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Richmond exhibit to address violence against "queer and POC bodies"

The exhibit features sculptures and video installations from Feb. 12 to Apr. 3.
Brendan Fernandes art exhibit
Brendan Fernandes, "Free Fall: for Camera," 2019, video still which is part of his exhibition titled Inaction. The exhibit will be at the Richmond Art Gallery starting Feb. 12.

The Richmond Art Gallery (RAG) is hosting an exhibition about the violence faced by "queer and POC bodies" starting Feb. 12.

The exhibition, Inaction, aims to find a potential change in “collective action” through sculptural and performance-based installations by Brendan Fernandes, a Canadian contemporary artist.

Inaction reflects on the continued visible and invisible impacts of hateful rhetoric on marginalized bodies. More than ever, it is crucial to present work that celebrates the diversity of lived experiences, creating safe and inclusive spaces for dialogue,” explained Shaun Dacey, RAG director and the exhibition’s curator.

There are two components to the exhibition: nine sculptural works and the Canadian premiere of Fernandes’ video performance titled Free Fall: for the Camera.

The video was originally a response to the Pulse shooting – a shooting at an Orlando nightclub in 2016 – but he says “the work needs to continue" since many are still being “marginalized” for their bodies, Fernandes told the Richmond News.

“As a society, we’re finding about how hard we can fall, but also how to stand up, move forward and move on,” said Fernandes.

“With Black Lives Matter and other socio-political uprisings gaining moment, it’s important to seek out our freedom and rights.”

The COVID-19 pandemic is an extension of how people are figuring out what is a safe space and what their bodies need during this time, he added.

Meanwhile, the mobile dance supports and sculpture installations, created in collaboration with Chicago-based architecture firm Norman Kelley, are “activated” by the audience and dancers interacting with them.

This public performance in the exhibition gives the dancers the ability to “rearrange the sculptures” and creating new movements in the space.

The space, says Fernandes, is for individuals to come together and “enact change as actors, agents and activists.”

Online performances will be held in March and April with dates to be confirmed.

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