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anakinisvaderisanakin · 4 years ago

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Twist of Fate (Anakin and Ahsoka’s meeting in Siege of Mandalore goes a little different, aka sappy sibling AU)

“Every opportunity we waste here, gives Maul an opportunity to slip away,” Bo-Katan pressed, the stern expression on her freckled face conveying her stoic determination.

For a split second, Ahsoka caught Anakin’s pale blue eyes on hers. Forlorn, their depths spoke of a deep seated sorrow. Of disappointment, of insecurities unravelling. She broke the stare to focus on Obi-Wan, still feeling her former master regard the side of her face; her heart aching as she did her best to keep her professional guise up. She had missed him too, but this wasn’t the time to get emotional. It had to wait, and there were so many things she wanted to tell him when the moment presented itself. Now, everything was rushed, the stakes high. She had promised to aid Bo-Katan in the mission of eliminating Maul and his crime syndicate’s control over Mandalore, of deposing Almec. She needed a clear head to prevail in her goal.

“We understand,” said Obi-Wan with a cryptic expression, already moving to take the conversation into more private quarters as he spoke. “Please, follow me.”

Obi-Wan took the lead, Bo-Katan following right behind him. Ahsoka fixed her stare straight ahead, even as she could sense how Anakin expected her to at the very least acknowledge his presence. She’d cut him off, despite his obvious excitement and relief at seeing her again. She wanted to express the same sentiments, wanted to tell him she was glad to be back and meet up again. But the wound was still open, the rift between her and the Jedi order not yet a scar, but an oozing gash. It stung to see Obi-Wan, who had sided with the decision to expel her, even if he may not have agreed with it.

It hurt to see Anakin, too, despite the fact that he had tried so hard to free her of the false accusations placed on her. He’d managed to clear her name, and she owed him her life for it. But he’d expected her to stay with the Order, with him - and she’d declined. She had secretly hoped he may come clean and follow her lead, knowing that he too wished to sever all ties with the Jedi’s dogma. It appeared both of them had suffered from naive lapses of judgment.

We will have to catch up another time, she’d said.

Ahsoka already regretted it. She could sense the impact the refusal had had on Anakin. She wanted to rectify it, but it was too late. It would take too much time, too much work. Seconds to waste that they simply didn’t have. But with each step, even as the armoured boots of Bo-Katan’s fellow Death Watch squad trailed behind her - Anakin’s melancholic presence remained, looming in the background. Making no attempt to follow them, Ahsoka frowned at the odd occurance. She had meant for him to negotiate on her behalf, to make their case. Surely, if Obi-Wan may be on the fence despite his direct emotional connection to Bo-Katan’s deceased sister; Anakin would be the fuse to light the fire and push him in the right direction. She slowed her walk deliberately, allowing Ursa Wren to pass her by as the last in tow.

No Anakin came up alongside her.

A gnawing sensation of concern made Ahsoka’s stomach churn, and she pursed her lips as she peered over her own shoulder behind her. Anakin was still stalling, lingering between the hydraulic exit port and the ship she and the Mandalorians had arrived in. He was making no attempt to move, head hung low and face turned away from her. Hands balled into tight, trembling fists. Shoulders slumped, quivering with a visible strain. He was tense, paralyzed. As if he’d been rooted to the floor, as if he’d forgotten how to physically move.

She didn’t have the time, and yet even as she began to walk away and follow the small company - Ahsoka faltered. She hesitated, watching the doors slide shut and leave her alone with Anakin in the hangar. The familiar faces of helmeted and unmasked clones prowling about the area, tinkering with ships or carrying cargo. Off to another battle.

Ahsoka took another tentative step forwards, before shutting her eyes and swallowing down the lump of guilt gathering at the base of her throat. She couldn’t just leave Anakin behind, she needed his advice. She needed his devil may care attitude, his clever schemes. She missed his sarcasm, his affection. The brother she had lost, desperate to get back and shutting down so callously. She wanted to apologize. For abandoning him, for walking away, for making him doubt himself. For putting herself first. Taking a deep breath, she rejected common sense and shifted towards him. A few quick strides and she nervously reached out to press her gentle palm to his shoulder.

“Anakin?” she asked, voice soft, as her worry bled through the cracks.

His hair had grown longer, pooling in golden curls at his nape. His bangs covering the side of his face, falling in unruly sandy blonde waves. Biting her lip, Ahsoka felt frustrated when she received no answer. She scowled, wanting to snap at him; tell him to stop it, that they didn’t have time for petty arguments or sparking long gone grudges. She opened her mouth, but shut it again when she caught a sniffle.

Blinking a couple of times, it took a repeated barely restrained sniffle for her to realize Anakin was crying. Brave, loyal, witty, fearless Anakin was crying. At the same time, it dawned on her that she was the reason.

Tilting her head to the side, she glanced cautiously at his face; using her fingers to tuck his stray curls behind his ear. His eyes were shut; shame evident on his flustered features. Embarrassment, as wetness brimming along his fair lashes. One pearly bead broke free, trailing slowly down over his cheekbone to fall from his jawline. It felt like Ahsoka had been dunked in icy water; the air sucked out of her lungs. She noticed a burning sensation behind her own eyes, stubbornly refusing to tear up. Anakin needed her at the moment, she had to be strong for his sake.

Without a word, she reached out with her thumb to gently brush away the lingering tear streaks over his prickly, faintly stubbled cheek. He flinched, head shooting up as he caught her gaze. His bottom lip quivering, fresh tears welling up in his glassy eyes. Ahsoka said nothing, but simply shifted to wrap both arms tightly around her former master. If she’d expected him to push her away, she’d been wrong. Instead, he larked his own arms around her smaller frame; gathering her in a firm, unrelenting squeeze. She felt him shudder against her, burying his face against her shoulder and exhaling shakily. He sniffled, and gasped for air before letting out a muffled sob.

Ahsoka clung to him, one hand splayed against his strong back; the other gently petting the back of his head. She shut her eyes, and what may have been awkward had she been asked to comfort anyone else, came natural to her.

She’d seen Anakin mourn, seen him close to tears when Obi-Wan was presumed dead. She’d seen his rage, his anger, his pain. She’d seen his composure wane, his resolve wavering when she turned to walk away from the temple. Sun setting, bathing her in warm twilight. Tears blurring her own vision, knowing she’d never be able to leave if she looked back. He was the only thing that could keep her, the only Jedi loyal to her. The only who would not betray her.

“I’m sorry,” she whispered close to his ear, and it barely registered as her own words; his embrace unyielding, and she allowed it without complaint.

