Featured Events in Vancouver in February 2025 (April Updated)

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is an extensive survey of experimental art made in six Central Eastern European nations between the 1960s and 1980s. Including both rarely seen and newly reconstructed works, the exhibition weaves together a complex story of artists questioning how, when and where art could exist, and exploring the varied meanings it might hold for society. Despite their geographical proximity, the artists featured in the exhibition encountered different conditions for daily life and artmaking, as they confronted varying degrees of control and pressure exerted by state authorities. Charting a generation invested in experimentation, Multiple Realities sheds light on ways that artists refused, circumvented, eluded and subverted official systems. Often infused with wit and irony, the works on view demonstrate both conceptual and formal innovation, often underpinned with an unfettered spirit of adventurousness.

Internationally recognized artist Hank Willis Thomas works across several disciplines and mediums and has recently created large-scale sculptures and monuments for the public realm. This installation at Offsite will be the first time three of Thomas’ polished stainless-steel sculptures will be exhibited together. In his wide-ranging conceptual art practice, Thomas explores how contemporary society commodifies race and gender. His works—which span photography, sculpture, installation and more—often reflect on mass media representations and social justice. Originally trained as a photographer, he is interested in how popular imagery from advertisements, mass media and visual media inform cultural attitudes. In using images featuring Black men that circulate widely in popular culture (from Nike ads to political campaign images), the artist encourages the viewer to question commercial representations and cultural stereotypes. Thomas has increasingly made work for the public realm, creating large-scale outdoor sculptures and monuments. His public sculptures often feature an isolated gesture from a photograph or circulated image, bringing a sense of intimacy to the public sphere. Thomas’ sculptures feature disembodied hand gestures that evoke gestures of protest, care and exaltation. These works will take on particular resonance at Offsite, where they will be installed adjacent to the public route of protests and political marches in the city. At a time when the roles and relevance of public monuments are being debated, Thomas is creating new monuments for our era.

Internationally recognized artist Hank Willis Thomas works across several disciplines and mediums and has recently created large-scale sculptures and monuments for the public realm. This installation at Offsite will be the first time three of Thomas’ polished stainless-steel sculptures will be exhibited together. In his wide-ranging conceptual art practice, Thomas explores how contemporary society commodifies race and gender. His works—which span photography, sculpture, installation and more—often reflect on mass media representations and social justice. Originally trained as a photographer, he is interested in how popular imagery from advertisements, mass media and visual media inform cultural attitudes. In using images featuring Black men that circulate widely in popular culture (from Nike ads to political campaign images), the artist encourages the viewer to question commercial representations and cultural stereotypes. Thomas has increasingly made work for the public realm, creating large-scale outdoor sculptures and monuments. His public sculptures often feature an isolated gesture from a photograph or circulated image, bringing a sense of intimacy to the public sphere. Thomas’ sculptures feature disembodied hand gestures that evoke gestures of protest, care and exaltation. These works will take on particular resonance at Offsite, where they will be installed adjacent to the public route of protests and political marches in the city. At a time when the roles and relevance of public monuments are being debated, Thomas is creating new monuments for our era.

Internationally recognized artist Hank Willis Thomas works across several disciplines and mediums and has recently created large-scale sculptures and monuments for the public realm. This installation at Offsite will be the first time three of Thomas’ polished stainless-steel sculptures will be exhibited together. In his wide-ranging conceptual art practice, Thomas explores how contemporary society commodifies race and gender. His works—which span photography, sculpture, installation and more—often reflect on mass media representations and social justice. Originally trained as a photographer, he is interested in how popular imagery from advertisements, mass media and visual media inform cultural attitudes. In using images featuring Black men that circulate widely in popular culture (from Nike ads to political campaign images), the artist encourages the viewer to question commercial representations and cultural stereotypes. Thomas has increasingly made work for the public realm, creating large-scale outdoor sculptures and monuments. His public sculptures often feature an isolated gesture from a photograph or circulated image, bringing a sense of intimacy to the public sphere. Thomas’ sculptures feature disembodied hand gestures that evoke gestures of protest, care and exaltation. These works will take on particular resonance at Offsite, where they will be installed adjacent to the public route of protests and political marches in the city. At a time when the roles and relevance of public monuments are being debated, Thomas is creating new monuments for our era.

Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is an extensive survey of experimental art made in six Central Eastern European nations between the 1960s and 1980s. Including both rarely seen and newly reconstructed works, the exhibition weaves together a complex story of artists questioning how, when and where art could exist, and exploring the varied meanings it might hold for society. Despite their geographical proximity, the artists featured in the exhibition encountered different conditions for daily life and artmaking, as they confronted varying degrees of control and pressure exerted by state authorities. Charting a generation invested in experimentation, Multiple Realities sheds light on ways that artists refused, circumvented, eluded and subverted official systems. Often infused with wit and irony, the works on view demonstrate both conceptual and formal innovation, often underpinned with an unfettered spirit of adventurousness.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

In its exhibition design, Emily Carr: Navigating an Impenetrable Landscape draws out the question of the opening and closing-off of space in Carr’s landscapes by contrasting a densely hung group of paintings with sparsely hung later works that depict an open horizon. Ironically, many of the spatially open works are open precisely because they depict landscapes that had been recently subject to clear-cut logging. This exhibition uses the spatial metaphor of closeness to and distance from nature to probe Carr’s thinking about the forests she painted. It will also examine how Carr’s representation of some Indigenous subjects—particularly villages and totem poles set within landscapes—sit in relation to the dense forest and what this might suggest, given the late 19th- and early 20th-century tendency to conflate Indigenous cultures with nature.

Organized by the Institute of Contemporary Art/Boston, this exhibition is the first mid-career survey of the richly layered work of Firelei Báez. One of the most exciting painters of her generation, Báez delves into the historical narratives of the Atlantic Basin. Over the past twenty years, she has made work that explores the multilayered explorations of the legacy of colonial histories and the African diaspora in the Caribbean and beyond. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, decoration and saturated colour, often overlaid on maps made during colonial rule in the Americas. Báez’s investment in the medium of painting and its capacity for storytelling and mythmaking informs all her work, including her sculptural installations, which bring this quality into three dimensions. This exhibition offers audiences a timely opportunity to gain a holistic understanding of Báez’s complex and profoundly moving body of work, cementing her as one of the most important artists of the early 21st century. Please note that the banner installation Truth was the bridge (or an emancipatory healing) (2024) on the Gallery’s Georgia facade will be removed between November 6 and 13, 2024, for Lumière Festival.

Organized by the Institute of Contemporary Art/Boston, this exhibition is the first mid-career survey of the richly layered work of Firelei Báez. One of the most exciting painters of her generation, Báez delves into the historical narratives of the Atlantic Basin. Over the past twenty years, she has made work that explores the multilayered explorations of the legacy of colonial histories and the African diaspora in the Caribbean and beyond. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, decoration and saturated colour, often overlaid on maps made during colonial rule in the Americas. Báez’s investment in the medium of painting and its capacity for storytelling and mythmaking informs all her work, including her sculptural installations, which bring this quality into three dimensions. This exhibition offers audiences a timely opportunity to gain a holistic understanding of Báez’s complex and profoundly moving body of work, cementing her as one of the most important artists of the early 21st century. Please note that the banner installation Truth was the bridge (or an emancipatory healing) (2024) on the Gallery’s Georgia facade will be removed between November 6 and 13, 2024, for Lumière Festival.

