This March the Western Front turns forty. For those
unfamiliar with this historic Vancouver artist-run centre, the Western Front
was founded by a group of locally-based visual artists, musicians, poets and dancers who purchased the former Knights of Pythias Hall at the northeast
corner of 8th and Scotia as both a place to live and a place to continue their experiments in food preparation, collaboration,
installation, movement, performance and video -- in a
non-institutionalized setting.
Over the years all but one of the original founders have
dispersed, some selling their stake, others to heaven. Of the original
founders, Eric Metcalfe remains in an Ikea-like suite at the
bottom-rear of the building, while Hank Bull, who arrived shortly after the
original founders took possession, occupies a rustic island-style apartment on
the top floor overlooking the entrance. Running things now is a group of visual artists, musicians, dancers, curators and archivists in their mid-thirties to
mid-sixties, all of whom work within (and sometimes without) the templates of
public institutional funding.
The present regime is led by Caitlin Jones, who arrived two years ago from the Guggenheim
Museum, where she held a combined research position in both the Curatorial and
Conservation departments. Jones’s archival training is apparent in the
centre’s current direction, which is focused on
the material, ephemeral, mythical and logical inventory that has accrued since the Front opened its doors in 1973.
One program that has brought the archive to the fore is the Past
as Prologue residency, of which I was an early participant (Three Readings:
Camera, Tape and Sound), followed by Sophie Belair Clement, whose research
resulted in a multi-channel exhibition based on an August 1, 1974 visit by Fluxus member Robert Filliou, a patron saint of the early Fronters.
Earlier this year, Instant Coffee was invited to "exhibit" Feeling So Much Yet Doing So Little (2012) -- two opposing bleachers,
between which invited guests gave talks, while on “off-days” patrons engaged in social events (book clubs, whittling, etc.) facilitated by this self-described “service-oriented” collective. Most remarkable about Instant Coffee’s presence
was its (re)assignment of events usually associated with the much larger Luxe space upstairs to the Exhibitions space, a space that reluctantly (for
some of the founders) became a gallery for the display of art objects. Instant Coffee's inversion (inadvertent or otherwise) of the Front's traditional content-to-space apportioning was not lost on those who know something of the centre's history.
This past weekend Front audiences were treated to what might
be the most insightful – and audacious -- reading of the centre in Isabelle Pauwels’s LIKE…/ AND, LIKE/ YOU KNOW/ TOTALLY/ RIGHT (2012), a
64-minute operatically-proportioned video (with ads, like the image above) that pairs the centre's multiple myths and histories with Pauwels’s own developmental trajectory, one familiar to anyone who attended
a North American high school. Indeed, if the Front was a privileged and at
times infantile “boys’ club” (as it was known in 1970s), Pauwels and
her twin sister Valerie (who, for the most part, appears dressed as “Catwoman” -- in an homage to co-founder Kate Craig?), enact a “girls’ club”, with founders
Glenn Lewis, Eric Metcalfe and Hank Bull playing both themselves and who we
perceive them to be (in the case of Metcalfe, Pauwels takes the artist's legendary fetish impulse to new heights). But to leave it at that would be an
injustice to Pauwels’s considerable research, staging and editing skills, all of which come together seamlessly in this mammoth undertaking, what Western Front Media Arts curator Sarah
Todd, who commissioned the work, describes as a “two week shoot and a four
month, 16 hour-a-day edit.”
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