“I missed you,” he croaked, another sob barely slipping past his defense as he kept his face hidden from view.

Ahsoka nodded, her own throat feeling tight. She wanted to say something more, to reassure him, to confirm that it was a mutual feeling. Instead, she threaded her fingers through his matted hair. Instead, she placed a chaste kiss against his temple, surprised by how she managed to evade her own urge to weep. She wished she’d hugged him right away, wished she hadn’t been so harsh, wished she hadn’t dismissed his feelings. She’d always known he was sensitive, despite how he may present himself. Even after the fever dream that was Mortis, despite the hazy memories of what felt more like fantasy than reality, he’d been emotionally distraught. He’d feared for her safety, for her well-being. She was grateful for his affection, sometimes she felt as if the only person to truly love her in this world was Anakin.

“I know,” she managed to admit, sighing softly with relief as he relaxed somewhat in her arms.

“I was… so scared. That you might be hurt, that you might be… I felt you, but you were so distant…” he snivelled, sniffing; voice thick and hoarse with tears.

Ahsoka understood, and she hoped as she reached out for his Force signature to rekindle the close bond they’d once had that he could sense that. That he would trust her, learn to rely on her again as she did on him. She was reluctant to withdraw, as was he, even as they knew time was short. The moment had been too quick, too fleeting but as Anakin picked up his head to weakly hold her stare; Ahsoka smiled. Bittersweet, both hands coming up to cup his face. Thumbs stroking his damp cheeks, his hands soon engulfing hers. He swallowed hard, his adams apple bobbing and Ahsoka felt that same concern from before resurface.

“Thank you for coming back. You’re right, we don’t have much time,” he said, clearing his throat as he straightened up and offered her a smile in return.

He sniffed a couple of times, his puffy eyes and flushed complex the only hint to the fact that he had been crying. Ahsoka took his bare left hand in hers, giving it a squeeze. There was sadness in his eyes, but also a resolute sense of understanding; of acceptance. She needn’t reply, they would have time eventually to talk and settle their differences. Now, Mandalore needed their help, and they had stalled the mission entirely too long. Ahsoka gave Anakin a small trademark smirk, as she nudged his arm with her elbow.

“Let’s go, before Obi-Wan gets impatient,” she chuckled.

“Better,” Anakin agreed, his gloom all but lifted and Ahsoka could swear his steps were lighter while they hurried to catch up with the others side by side.

**************

An AU wherein Anakin and Ahsoka get their hug in season 7, and RotS never happens I guess. Just self indulgent, sappy fluff, but I enjoyed writing it.

Ao3 link below:

https://archiveofourown.org/works/28115100

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rogerdvies · 7 years ago

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yes riktor. yes @ the lovely and fluffy but as a lover of angst, ofc i have to (and bc u mentioned teehee); what if they broke up? how would it happen? would it be totally unexpected - it just came up in a fight - or would it be a build up of unreleased emotions? tbh, im just giving you permission to break my heart and tear it apart.

@delacouvr. honey, you are such an enabler of my riktor addiction and i love you for it. i actually have four headcanons for their breakup but i chose one for the sake that my headcanons are ridiculously long.

– – – – – he couldn’t handle it anymore. they only ever spoke over letters, and those were becoming less and less frequent (your fault, ronald, why can’t you be more interesting?). silence stretched between them the same length as the miles separating them (your fault, ronald, he’s trying so hard to make it work and you’re giving up). words couldn’t be conjured up in reply to the kindest of remarks, soft curiosities, pleading inquiries for a return of affection (he loves you, so sweet, opening up to you, making himself vulnerable, and you can’t even tell him the truth; your love for him is fading).

it’s a combination of needing physical proximity for reassurance and his own insecurities that got the better of him in the end.

– – – – – it was tearing him apart inside. his letters back were becoming less and less frequent, brief, disinterested (too daft for him aren’t you, dumb krum?). it’s a slow deterioration, as if watching someone peel off his scab millimeter by millimeter, watching the blood well up droplet by droplet, while trying to will it to stop with his mind (you don’t deserve him, krum, he’s trying to let you off easy and you’re making it harder for him; just let go). bittersweet torture without the sweet, ribcage cracked open and heart laid bare in a desperate attempt to rekindle something in the other (how pathetic, he probably regrets every moment with you).

it’s a combination of jealousy and frustration that were his downfall.

the constant second-guessing them (ronald), always wondering if he was doing something wrong (viktor), fingers empty left longing for a body to hold (weasley), clawing tooth and nail just to get an answer out of the other (krum).

then came the rupture; the smell of lavender is only calming if one isn’t allergic to it. a photograph sent anonymously, no explanation necessary. a single photograph, evidence of a moment caught in time, witnessed by eyes not meant to see, catalyst – cause of the sudden implosion of the beating organ in viktor krum’s chest.

apparently there were many things ronald weasley had neglected to share with him. a rise to quidditch fame at hogwarts as a phenomenal keeper. a rift opening up between himself and a friend. – – and a kiss with a girl whose eyelashes fluttered shut at the contact.

anger simmered through his veins, setting his body ablaze as he watched his world burn down around him, asphyxiating on the smoke of his own corpse. the photograph was enough to set in stone what he had been fighting against: ronald weasley was done with him. ronald weasley was done with him, and he didn’t even have the courage to be honest with viktor.

he doesn’t make it public. one of his teammates urges him to – the world knows about krum’s relationship with the youngest weasley boy, believes them to be happy. krum could create a scandal – destroy the ginger’s reputation. revenge, for a broken heart.

but he couldn’t. he would never do that to ronald – would not hurt him on purpose. perhaps he had done something to drive the youngest weasley boy away (lacking wit, feeble intelligence, boring, inaccessible, not good enough). yet that did not excuse ronald’s actions.

yet he couldn’t bring himself to write to ronald about it. couldn’t inquire about the photograph, couldn’t ask for an explanation. wouldn’t take his anger out on the other. he didn’t want to know the truth just yet. he just needed… to think.

however, whoever had sent him the photograph had made it their job to bring the scandal to light. when the papers published and rita skeeter came knocking at durmstrang’s doors, krum refused to answer her questions. when she insisted (stubborn woman), and gained entrance to his attention, his sole response was that the matter was private between him and ronald. when pushed, a growl that she had no right to stick her nose in his and ronald’s business was his answer. his statement read that he refused to talk poorly of ronald weasley, despite being aware of the photograph (he had been impassive when she’d flashed it at him, her quill had taken note).

