Vancouver Magazine
Opening Soon: A Japanese-Style Bagel Shop in Downtown Vancouver
The Broadway/Cambie Corridor Has Become a Hub for Excellent Chinese Restaurants
Flaky, Fluffy and Freaking Delicious: Vancouver’s Top Fry Bread and Bannock
Protected: The Wick is Lit for This Fraser Valley Winery
Wine Collab of the Week: The Best Bottle to Welcome a Vancouver Spring
Naked Malt Blended Malt Scotch Whisky Celebrates Versatility and Spirit
Coyotes, Crows and Flying Ants: All of Your Vancouver Wildlife Questions, Answered
The Orpheum to Launch ‘Silent Movie Mondays’ This Spring
5 Things to Do in Vancouver This Week (March 27-April 2)
What It’s Like to Get Lost on a Run With a Pro Trail Runner
8 Things to Do in Abbotsford (Even If It’s Pouring Rain)
Explore the Rockies by Rail with Rocky Mountaineer
The Future of Beauty: How One Medical Aesthetics Clinic is Changing the Game
4 Fashion Designers From African Fashion Week Vancouver to Put on Your Radar
Before Hibernation Season Ends: A Round-Up of the Coziest Shopping Picks
“It’s alive, it’s electric and it is now,” says Evan Pricco, editor of San Francisco’s Juxtapoz Art and Culture Magazine and co-curator of the Vancouver Art Gallery’s new exhibit Juxtapoz x Superflat. The show, which made a short appearance at the Seattle Art Fair this past August, is a collaboration between Pricco and Takashi Murakami, a world-renowned Japanese artist who coined the term ‘Superflat’ back in 2001, an art movement that discusses the flattening of traditional hierarchies and the reconfiguration of boundaries that have conventionally shaped meaning in contemporary art. Paco Pomet, Social, 2016 The exhibit features 36 artists from Japan, Korea, Canada, China, the United States and Europe, like Paco Pomet, Nina Chanel Abney and Madsaki, whose work contributes to the levelling of high and low cultures through the mash-up of street art, performance, sculpture and painting. This eclectic mix of artworks gives the exhibition a vibrant, dark-yet-colourful energy. When curating the exhibit, Pricco wanted viewers to feel as if they were surfing the Internet. “It’s kind of the way people look at art in 2016,” he says. He Xiangyu, The Death of Marat, 2011
Swoon, Edline, 2016