Organized by the Institute of Contemporary Art/Boston, this exhibition is the first mid-career survey of the richly layered work of Firelei Báez. One of the most exciting painters of her generation, Báez delves into the historical narratives of the Atlantic Basin. Over the past twenty years, she has made work that explores the multilayered explorations of the legacy of colonial histories and the African diaspora in the Caribbean and beyond. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, decoration and saturated colour, often overlaid on maps made during colonial rule in the Americas. Báez’s investment in the medium of painting and its capacity for storytelling and mythmaking informs all her work, including her sculptural installations, which bring this quality into three dimensions. This exhibition offers audiences a timely opportunity to gain a holistic understanding of Báez’s complex and profoundly moving body of work, cementing her as one of the most important artists of the early 21st century.

Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is an extensive survey of experimental art made in six Central Eastern European nations between the 1960s and 1980s. Including both rarely seen and newly reconstructed works, the exhibition weaves together a complex story of artists questioning how, when and where art could exist, and exploring the varied meanings it might hold for society. Despite their geographical proximity, the artists featured in the exhibition encountered different conditions for daily life and artmaking, as they confronted varying degrees of control and pressure exerted by state authorities. Charting a generation invested in experimentation, Multiple Realities sheds light on ways that artists refused, circumvented, eluded and subverted official systems. Often infused with wit and irony, the works on view demonstrate both conceptual and formal innovation, often underpinned with an unfettered spirit of adventurousness.

The Vancouver International Boat Show provides the opportunity to have detailed information related to the new trends in design and construction of boats The Vancouver International Boat Show provides the opportunity to have detailed information related to the new trends in design and construction of boats and cruise and other aquatic items. It also displays aluminum boats, bass boats, bow riders, cuddy cabins, fish and ski boats, hi-performance boats, houseboats, inboard cruisers, and much more. Information Source: N.M.M.A. - National Marine Manufacturers Association | expotobi

隨著健康新概念的不斷興起，2025年溫哥華健康展無疑將成為行業內最受矚目的盛事。擁有以人為本的核心理念，此次健康展旨在為所有關注健康生活方式的朋友們提供一個全面的平台。活動將於2025年2月1日在加拿大不列顛哥倫比亞省溫哥華市的會議中心東隆重舉行。作為專業人士和健康愛好者，您將有機會探索和交流最前沿的健康趨勢、創新技術和優質產品。2025年溫哥華健康展是一個不容錯過的學習和網絡機會，將引領與會者 進入健康生活的新篇章。請準時蒞臨，與同行業精英共述健康未來。

For many Vancouverites, the Chinatown Chinese New Year Parade is the highlight of Lunar New Year celebrations. The Vancouver Chinese Charity Association and other community organizations have organized this annual event for more than 50 years. The parade winds its way along East Pender and Keefer Streets in Chinatown. This year's parade will start at 11 a.m. on February 2. After the parade, head to the courtyard of the Chinese Cultural Centre and Dr. Sun Yat-sen Garden to enjoy free performances, music and other activities. You can also stroll through Chinatown and watch lion dances. Participating businesses will hang lettuce and red envelopes outside their doors. During the lion dance, the lions "eat" the lettuce and red envelopes offered. People believe that lion dances bring good luck to businesses in the coming year.

For many Vancouverites, the Chinatown Chinese New Year Parade is the highlight of Lunar New Year celebrations. The Vancouver Chinese Charity Association and other community organizations have organized this annual event for more than 50 years. The parade winds its way along East Pender and Keefer Streets in Chinatown. This year's parade will start at 11 a.m. on February 2. After the parade, head to the courtyard of the Chinese Cultural Centre and Dr. Sun Yat-sen Garden to enjoy free performances, music and other activities. You can also stroll through Chinatown and watch lion dances. Participating businesses will hang lettuce and red envelopes outside their doors. During the lion dance, the lions "eat" the lettuce and red envelopes offered. People believe that lion dances bring good luck to businesses in the coming year.