hermione’s letter comes not long after the article is published. a quiet thank-you for refusing to hurt her friend, and an apology. for something she had known about. something she could have stopped. should have told him about. his letter back is kind, bearing no ill-will, but short and polite. formal. still viktor refuses to write to ronald. keeps the sudden influx of letters that ronald sends unopened in his desk.

more articles are published, depicting viktor krum as a victim, as a broken-hearted boy, as an unknowing party. painting ronald weasley as a fame-chaser, a user, a cheater. viktor knows differently (or thinks he does), and his response to these claims are, once again, it is a private matter between the two boys. when they press and ask if viktor had spoken to ronald since the news of him cheating had been made public, viktor does not answer. they have all the answer they need.

harry’s letter comes next. it’s awkwardly written – they weren’t close, not hardly, but it’s an outstretched hand. unlike hermione’s it is not a plead for forgiveness, nor an appeal to his conscious – it is an appeal to tie loose ends and put both parties out of their misery. viktor krum wishes he could forget about ronald weasley and his friends.

a letter is his reply – – – but not to harry. ronald receives it exactly three months after the ordeal. it’s short, barely three sentences long, inquiring that they speak later through floo network. the conversation begins awkward, ronald’s quiet greeting returned coldly as dark eyes stare up from the fire.

ronald weasley learns five things during that conversation: that a heartbroken, furious bulgarian with a thick accent is nearly impossible to understand – but he gets the jist of it. that viktor krum had loved him deeply – even with the distance – and would have done anything he needed to in the attempt to make them work. that viktor would have done anything to make him happy. that viktor krum would never hurt him on purpose, despite his temper. and that he had fucked something that could have been good up.

viktor krum learned three things: that ronald weasley didn’t know what he wanted anymore – which meant that he did not want him. that ronald weasley had never wanted to hurt him – had never meant to – but hadn’t known how to handle his shifting emotions (misguided intentions did not make the pain hurt any less). that ronald weasley had cheated on him, had known exactly what he was doing, and had done it anyways.

ronald’s apology was met with the shake of a head (unforgiven, weasley, you don’t deserve forgiveness for tearing up the heart of a man who had stayed loyal to you) and sharp, tired words: if he did not want to be in a relationship with viktor anymore, he should have told him.

nothing left to salvage when you’ve burnt down the kingdom is there, ronald?

the article published the next monday detailed the truth: bulgarian seeker viktor krum single again after boyfriend cheated. he still refused to speak to the press, refused to drag ronald’s name through the mud regardless of what he had done. he was not that kind of person. their private matters were private.

ronald’s responding interview stated that he had made a mistake, but he and viktor had talked it out and had come to a mutual agreement. mutual agreement. those words brought glacial ice to freeze the fires (he had no voice in the matter, yet another lie from the weasley, however small in the attempt to save face), and viktor krum found that even though he still cared immensely, still hurt deeply – – – he didn’t care. he wanted to be done with it.

he did not answer the letter that lavender brown wrote to him a while later when she felt wronged by ronald’s sudden break-up “to be with hermione”. the news brought fresh pain, but he kept it inside. he was done.

emotions would fade one day, and the press would find something else juicy to pick at sooner or later.

#leo answers #riktor #my writing #claire you are wonderful and you send me things to get me writing and i love you for it #delacouvr #but this is super sad and i am sorry if it makes ron seem like a horrible person that was not the intention #he just didn't know how to handle the situation of changing emotions.#he's human

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ggypsykaate-blog · 6 years ago

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“I used to think if I photographed someone enough I could never lose them”- Nan Goldin —‘To what extent can a photographic image ever really represent the reality it visually embodies?’—

The photographic image is commonly thought of as a method to preserve the memory and existence of a person or thing. It’s the art of selection, choosing a single frame of the moment and deeming it significant and worthy of immortalisation. In a very literal sense, through a process of science and light, photography allows us to physically experience the past again, but to what extent can an image ever really be honestly regarded as a true representation of the reality it visually embodies?

-The legitimacy of the Photographic Image- Since its invention, photographs have been used as a thing of evidence, something unlikely can be validated by showing an image of it occurring. Beginning in Paris 1871, where the Paris police used photographs in the murderous roundups of communards, cameras have been used to record and incriminate. The use of camera in surveillance would suggest a honest and contextual validity in the referents, images possessing the ability to condemn by actualising tangible evidence of a moment existing. Though when, admittedly debatable, a photograph only can represent one singular moment in time how reliable can its narrative of the entire story be? Regarding the photographer as the story teller, they can only give the viewer a fleeting glimpse of life making it almost impossible to accurately capture reality from that snapshot. In my own work, I have toyed with both the ideas of the snapshot and extended moment. Inspiration from artists like Henri Carter-Bresson, who manage to, in the ‘decisive moment’, capture such an obviously fleeting second led me to focus on the immediate, the temporary and my ability to form an accurate representation of that. Using what Martin Parr referred to as ‘processed nostalgia’, I experimented with shooting on instant film trying to emphasise the individuality and uniqueness of every shot and therefore every moment. Polaroid as a method arguably can be considered a more trustworthy option compared to its digital counterparts which are susceptible to editing. In one of Wim Wender’s newest projects ‘Instant Stories’ he discusses the power of the instantaneous image. He reminisces on its ability to turn the intangible moment tangible in a fraction of a second with a sense of nostalgia that correlates with its decreasing popularity. Instant film seems to effortlessly produce a significance and guarantee of individuality and the snapshot aesthetic which is symbolic of one place in time, alluding its power to honestly represent the moment it captures.

At at talk at the Tate gallery recently, an audience of 150 people were asked how many of them believed a photograph could be real. Just five people put there hands up. As society and technology develops it does become harder to have trust in the photographic images we see. With technological advancements like photoshop and other editing programs comes the most obvious way of falsifying an image, for example in the media where we are constantly bombarded by these ‘air-brushed’ images. Now more than ever, we are having to scrutinise photographs for misrepresentation of reality and debate how much this photorealism replication of the fragmented moment really matters. The instinctive acceptance of what ever a photographic image shows having physically occurred is now naive, I could sit down in front of my laptop for five minutes and create an image which presents me standing on top of a erupting volcano but there is no legitimacy in this. Despite still being a visual representation of a moment, photography is now no longer universally trustworthy, our faith must be in photographers to present their own and societies truth.

