of the enfant terrible’s dazzlingly irreverent stageworks for the screen.

*Merce by Merce by Paik Part One: Blue Studio: Five Segments*, 1975–76
16 min.

*From an Island Summer*, 1983–84
13 min. 

*Because We Must*, 1989
52 min. 

### RSVP
Registration for this event is required; tickets are free. Secure your place [here](https://thecinematheque.ca/films/2025/charles-atlas).

Note: Unclaimed tickets for complimentary screenings at The Cinematheque will be released 15 minutes before showtime. Please arrive early to guarantee your seat.

### Accessibility
This event is being held at The Cinematheque; venue accessibility information can be found [here](https://thecinematheque.ca/about/equity-accessibility).

### Biography
Charles Atlas (b. 1949, St. Louis, MO) has lived and worked in New York City since the early 1970s. In 2024, the ICA Boston presented *About Time*, the first U.S. museum survey devoted to Atlas’ work. Other recent solo exhibitions include *The Mathematics of Consciousness*, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY (2022); *Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous*, Fondazione ICA Milano, Italy (2021); and *Charles Atlas: The past is here, the futures are coming* and *The Kitchen Follies*, The Kitchen, New York (2018). Atlas’ work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Modern Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Migros Museum für Gegenwartskunst, Zürich; and De Hallen Haarlem, The Netherlands. In 2024, Atlas’ archive was acquired by The Getty Research Institute.

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Dance for Camera: Early Works by Charles Atlas

Screening

Past Talks & Events

Upcoming Talks & Events

Douglas Watt

Rafik Greiss

Please join us to celebrate the opening of CAG's spring 2026 exhibitions: [*Ser Serpas: rent*](/exhibition/ser-serpas), [*Douglas Watt: Mayor of the Village*](/exhibition/douglas-watt) and [*Rafik Greiss: Public Image*](/exhibition/rafik-greiss).

All ages welcome. Cash bar.

### RSVP
No advance registration required.

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Spring 2026

Opening Reception

[RSVP](https://www.eventbrite.ca/e/cag-reading-with-ser-serpas-tickets-1986923099477 "button")

Please join us for a poetry reading by Ser Serpas on the occasion of her exhibition *rent*.

### RSVP
This event is free; advanced registration is encouraged. RSVP to secure your seat [here](https://www.eventbrite.ca/e/cag-reading-with-ser-serpas-tickets-1986923099477).

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### Biography
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include presentations at the Kunsthalle Basel, Switzerland; the Pinault Collection, Bourse de Commerce, Paris; and Swiss Institute, New York. Serpas has also participated in group exhibitions at the Rubell Museum, Miami; Aïshti Foundation, Beirut; MoMA PS1, New York; the 2024 Whitney Biennial, New York; the 2024 El Museo del Barrio Triennial, New York; Musée d’art moderne et contemporain Genève; Bonner Kunstverein, Germany; Haus am Waldsee, Berlin; Istituto Svizzero, Rome; Centre d’Art Contemporain Genève; Hammer Museum, Los Angeles; Punta della Dogana, Venice; and Kunsthalle Fribourg, Switzerland. She is the author of two books of poems, *Guesthouse* (Kona Books, 2021) and *Carman*, *Based on the Opera* (Koenig Books, 2019).

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Reading

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Christian Vistan

One Saturday each month, CAG invites a guest host to lead walkthroughs of our current exhibitions, offering their insights and response to the works on view. In May, we welcome Christian Vistan to speak on the work of Ser Serpas.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

### Biography
Christian Vistan is an artist from Morong, Bataan, Philippines living on unceded xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and səlilwətaɬ Territories, colonially known as Vancouver, British Columbia. Their practice gathers materials and motifs from personal, familial and migrant histories; and assembles hybrid and poetic forms and compositions that intersect, misidentify and relate affect, language and experience. They work across painting, poetry and collaboration, often collaborating with other artists, writers, curators, and their relatives. Recent projects include *Canzone*, a collaborative exhibition with Tiziana La Melia at Unit 17 in Vancouver in 2026; and *Wawa Walk (2013/2025)*, a photographic installation that was part of *Patience*, a five month long rotating exhibition curated by Danica Pinteric at joys in Tkaronto in 2025. They hold a BFA from Emily Carr University of Art + Design and were a 2024–2025 Fellow at 221A in Vancouver.

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Christian Vistan on Ser Serpas

Join CAG’s Assistant Curator Aretha Pereira for a walkthrough of the current exhibitions.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.


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with Aretha Pereira

Connor Crable

[RSVP](https://www.eventbrite.ca/e/cag-in-conversation-douglas-watt-connor-crable-tickets-1987149233851 "button")

Please join us for a talk at the gallery between Douglas Watt and Connor Crable on the occasion of Watt's exhibition *Mayor of the Village*.

### RSVP
Registration for this event is required. Secure your place [here](https://www.eventbrite.ca/e/cag-in-conversation-douglas-watt-connor-crable-tickets-1987149233851).

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### Biographies
Douglas Watt (b. 1990, St. Catharines) is an artist living and working in Vancouver's Davie Village on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. He holds a BA (Art History) from Carleton University, Ottawa; an MFA from Simon Fraser University, Vancouver; and was a visiting student in Criticism & Curatorial Practice at OCAD University, Toronto. He has presented solo exhibitions at Unit 17, Vancouver (2019), Tara Downs, New York (2021), and Pumice Raft, Toronto (2024). His work has been featured in *Artforum* and *BlackFlash Magazine*. Watt co-edits the publication *Porthole* with Hamish Hardie.

Connor Crable is an art historian and former artist currently completing his PhD in art history and theory at the University of British Columbia. Crable holds a BFA from the School of the Art Institute of Chicago and an MSc with Distinction in Modern and Contemporary Art History, Theory and Criticism from the University of Edinburgh.

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Douglas Watt & Connor Crable

In Conversation

Join CAG’s Executive Director Matthew Hyland for a walkthrough of the current exhibitions.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

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with Matthew Hyland

Hazel Meyer

Cait McKinney

One Saturday each month, CAG invites a guest host to lead walkthroughs of our current exhibitions, offering their insights and response to the works on view. In June, we welcome Cait McKinney and Hazel Meyer to speak on the work of Douglas Watt.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

### Biographies
Hazel Meyer’s work with installation, performance, and text investigates the relationships between sexuality, feminism, and material culture.
 
Cait McKinney is a media historian who researches queer and feminist social movements.
 
Hazel and Cait have been collaborating since 2014 to explore their shared attachments to queer histories through research, writing, video, and archival interventions. Together they take up experimental methods for enlivening archives related to sexuality and LGBTQ history.  Recent exhibitions, screenings and performances of their work have taken place at: Mitchell Art Gallery (Edmonton, CA), ARQUIVES (Toronto, CA), A Tale of A Tub (Rotterdam, NL), Western Front (Vancouver, CA), Eastern Edge Gallery (St. John’s, CA), Glasgow International Art Biennial (Glasgow, SCT), Kurzfilm Festival (Hamburg, DE), Porn Film Festival (Berlin, DE), 62nd  BFI Film Festival, London, UK), and The International Festival of Films on Art (Le FIFA) (Montréal, CA).

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