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UID:20211004T2045Z-1633380301.5988-EO-19855-37@10.19.146.2
STATUS:CONFIRMED
DTSTAMP:20260615T073219Z
CREATED:20160606T174327Z
LAST-MODIFIED:20210816T191948Z
DTSTART;VALUE=DATE:20070303
DTEND;VALUE=DATE:20070402
SUMMARY: The Backlot\; curated by CCST candidate Sophie Brodovitch
DESCRIPTION: Opening reception 03 March 2007. Runs 03 March – 01 April 2007
 . Corey Adams\, Roy Arden\, Geoffrey Farmer\, Angus Ferguson\, Jacob Gleeso
 n\, Mark Lewis\, Anne Ramsden\, Matthew Robertson The title of the exhibiti
 on\, The Backlot\, makes reference to the false façades typically found on 
 the lots at major Hollywood studios. Consisting of two or three walls […]
X-ALT-DESC;FMTTYPE=text/html: <h4>Opening reception 03 March 2007. Runs 03 
 March - 01 April 2007.</h4><p><strong>Corey Adams\, Roy Arden\, Geoffrey Fa
 rmer\, Angus Ferguson\, Jacob Gleeson\, Mark Lewis\, Anne Ramsden\, Matthew
  Robertson</strong></p><p>The title of the exhibition\, <strong>The Backlot
 </strong>\, makes reference to the false façades typically found on the lot
 s at major Hollywood studios. Consisting of two or three walls and sometime
 s a roof\, the façades on the backlot are essentially shells of what is ima
 gined to exist inside—they provide the viewer with minimum visual informati
 on and little more. Though it does not actually have a true backlot of its 
 own\, Vancouver can be understood as having many of the same qualities of t
 he traditional backlot. Creating illusion through the concealing and reveal
 ing of selected elements of a location is central to the filmmaking process
 \, and in the many films that Vancouver has appeared as a backdrop\, it is 
 rarely represented as itself\, but rather\, is used almost exclusively as a
  stand-in for any other city.</p><p>The artwork in this exhibition consider
 s the ways in which the Vancouver film industry disrupts and interrupts spa
 ce within the city and aims to examine how the film industry’s dependence o
 n the fictional construction of places and locations is embedded in Vancouv
 er’s understanding (or misunderstanding) of itself. Through video\, film\, 
 photography\, and installation\, eight artists who have at some point lived
  in Vancouver explore how the city is marketed and sold as a series of loca
 tions and services\, how it is presented as fictitious or generic\, and how
  this contributes to the absence of a sense of place in what is one of the 
 most filmed cities in the world.</p><p>This project is curated by <strong>S
 ophie Brodovitch</strong>\, a candidate to the Masters Degree in Critical a
 nd Curatorial Studies at The University of British Columbia.</p><p><em>Belk
 in Satellite gratefully acknowledges the support of the Alvin Balkind Fund 
 for Student Curatorial Initiatives\, the Department of Art History\, Visual
  Art\, and Theory\, the Faculty of Arts\, and the Museum of Anthropology at
  The University of British Columbia.</em></p><p><a class="download-btn" hre
 f="https://ahva.cms.arts.ubc.ca/wp-content/uploads/sites/37/2016/06/290.pdf
 ">290</a></p>
LOCATION:Satellite Gallery\, Floor 2
GEO:49.283221;-123.114563
URL;VALUE=URI:https://ahva.ubc.ca/events/event/the-backlot-curated-by-ccst-
 candidate-sophie-brodovitch/
ATTACH;FMTTYPE=image/jpeg:https://ahva.cms.arts.ubc.ca/wp-content/uploads/sites/37/2021/05/290.jpg
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DTSTART:20061029T090000
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