-The Taints of Nostalgia and Emotion on the Photographic Image- Photographs, being visual representations of memories, are associated with a bittersweet reaction and reflection, which can catalyse and provoke emotions of joy or more commonly melancholy which affects the way the images are interpreted. Susan Sontag writes “Most subjects photographed are, just by virtue of being photographed, touched with pathos.” Its not surprisingly that most images are impacted by the passage of time, they act as a reminder of times and things gone, thus creating a common characteristic of being emotionally loaded throughout photography. It is possible for a photograph to become liable to this taint of nostalgia, limiting its ability to truly represent an accurate version of reality due to the high connotations of emotion. Photographers and viewers alike can attach emotional meaning to images, impacting the way the image is viewed and accepted by the individual. Nostalgia can work as a punctum in several cases, the wounding prick of the image being the acknowledgement of the passage of time and the change inevitable with that. An image of a loved one becomes more precious after you lose them, or an image of a child in the late 19th century become more haunting when you acknowledge they’ve lived and died by now. As an outsider and an observer I can partake in the mourning of a stranger through their photograph. On the news the story of the person, who has no relation to me, murdered seems to resonate more when you see their smiling portrait next to it. Sontag writes “ To photograph is to take part in another persons (or thing’s) mortality.”, implying the awareness of the photographer of the fragility of life compared to the preservation of the photographic image. She also describes photography as ‘the inventory for mortality’, taking photographs documents mortality, visually showing the implications of time moving on, like the process of ageing. This could start to explain why people take pictures, the fear of forgetting is lessened when you have a photo album of reminders. To “take part in another person’s (or thing’s) morality” the photographer must also be aware of the fleeting nature of the moment, similarly to Henri Carter-Bresson’s ‘Decisive Moment’, the frame exists for one moment alone and then disappears into the abyss of the past. A photograph eventually ‘drifts away into a soft pastness, open to any kind of reading’, generalised as history and tainted by nostalgia it blurs into a sentimental fragment lost in a time it no longer belongs.

Feelings of nostalgia and reminders of human mortality have extensive emotive powers over individuals due to a fundamental fear of change and death, images have this partial preservation ability that can consequently catalyse strong reactions. The past as a punctum is especially effective in provoking a response due to the emotional hold it can have on individuals. Some of the most emotive photographs I have ever taken I can pinpoint to one of the most emotional weeks of my life. The images themselves are nothing spectacular and an outsider would probably judge them unremarkably mundane but each time I revisit them I am surprised by the hold they still have over me. Looking at the photographs has the ability to rekindle and recreate the emotional state I was in at the time I took them, suggesting the visual representations, which are consequently reminders of the memories, are loaded with the emotional connotations of reality. There is something evidently valid in the interpreted reality of an image which can transport you emotionally to when it was taken. Due to the varying emotional capacity images can provoke, its possible for individuals to interpret images differently and therefore the version of reality accepted is never consistent. In the preface of ‘The Picture of Dorian Grey’, Oscar Wilde wrote “It is the spectator, and not life, that art really mirrors.” I find tremendous truth in this, regardless of what part of life the artist had the intent to hold the mirror to, if any, in their work, it is always down to the individual viewer to what they will take from it and relate it to themselves. How the reality of an image is presented and therefore processed will also always be liable to the opinion and judgment of the photographer. A subjective image is an interpreted reality, but surely there is no such thing as an objective one?

-The Influence of the Photographer’s Gaze- Presumably a photograph must always be subjective, due to the control of the photographer. Photography is the art of selection compared the art of creation. In photography, the photographer begins with the entirety of the world and then focuses the camera’s frame to disclose and select what they want to present. The viewer is experiencing the world through the photographers eyes, its what they’ve seen, deemed worthy and chosen to compose in a certain way. Whilst some photographers may share similar styles of taking photographs, no two people could take the exact same image when dealing with the same subject due to the unique artistic eye of the individual. If we can imply that all images are subjective then we can’t generalise that all photographs honestly represent a universal reality of society but instead a photographers individual truth. After looking at various artists, all with their own styles and subjects, I sincerely think a considerable amount of the way photographers present their own individual truths is consequence of their involvement with their referents.

In Nan Goldin and Bruce Davidson’s work I see the spectrum of subjectivity in regard to taking the photographic image, though both seem like honest documentations of society, I believe the differences in their work derive from their contrasting execution and engagement. Goldin’s work radiates the intimate connections she had with the world she photographed, whilst in relation Davidson’s images seem to give an objective insight into the people he documents, like fly on the wall his position as an outsider is apparent. An ideal example of this in Davidson’s work is his body of work from 1959 where he followed around a young gang from Brooklyn called The Jokers. From their first tattoos to beach days down at Coney Island, he documented their lives in their very own New York subculture. Reading about them in the newspapers first, Davidson ventured down to Prospect Park to attempt to gain access and insight into the group. He wrote, “My way of working is to enter an unknown world, explore it over a period of time and learn from it.” He referred to himself as ‘ a kind of explorer’ and a majority of Davidson’s work all share a systematic nature to the way he stays with one area until he is satisfied he has captured the sense of it, with and without the camera. On the other side of the spectrum is Nan Goldin’s photographic style which seems which exudes the emotional connections she already had with her subjects before photographing them with a raw frankness. She commented “I didn’t care about ‘good’ photography, I cared about complete honesty.” Which confirms her devotion to the truth and her ability to represent it. Her writing suggests her need to assemble these true replicas of people deriving from her own personal loss, “I lost the real memory of my sister…I never want to lose the real memory of anyone again.” Her images have become iconic representations of the obscure sub-cultures she lived and loved in, shots of groups previously taboo like the transvestite community in NYC have defined her career. Famously in one interview she said “I don’t think anyone has the right to photograph a stranger.” Which is a clear indication of her relationships with her models, the gravity she places on each image and unlike Davidson, her central place in the world she photographs. Though whether an objective, outsiders perspective or the insiders privilege produces the most honest portrayal of reality is controversial.