For many Vancouverites, the Chinatown Chinese New Year Parade is the highlight of Lunar New Year celebrations. The Vancouver Chinese Charity Association and other community organizations have organized this annual event for more than 50 years. The parade winds its way along East Pender and Keefer Streets in Chinatown. This year's parade will start at 11 a.m. on February 2. After the parade, head to the courtyard of the Chinese Cultural Centre and Dr. Sun Yat-sen Garden to enjoy free performances, music and other activities. You can also stroll through Chinatown and watch lion dances. Participating businesses will hang lettuce and red envelopes outside their doors. During the lion dance, the lions "eat" the lettuce and red envelopes offered. People believe that lion dances bring good luck to businesses in the coming year.

For many Vancouverites, the Chinatown Chinese New Year Parade is the highlight of Lunar New Year celebrations. The Vancouver Chinese Charity Association and other community organizations have organized this annual event for more than 50 years. The parade winds its way along East Pender and Keefer Streets in Chinatown. This year's parade will start at 11 a.m. on February 2. After the parade, head to the courtyard of the Chinese Cultural Centre and Dr. Sun Yat-sen Garden to enjoy free performances, music and other activities. You can also stroll through Chinatown and watch lion dances. Participating businesses will hang lettuce and red envelopes outside their doors. During the lion dance, the lions "eat" the lettuce and red envelopes offered. People believe that lion dances bring good luck to businesses in the coming year.

Duo Majoya is the husband-and-wife musical power couple of organist Marnie Giesbrecht and pianist Joachim Segger, the uniquely versatile and innovative keyboard team that has circled the globe performing keyboard duets of all combinations across North America, Europe, South Africa and Asia. Just in time for the Valentine’s season, this dynamic duo brings their fun and light-hearted concert to St. Andrew’s-Wesley for one unforgettable night, performing on our 4-manual Casavant Fréres organ (Opus 1475) and Steinway “Heirloom” concert grand piano. Tickets $20 online, or cash at the door. Accessible entrance on Nelson St. SW corner of Nelson & Burrard St. Learn more about Duo Majoya at duomajoya.com Information Source: St. Andrew's-Wesley United Church | eventbrite

Experience a night of existential fantasy at the upcoming event featuring performances by Dacey, Baby Chilli, and Matt Storm in Vancouver. The event will take place at Red Gate on February 7, 2025. Immerse yourself in a unique blend of music and art at this one-of-a-kind show. Tickets are priced at CA$17.31, offering an affordable opportunity to enjoy a memorable evening of entertainment. Don't miss out on this special event at 1965 Main Street, Vancouver, BC V5T 3C1.

Explore accurate Vancouver Canucks v Toronto Maple Leafs sporting information for 8th February, as well as more Ice Hockey times with Fixture Calendar. The Vancouver Canucks are a beloved professional ice hockey team based in Vancouver, Canada. They compete in the Pacific Division of the National Hockey League (NHL), one of the most competitive ice hockey leagues in the world. The Canucks have a rich history dating back to their establishment in 1970 and have made it to the Stanley Cup playoffs 17 times. Known for their passionate fan base, the Canucks have also won numerous awards, including three Presidents' Trophies for having the best regular season record and two Clarence S. Campbell Bowls for winning the Western Conference. The team's current roster boasts talented players such as Elias Pettersson, Brock Boeser, and Alex Edler. The Canucks play their home games at the Rogers Arena, a state-of-the-art stadium that can hold over 18,000 fans and is known for its energetic atmosphere. The Toronto Maple Leafs, also known as the Leafs, are a professional ice hockey team based in Toronto, Ontario, Canada. They are members of the North Division of the National Hockey League (NHL) and have been playing since 1917. The team competes in the Eastern Conference and has won the Stanley Cup 13 times, with the most recent victory in 1967. Some notable players on the team include Auston Matthews, John Tavares, and Mitch Marner. They play their home games at the Scotiabank Arena, which has a capacity of over 19,000 seats and is known for its electric atmosphere during hockey games. The Toronto Maple Leafs have a dedicated fan base and continue to be a top contender in the NHL. Information Source: fixturecalendar.com

Celebrating the release of Royal Oak's third studio album We're All Just Trying To Figure It Out , with very special guests BADMNY. Information Source: eventbrite