- The Paradox of the Photographic Image- As much as we wish it could, the photograph will never be equivalent to its subject which resides in the realm of reality. No matter how much its visually resembles the referent or how real the emotional load of it may be, it will always be solely an image. Magritte confronted this idea of representative realism in his surrealist paintings, exploring the line between reality and illusion by making the viewer really consider what they are looking at. In one of his paintings ‘The Treachery of Images’ he juxtaposes a representation of a pipe with the comment ‘Ceci n’est pas une pipe.’ which translates from french to ‘This is not a pipe.’ This painting was surprisingly controversial but ultimately he is correct. It is not a pipe, it is merely a painting of a pipe. Magritte commented “if I had written on my picture ‘this is a pipe’, I’d have been lying.” showing his understanding of the unavoidable gap between the real and the recreated. Comparing the photographic image to a dream, Barthes comments on photography’s inability to ever really capture and recreate the referent. “I know I am seeing her, but I am not seeing her” exposes it for the superficial, purely two dimensional way it replicates reality. Like in a dream, the viewer is consciously aware of what they are seeing and able to identify it as a member of real life, but also present is the subconscious knowledge that this pastiche of the person can never equal to the actually being. In grief you may seek out images of lost things to console pain but the referent of an image, despite being familiar, can never provide adequate comfort as it will always fall short. I believe part of the bittersweet paradox of photography resigns/resides in essentially being a optical illusion, enticing people with the promise to preserve the moment but never able to fully do that. In the end, the photographic image is a reminder of the memory, it is not the actual memory and it is not the actual subjects, just a joyful or melancholy catalyst. The full quote of Goldin’s is “I used to think if I photographed someone enough I could never lose them. In fact they show me how much I have lost.” Eventually the spectator is looking through the photo albums of their past is creating their own private view of loss; Nan Goldin says a prayer for each of the dead as she flicks through her ‘Ballad of Sexual Dependency’.

Ultimately I do not believe a image can ever truly represent a universal reality, nor do I believe it is its duty to do so. When an image alone can only ever represent a singular fragment of an infinite possibilities of moments, to have faith in the ‘decisive moment’ to be consistently regarded as a honest portrayal of all society is unrealistic. In a modern society the photographic image is liable to numerous factors that could taint its perspective and gaze on reality, obvious methods of this would be falsification and editing. Though more subtle impacts on the photographic image include the taints of emotional and nostalgia which can manipulate the way the photographs individually are accepted by a viewer. Each spectator, including the photographer, attaches their own meaning and associations to every piece of art, as each person has their own experiences and specific realities which determines their internal schemas and information processing. Despite this, the photographer’s role will always have a degree of control over how they present a certain stimulus, by composing the image the spectator views the subject through photographers perspective. Due to this and the indisputably fact that photographs will never be fully equal to their subjects, I don’t believe photographs have to be, or should be fully regarded as their physical counterparts in reality. Instead the photographic image represents the unique truth of the photographer not society, its their eye and their gaze which produces images that aren’t just visual imitation but allude to how they scrutinise the their world

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gunboatbaylodge · 7 years ago

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Things to Do in Vancouver this Weekend: July 20, 2017

This weekend you can tickle the exhibitionist inside of you either with a lack of clothing at the Naked Bike Ride, or with a fancy hat (and clothing for the rest of your body as well) at the Deighton Cup. It’s also Shark Week at the Aquarium, the beginning of the Drum is Calling Festival, the African Descent Festival, and Pride Sports day is on Saturday!

Friday | Saturday | Sunday | Ongoing

Friday July 21

BC Lions vs. Blue Bombers

BC Lions vs. Blue Bombers Where: BC Place Stadium What: It’s football – eat, drink, yell, paint yourself orange and black maybe, be entertained.

Playland Nights Where: Playland What: It’s Playland like you (or maybe just I) have always wanted it. Adults only, no kids, alcohol available. And rides!

Indigenous Plant Use Where: Stanley Park What: Walk through the forest with an experienced guide of Coast Salish descent and learn about the traditional and present-day Indigenous relationships with local flora and fauna. While there will be no collecting on these tours, Stanley Park offers a perfect setting to learn about sustainable harvesting. Runs until: Friday August 25, 2017 (Fridays)

Les Contes d’Hoffmann Where: The Cultch What: In a crowded tavern, the poet Hoffmann, urged on by his fellow drinkers, recounts the stories of his wildest, most outrageous loves and losses. Runs until: Saturday July 22, 2017

Magic Giant

Magic Giant Where: Fox Cabaret What: An LA-based alt-folk trio.

Canada 150: Canada Goes Pacific Where: Granville Island What: The Centre culturel francophone de Vancouver presents a three-day program of enriching and significant artistic and cultural experiences in French with both indoor and outdoor activities and shows. Runs until: Thursday July 27, 2017

Sports Where: The Biltmore What: Oklahoma dream pop.

Solaris

Solaris Where: The Cinematheque What: Adapted from Polish author Stanisław Lem’s novel, Tarkovsky’s metaphysical epic is often described as the “Soviet 2001”. A guilt-ridden psychologist is sent to investigate strange occurrences on a space station orbiting Solaris, a mysterious planet with a sentient Ocean. Confronted by the incarnation of his long-dead wife, he is forced to relive the greatest moral failures of his past. A brilliant exploration of love, truth, and what it means to be human. Runs until: Monday July 24, 2017

From the Land of the Moon

From the Land of the Moon Where: VanCity Theatre What: Gabrielle comes from a small village in the South of France, at a time when her dream of true love is considered scandalous, and even a sign of insanity. Her parents marry her to José, an honest and loving Spanish farm worker who they think will make a respectable woman of her. Despite José’s devotion to her, Gabrielle vows that she will never love José and lives like a prisoner bound by the constraints of conventional post-World War II society until the day she is sent away to a cure in the Alps to heal her kidney stones. There she meets André Sauvage (Louis Garrel), a dashing injured veteran of the Indochinese War, who rekindles the passion buried inside her. Runs until: Thursday July 27, 2017

Saturday July 22

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The Drum is Calling Festival

The Drum is Calling Festival Where: Various Locations What: Immerse yourself in this nine-day festival of Indigenous and diverse arts and culture. Highlighting the festival will be stellar performances from iconic artists such as singer-songwriter Buffy Sainte-Marie, PowWowStep creator DJ Shub, singer-songwriter Chantal Kreviazuk, country sensation Crystal Shawanda, Juno Award winner William Prince, rising R&B star George Leach, genre-defying artist Kinnie Star, literary giant Tomson Highway, and powerful spoken word poet Shane Koyczan. Runs until: Sunday July 30, 2017

Shark Week at the Vancouver Aquarium

Shark Week at the Vancouver Aquarium Where: Vancouver Aquarium What: During Shark Week, Aquarium visitors can dive into the world of sharks and stingrays, learn about their unique characteristics, gain a better understanding of the challenges they face in the wild, as well as how to help through fin-tastic programs and activities. Runs until: Sunday July 30, 2017

Deighton Cup | Image via The Georgia Straight

Deighton Cup Where: Hastings Racecourse What: Get fancy, choose your best hat, and watch the horse races. All tickets to The Deighton Cup include a lunch prepared by some of Vancouver’s finest chefs, access to the Marquee and Concourse area, as well as the lounge of leisure, picnic area, cigar lounge and champagne stage.

Pride Sports Day Where: Second Beach What: A fun, active, and inclusive day of celebration at Second Beach. This is event free to the public, family-friendly, and will include live music, a variety of sports and recreational activities, a 19+ beer garden, a sober picnic space hosted by Last Door Recovery Society, vendors, food trucks and community groups.

African Descent Festival

African Descent Festival Where: Various Locations What: The African Descent Festival is intended to celebrate the cultural diversity of people of African Descent within Vancouver, while recognizing and promoting attitudes of oneness among all ethnic groups and communities. The event focuses on activating public spaces and bringing a diverse range of programming to connect stakeholders working avidly for the long term sustainability of this population. Runs until: Sunday July 23, 2017

Peak Yoga on Grouse Mountain

Peak Yoga on Grouse Mountain Where: Grouse Mountain What: Enjoy 60 minute yoga classes led by YYoga instructors, every Saturday and Sunday from 10:00-11:00 am. Whether you need a great post-Grind cool down or would just love to experience a different yoga venue at one of the city’s most spectacular locations, these 60-minute class are bound to enhance your physical well-being and kick start your weekend. Runs until: Sunday August 27, 2017

Velo Disco

Velo Disco Where: Second Beach What: Bring your bicycle and prepare for an upbeat exploration with music and flashing lights. Party while overlooking bridges, causeways, and lakes.

Michael Jackson HIStory Show

Michael Jackson HIStory Show Where: The Vogue What: A musical tribute and live concert experience that journeys through Michael Jackson’s vast catalogue of work including his beginnings as a member of the Jackson 5, his groundbreaking theatrics in the 80s and his evolution onward into the 21st century.

World Naked Bike Ride | Image courtesy of Carlos Felipe Pardo | Flickr.com

World Naked Bike Ride Where: Downtown Vancouver What: If you’ve got guts, the ride is open for anyone to join, with a dress code of as bare as you dare. Even if you’re more comfortable in just wearing a bathing suit, you’re free to join the festivities.

Discovering the Seaside Where: Stanley Park What: Enjoy long walks on the beach? Let it take on a new dimension as you learn about life forms along the shoreline and their complex environment. Get to know the intertidal zone and how tides, sun exposure, beach walkers like yourselves, and—in the long run—climate change affect this fascinating habitat.

Divine: Drag Disco Party Where: The Fox Cabaret What: A time warp of opulence, hedonism, and whimsy from the Studio 54 era.

Sunday July 23

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Grown Ups Read Things They Wrote As Kids

Grown Ups Read Things They Wrote As Kids Where: The Rio Theatre What: Do you still have any of your childhood or teenage writing? Grownups Read Things They Wrote as Kids is an open-mic evening of book reports, poetry, diary entries, letters from camp, etc. — all read out loud by adults to a room full of strangers.

Jack Johnson

Jack Johnson Where: Deer Lake Park What: Soft acoustic rock by a former professional surfer.

Summer Jam at Trout Lake

Summer Jam at Trout Lake Where: Trout Lake What: This is an inclusive community event for people wanting to jam with strangers. Or friends. Or both. A PA, drum kit and some amps are provided for drop-ins, BYO any other instruments. Hula hoopers, acro-yogis, people with devilsticks slackliners, and circus festies are also invited.

Vancouver Whitecaps vs. Portland Timbers

Vancouver Whitecaps vs. Portland Timbers Where: BC Place Stadium What:Watch some soccer, wave around a souvenir scarf, yell for the team you like.

Ongoing

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The Phantom of the Opera Where: Queen Elizabeth Theatre What: Critics are raving that this breathtaking production is bigger and better than ever before – featuring a brilliant new scenic design by Paul Brown, Tony Award-winning original costume design by Maria Björnson, lighting design by Tony Award winner Paule Constable, new choreography by Scott Ambler, and a new staging by director Laurence Connor. Runs until: Sunday July 23, 2017

African Descent Festival

This is Our Youth Where: Red Gate Revue Stage What: A darkly humorous, bittersweet portrait of youth poised on the cusp of the scary, disillusioning path to adulthood. In Trump-era New York City, three privileged Upper West Side kids – the swaggering, drug-dealing Dennis; his dispirited, free-thinking best friend and whipping boy, Warren; and confused, self-conscious fashion student Jessica – hang out, smoke pot, scheme for cash, challenge each other, and make tentative steps towards an authentic, vulnerable connection, all in a period of less than twenty-four hours in Dennis’ apartment. Runs until: Sunday July 23, 2017

Solaris

From the Land of the Moon

The Drum is Calling Festival

Shark Week at the Vancouver Aquarium

Robson Square Salsa Where: Robson Square What: An annual series of free outdoor salsa dances. Learn, have fun, and show off your moves. Runs until: Sunday August 13, 2017

Ensemble Theatre Festival

Ensemble Theatre Festival Where: Jericho Arts Centre What: Featuring a cast of emerging and established actors performing In the Next Room, A Prayer for Owen Meany, and Master Class, by directors new and returning to the festival: Keltie Forsyth, Ian Farthing, and Evan Frayne. Runs until: Friday August 18, 2017

Oh, Canada – The True North Strong and Funny

Oh, Canada – The True North Strong and Funny Where: The Improv Centre on Granville Island What: Based on audience suggestions, the cast lampoon such Canadian ‘institutions’ as Heritage Minutes, the Mounties, winter, our hunky Prime Minister, hockey, and lumberjacks or other endless possibilities. As this is improv and the show is made up on the spot, no two shows are ever the same. Join us for some distinctively Canadian laughs. You’ll be nicer for it. Runs until: Saturday August 19, 2017

Theatre Under the Stars | Photo by Tim Matheson

Theatre Under the Stars Where: Stanley Park What: Enjoy a delightful dose of entertainment this summer with two Broadway musicals. Mary Poppins and The Drowsy Chaperone will be performed live at the Malkin Bowl. A beloved Vancouver tradition since 1940, TUTS 2017 season promises song & dance in two family-friendly productions celebrating love and imagination. Runs until: Saturday August 19, 2017

Kitsilano Showboat

Kitsilano Showboat Where: Kits beach What: Almost anything can happen at this family friendly showcase of amateur talent dating back to 1935. Runs until: Saturday August 19, 2017

Live Carving of Stó:lō Welcome Figures

Live Carving of Stó:lō Welcome Figures Where: Tourism Chilliwack Visitor Centre (Chilliwack, BC) What: Terry Horne, artist and Chief from Yakweakwioose band, is carving two Stó:lō Welcome Figures at the Chilliwack Visitor Centre. Runs until: August 2017

Story Walks

Story Walks Where: The Shipyards and in Lynn Canyon Park What: Free drop-in walks at The Shipyards are offered Saturdays and Sundays at 11 am and 1:30 pm. Meet at Lonsdale Ave. and Victory Ship Way. Free drop-in walks in Lynn Canyon Park are offered Wednesdays and Thursdays from July 6th to August 24th at 11 am and 1:30 pm. Meet across from the Lynn Canyon Café. Runs until: Sunday August 27, 2017

Peak Yoga on Grouse Mountain

Dance in Transit Where: Various outdoor locations What: A continuous supply of dancing during the warm months —at no cost. Watch it, try it, and see if you love it. Runs until: Sunday August 27th, 2017

Xi Xanya Dzam – Those Who Are Amazing At Making Things Where: The Bill Reid Gallery What: Xi Xanya Dzam (pronounced hee hun ya zam) is the Kwak’wala word describing incredibly talented and gifted people who create works of art. The exhibition is both a showcase and a critical exploration of ‘achievement’ and ‘excellence’ in traditional and contemporary First Nations art. Runs until: Sunday September 4, 2017

Pictures From Here

Pictures From Here Where: Vancouver Art Gallery What: Featuring photographs and video works from the early 1960s to the present that capture the urban environment of the Greater Vancouver region, its citizens and the vast “natural” landscape of the province. Runs until: Sunday September 4, 2017

Jaad Kuujus: Meghann O’Brien

Jaad Kuujus: Meghann O’Brien Where: Bill Reid Gallery What: Meghann takes materials from the natural world and transforms them into pieces of high-level human expression. Working with traditional materials such as mountain goat wool and cedar bark has given her a deep connection to the supernatural world, a connection to her ancestors. She describes working with cedar bark as, “travelling back in time” or “touching the cosmos”. Her creations have a profound impact within contemporary Northwest Coast art and beyond. Runs until: September 2017

Sunday Art Market

Sunday Art Market Where: Jim Deva Plaza What: Local artists, vendors and makers, largely from Vancouver’s West End, along with musical and other live performances and artist-led workshops to drop into. Runs until: September 2017

Panda International Night Market Where: Richmond, BC What: A diverse market in Richmond, with shopping, food, beverages, and a game zone. Runs until: Monday September 11, 2017

Flora and Fauna: A Summer Art Show Where: The Fall Tattooing and Artist Studio What: An artistic summer celebration of all vibrant, colourful, living things. Runs until: Friday September 15, 2017

Bard on the Beach Shakespeare Festival

Bard on the Beach Shakespeare Festival Where: Vanier Park What: What do you say to watching a live production of Much Ado About Nothing, The Winter’s Tale, The Merchant of Venice or The Two Gentlemen of Verona in a custom-built tent on the beach while sipping wine, beer, and munching on a picnic lunch themed to the play? Yes! Right? After 28 years, this festival has hit a stride of near perfection (and don’t even get us started on the amazing costumes.) Runs until: Saturday September 23, 2017

A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug

A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug Where: Contemporary Art Gallery What: The first overview of the extraordinary career of Levine Flexhaug (1918 – 1974), born in the Treelon area near Climax, Saskatchewan. It brings together approximately 450 of the artist’s paintings as well as several of his mural-sized works. An itinerant painter, he sold thousands of variations of essentially the same landscape painting in national parks, resorts, department stores and bars across western Canada from the late 1930s through the early 1960s. Runs until: Sunday September 24, 2017

Unbelievable

Unbelievable Where: The Museum of Vancouver What: This exhibition poses provocative questions about our perception of stories by assembling iconic artifacts, storied replicas, and contested objects for a mind-bending exploration of the role stories play in defining lives and communities – and what happens when we question the tales we’ve long relied upon. Unbelievable objects include the Thunderbird totem pole that appeared in controversial filmmaker Edward Curtis’ 1906 work In the Land of the Head Hunters; contemporary ‘totems’, each with contrasting stories about a point in time in Vancouver; and artifacts illustrating the complex narrative around Vancouver’s relationship with First Nations communities. Runs until: Sunday September 24, 2017

Uninterrupted

Uninterrupted Where: Under the Cambie Street Bridge What: After dusk, audiences will witness the extraordinary migration of wild Pacific salmon in a 30-minute cinematic spectacle that explores the connection between nature and our urban environments. Runs until: Sunday September 24, 2017

Be Polite

Be Polite Where: Contemporary Art Gallery What: Working closely with the Estate of Gordon Bennett and IMA Brisbane the exhibition will comprise a selection of rare works on paper including drawing, painting, watercolour, poetry, and essays from the early 1990s through to the early 2000s. Runs until: Sunday September 24, 2017

Works by Anna Milton

Works by Anna Milton Where: VanDusen Gardens What: Anna has been exhibiting and selling her work internationally since her college years. She trained and worked as an art therapist for many years and is interested in symbols and metaphor that are present in visual art. Runs until: Wednesday September 27, 2017

Shipyards Night Marlet

Shipyards Night Market Where: Lonsdale, North Vancouver What: Food, art, music, entertainment, shopping, a beer garden, and you can bring your dog! Runs until: September 29, 2017

ZimCarvings Where: VanDusen Botanical Garden What: Patrick Sephani along with visiting artist Peter Kananji will be showcasing works from over 30 Zimbabwean stone sculptors on the beautiful garden grounds and carving stone sculptures on site. All works will be available for purchase. Runs until: Saturday September 30, 2017

Claude Monet’s Secret Garden

Claude Monet’s Secret Garden Where: Vancouver Art Gallery What: The most comprehensive exhibition of French painter Claude Monet’s work in Canada in two decades, Claude Monet’s Secret Garden will trace the career of this pivotal figure in Western art history. This exhibition will present thirty-eight paintings spanning the course of Monet’s long career from the unparalleled collection of the Musée Marmottan Monet, Paris. Runs until: Sunday October 1, 2017

Stephen Shore: The Giverny Portfolio

Stephen Shore: The Giverny Portfolio Where: Vancouver Art Gallery What: Twenty-five photographs by contemporary American photographer Stephen Shore produced during several visits to Impressionist painter Claude Monet’s famous gardens at Giverny, France. Showing concurrently with the exhibition Claude Monet’s Secret Garden, Stephen Shore: The Giverny Portfolio offers a contemporary perspective on the tranquility originally captured in Monet’s iconic paintings. Runs until: Sunday October 1, 2017

Persistence

Persistence Where: Vancouver Art Gallery What: Persistence draws together three recent contemporary installations to explore the surprising and creative ways that technologies, physical objects and natural processes endure and transform. Runs until: October 1, 2017

Elad Lassry

Elad Lassry Where: Vancouver Art Gallery What: Investigating the nature of perception with a special focus on the photographic image within the digital era, the exhibition includes more than seventy works—films, photographs and sculpture—produced by Lassry over the last decade. Runs until: Sunday October 1, 2017

Mount Pleasant Farmers Market Where: Dude Chilling Park What: Amble over and pick up some afternoon picnic supplies, groceries for the week, and Sunday dinner fixings from 25+ farms and producers. Each week you’ll find a fresh selection of just-picked seasonal fruits & veggies, ethically-raised meats & sustainable seafood, artisanal bread & prepared foods, craft beer, wine, & spirits, handmade craft, and coffee & food trucks. Runs until: Sunday October 8, 2017

Traces of Words: Art and Calligraphy from Asia

Traces of Words: Art and Calligraphy from Asia Where: UBC Museum of Anthropology What: Words and their physical manifestations are explored in this insightful exhibition, which will honour the special significance that written forms. Varied forms of expression associated with writing throughout Asia is shown over the span of different time periods: from Sumerian cuneiform inscriptions, Qu’ranic manuscripts, Southeast Asian palm leaf manuscripts and Chinese calligraphy from MOA’s Asian collection to graffiti art from Afghanistan and contemporary artworks using Japanese calligraphy, and Tibetan and Thai scripts. Runs until: Monday October 9, 2017

Richmond Night Market

Richmond Night Market Where: Richmond, BC What: There’s a dinosaur park! Anamatronic dinosaurs! Also – live performances, carnival games, over 200 retail stalls and over 500 food choices from around the world. Runs until: October 9, 2017

Onsite / Offsite Tsang Kin-Wah

Onsite / Offsite Tsang Kin-Wah Where: Vancouver Art Gallery What: This large-scale composition transforms English texts to form intricate floral and animal patterns. The work draws from discriminatory language that appeared in newspapers and political campaigns in Vancouver during the 1887 anti-Chinese riots, the mid-1980s immigration influx from Hong Kong and most recently, the heated exchanges around the foreign buyers and the local housing market. Runs until: Sunday October 15, 2017

West End Farmers Market Where: 1100 Comox St What: Located in the heart of Vancouver’s busy West End, this laid-back Saturday market looks onto beautiful Nelson Park and adjacent community gardens. Each week, shop for the best in local, seasonal produce, artisanal bread & prepared foods, craft beer, wine, & spirits, ethically raised meat, eggs, & dairy, sustainable seafood, wild crafted product, and handmade craft. Hot food & coffee on-site as well. Runs until: Saturday October 21, 2017 (Saturdays)

Trout Lake Farmers Market Where: Trout Lake What: This is where you’ll find the vendors who have been doing it since the beginning; what started as 14 farmers ‘squatting’ at the Croatian Cultural Centre back in 1995 has grown into Vancouver’s most well-known and beloved market. Visitors come from near and far to sample artisan breads & preserves, stock up on free-range and organic eggs & meats, get the freshest, hard-to-find heirloom vegetables and taste the first Okanagan cherries and peaches of the season. Runs until: Saturday October 21, 2017 (Saturdays)

Kitsilano Farmers Market

Kitsilano Farmers Market Where: Kitsilano Community Centre parking lot What: A great selection of just-picked, seasonal fruits & vegetables, ethically raised and grass fed meat, eggs, & dairy, sustainable seafood, fresh baked bread & artisanal food, local beer, wine, & spirits, and beautiful, handmade craft. Kids and parents alike can enjoy entertainment by market musicians, a nearby playground and splash park, and coffee and food truck offerings each week. Runs until: Sunday October 22, 2017 (Sundays)

The Lost Fleet Exhibit Where: Vancouver Maritime Museum What: On December 7, 1941 the world was shocked when Japan bombed Pearl Harbour, launching the United States into the war. This action also resulted in the confiscation of nearly 1,200 Japanese-Canadian owned fishing boats by Canadian officials on the British Columbia coast, which were eventually sold off to canneries and other non-Japanese fishermen. The Lost Fleet looks at the world of the Japanese-Canadian fishermen in BC and how deep-seated racism played a major role in the seizure, and sale, of Japanese-Canadian property and the internment of an entire people. Runs until: Winter 2017

Bill Reid Creative Journeys | Image via the Canadian Museum of History

Bill Reid Creative Journeys Where: The Bill Reid Gallery What: Celebrating the many creative journeys of acclaimed master goldsmith and sculptor Bill Reid (1920–1998), this exhibition provides a comprehensive introduction to his life and work. Runs until: Sunday December 10, 2017

Amazonia: The Rights of Nature

Amazonia: The Rights of Nature Where: UBC Museum of Anthropology What: MOA will showcase its Amazonian collections in a significant exploration of socially and environmentally-conscious notions intrinsic to indigenous South American cultures, which have recently become innovations in International Law. These are foundational to the notions of Rights of Nature, and they have been consolidating in the nine countries that share responsibilities over the Amazonian basin. Runs until: January 28, 2018

Emily Carr: Into the Forest

Emily Carr: Into the Forest Where: Vancouver Art Gallery What: Far from feeling that the forests of the West Coast were a difficult subject matter, Carr exulted in the symphonies of greens and browns found in the natural world. With oil on paper as her primary medium, Carr was free to work outdoors in close proximity to the landscape. She went into the forest to paint and saw nature in ways unlike her fellow British Columbians, who perceived it as either untamed wilderness or a plentiful source of lumber. Runs until: March 4, 2018

Chief Dan George: Actor and Activist Where: North Vancouver Museum What: An exhibition exploring the life and legacy of Tsleil-Waututh Chief Dan George (1899- 1981) and his influence as an Indigenous rights advocate and his career as an actor. The exhibition was developed in close collaboration with the George family. Runs until: April 2018

In a Different Light

In a Different Light Where: Museum of Anthropology What: More than 110 historical Indigenous artworks and marks the return of many important works to British Columbia. These objects are amazing artistic achievements. Yet they also transcend the idea of ‘art’ or ‘artifact’. Through the voices of contemporary First Nations artists and community members, this exhibition reflects on the roles historical artworks have today. Featuring immersive storytelling and innovative design, it explores what we can learn from these works and how they relate to Indigenous peoples’ relationships to their lands. Runs until: Spring 2019

What are you up to this weekend? Tell me and the rest of Vancouver in the comments below or tweet me directly at @lextacular

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