[{"data":1,"prerenderedAt":192},["ShallowReactive",2],{"article:in-dreams-liquidity-art-and-business-in-the-real-estate-meat-machine":3,"page:48":119,"page:321":155},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":31,"pdfUrl":32,"vimeo":32,"contributorBios":33,"seo":38},812,"in-dreams-liquidity-art-and-business-in-the-real-estate-meat-machine","In dreams: liquidity, art, and business in the real estate meat machine","\u003Cp>Casey Wei explores pop-up art spaces around Vancouver, situating them amidst an increasingly alienating social landscape.\u003C\u002Fp>\n","2021-07-19T11:59:24",2021,"Jul 2021",[12],7,[14],"Essay",2613,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-50.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-50-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-50-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-50.jpg 1920w",1920,1080,"Liquidation World","data:image\u002Fwebp;base64,UklGRqwAAABXRUJQVlA4IKAAAACQBQCdASogABIAPu1iqE2ppaOiMAgBMB2JZQDIyy\u002FCdoquP9aHA\u002FXviwS\u002FdWM2896wbfGWAAD+zNMTCWvIce3+GHBHHzRC1iTXsCkcHPxwQrEVYfrtlalDqd3hcAjqIQdDXeOWk7LSh8y1w9WyobeqaOWcJNkOvRKYu8RyznYiA6d4SzM2pTD8hTK+ltpHFJKAHLJDIkdB\u002Fg2DfF3\u002FAAAA",[25],{"id":26,"name":27,"slug":28},444,"Casey Wei","casey-wei","\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRiIBAABXRUJQVlA4IBYBAABwBQCdASogABIAPu1iqU2ppaOiMAgBMB2JYgCdM2ROAbSgvG3pqhfr04zAQ3KsBkuv8t6AAP4DX9CcPWTCR6UszGJHROUIlmeHBAIi3ZjiXuw5T7\u002FF9kOfYLphiJltuYWaCxXfv5+au2KfTPg6xatTL0Ek5YUDAJ427cOI1ut10ZyH2X21NgITix8f2qaSctcBSJExII1Kxkogh5XFxsCjSZaJzfGncOuwH8r+MTaUIUQXTtAfjh0bbjz6dNNLP3JEevPxMyIUy4ARj2wt0YBooWOQr2TMHtS+w9WZD8dlcPOwqP5NnBCusX3Enr9aBSXdX1u42gW5L8ZknBW00gFWmjonLBVlccywUPG4D2Vu4ABNQFgAAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-100.jpg\" alt=\"\" class=\"lqip wp-image-814\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-100.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-100-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-100-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-feature-100-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Storefront view of Liquidation World.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">\u003Cem>“We take everything and everything must go!” \u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Liquidation World submission policy\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">\u003Cem>“A house is a thing to which other things are added.” \u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Peter Culley, as quoted by Christian Vistan\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">\u003Cem>“Time is liquid. One moment is no more important than any other and all moments quickly run away.” \u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Kurt Vonnegut, \u003Cem>Bluebeard\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">1. \u003Cstrong>Random non-place\u003C\u002Fstrong>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">There was a time, a time pre-Olympics not so long ago, when Vancouver was romantically waxed upon as the Terminal City. A wet, gritty, affordable, random “non-place…a bit like every place.”\u003Cspan id='easy-footnote-1-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-812' content='Trevor Mahovsky, “Radical, Bureaucratic, Melancholic, Schizophrenic: Texts as Community,” \u003Cem>Canadian Art \u003C\u002Fem>(Summer 2001): 50, as quoted in “Adventures in Reading Landscape” by Marina Roy, in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, eds. Melanie O’Brian, Vancouver (Arsenal Pulp Press: Artspeak, 2007): 72.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> A livable place, where not every high-density street was metered, a community of squat boats populated False Creek around Science World, and $5 could get you two slices and a pop. The mainstream cultural narrative of this city, one I was familiar with growing up through the ‘90s and ‘00s, presented Vancouver as “a utopian mixture of radicals and mandarins, disinclined to battle physical and financial colonization and transformation.”\u003Cspan id='easy-footnote-2-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-812' content='Ibid. Current discourse via Indigenous Sovereignty and Reconciliation has now outdated this posture.' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I think about this past, not as ‘the good old days’ — the romance of a wet, gritty, utopian non-place brings up different memories, associations, and struggles for different folks — but as a time when I was younger, naive, and believed the hype. Now in hindsight, this self-reflexive grooming of an art-elitist attitude\u003Cspan id='easy-footnote-3-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-812' content='Melanie O’Brian writes that “the international success of a handful of Vancouver artists has set a benchmark for interested outsiders as well as for subsequent generations of Vancouver artists” in her “Introduction: Specious Speculation”, in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, 16.' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan> totally correlates to how now, once again in 2021, Vancouver ranks as the country’s most expensive city in which to live.\u003Cspan id='easy-footnote-4-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-812' content='Kurtis Doering and Hana Mae Nassar, “Vancouver most expensive city in Canada (again), according to new ranking,” \u003Cem>CityNews 1130\u003C\u002Fem>, June 23, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.citynews1130.com\u002F2021\u002F06\u002F23\u002Fvancouver-expensive-city-ranking\u002F\" target=\"_blank\">https:\u002F\u002Fwww.citynews1130.com\u002F2021\u002F06\u002F23\u002Fvancouver-expensive-city-ranking\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">But, to return to the physical terminus. As the “end-of-the-line hinterland and transnational nexus,”\u003Cspan id='easy-footnote-5-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-812' content='Ibid.' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> this terminality has always meant a break from history, and stages an invitation for us to envision something different in the present moment.\u003Cspan id='easy-footnote-6-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-812' content='For instance, Kitt Peacock traces the history of the Chinese community renting land from xʷməθkʷəy̓əm along the Fraser River and dominating the agricultural market after finishing work on the CPR in “What used to be the marsh: “Food sovereignty and cultural work in Chinatown,” \u003Cem>ReIssue\u003C\u002Fem>, July 7, 2021, \u003Ca href=\"https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-used-to-be-the-marsh-food-sovereignty-and-cultural-work-in-chinatown\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-used-to-be-the-marsh-food-sovereignty-and-cultural-work-in-chinatown\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> The end is never really the end, and ‘random’ can mean the possible discovery of the specific, even when alienated in a sea of empty signifiers. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">A key factor in the interpretation of this terminal randomness is affordability. Affordability for the majority of people working towards some semblance of middle class, and for a particular subset of that majority — artists and cultural workers who can thrive creatively with very little. Only, the cost of living in this city \u003Cem>to survive\u003C\u002Fem>, has so steeply ballooned much too high for most artists to realistically \u003Cem>thrive\u003C\u002Fem>.\u003Cspan id='easy-footnote-7-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-7-812' content='The cost of living in Vancouver is $20-$21, whereas minimum wage is $15.20. Compare Vancouver City Savings Credit Union, “What is a Living Wage?” accessed July 10, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.vancity.com\u002FAboutVancity\u002FVisionAndValues\u002FValuesBasedBanking\u002Flivingwage\u002F\" target=\"_blank\">https:\u002F\u002Fwww.vancity.com\u002FAboutVancity\u002FVisionAndValues\u002FValuesBasedBanking\u002Flivingwage\u002F\u003C\u002Fa> to Province of British Columbia, “Minimum Wage,” accessed July 10, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Femployment-business\u002Femployment-standards-advice\u002Femployment-standards\u002Fwages\u002Fminimum-wage\" target=\"_blank\">https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Femployment-business\u002Femployment-standards-advice\u002Femployment-standards\u002Fwages\u002Fminimum-wage\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>7\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">2.  \u003Cstrong>What practice longs for\u003C\u002Fstrong>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">During the hours when my life is work as an artist-arts-worker-art-person, I exist in a very specific environment. I interact with a small community of people, and we work on things together to reach deliverables for projects and programs that are sustained by various public funds. In the hours outside of work, I move from here to there in and around the city. While commuting from one place to another throughout the pandemic, I am struck by how \u003Cem>yes, random-non-placey\u003C\u002Fem> this city feels. Random, as there is so much change that it is difficult to remember what was there before it started. Random, in that I feel alienated from what appears to be a growing population, with the added barriers of masks and plexi-glass. There seems to be ever the more cranes appearing in the skyline — perhaps the same cranes moving from one development to the next — towers building upwards while the streets look relatively empty. Businesses shuttered, fences up around whole blocks of boarded up Vancouver Specials, big placards announcing soon to be Pleasantville condo communities. Where do communities even gather now?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Sustaining a community is about locating specificity amidst the random, the generic, the replicable, and to be able to hold space for that specificity over time. How do artists learn community in a city where the only way to thrive is to professionalize? To be able to come together within the framework of the community is an essential part of being an artist, as pandemic isolation has reminded us. As introverted and as professional as we all can be, our practices long to chill in conversation with one another.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">3. \u003Cstrong>Immediate Opportunities\u003C\u002Fstrong>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">These thoughts swirl to form some kind of base upon which I reach out to two local artist-run-spaces in the truest sense of the terminology: artists running spaces without boards of directors and operating assistance from arts councils. “Not to be beholden to responsibilities of artist-run-centres, we adopt from those contexts but question those structures,” is what Christian Vistan says about his collaboration with Aubin Kwon, \u003Ca href=\"https:\u002F\u002Fdreamscomma.com\">dreams comma delta\u003C\u002Fa>, a gallery space located in the basement suite of Vistan’s family home in Delta. The second, \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fliquidationw0rld\u002F\">Liquidation World\u003C\u002Fa>, is a temporary art consignment store and project space run by Maya Beaudry, Dave Biddle, and Katayoon Yousefbigloo. Liquidation World holds their lease from May until the end of July in a soon-to-be-developed light-industrial building in Strathcona. dreams comma delta is ongoing, while Liquidation World “are scouting for a more permanent location…keeping this adaptable, fluid model going until we find a space that works.”\u003Cspan id='easy-footnote-8-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-8-812' content='Liquidation World, in an email interview, July 6, 2021.' v-tippy='{ allowHTML: true }'>8\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRpgAAABXRUJQVlA4IIwAAADwBACdASogABIAPu1ip04ppSMiMBgMATAdiWUAv+w0z3Upbi8giY0AQznr4JxqP4AA\u002FuuV\u002FaN26sOU3QuozHdjTnhZyXppK15CB9bVuAzcVuFveU93Cb3iX2FC6u8UuezW3\u002F9k1BtUWANXPKrgfvMw\u002FF3f8fd5jiH5ZCeAZLfA\u002Fx9m2tY63oVoSwAAAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-secondary.jpg\" alt=\"\" class=\"lqip wp-image-815\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-secondary.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-secondary-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-secondary-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-secondary-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Installation view of \u003Cem>Flat Feelings\u003C\u002Fem>, dreams comma delta.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I gravitate to thinking about these two spaces in tandem, as they are dissimilarly related artist-projects which enact complementary approaches to maintaining a diverse, multi-faceted artistic ecosystem in face of gentrification. How these spaces came to be is through the responsiveness of their creators; the combination of strategic timing, luck, and recognizing the “immediate opportunity,”\u003Cspan id='easy-footnote-9-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-9-812' content='dreams comma delta, in conversation, July 6, 2021.' v-tippy='{ allowHTML: true }'>9\u003C\u002Fsup>\u003C\u002Fspan> put these two projects into action. Liquidation World came into being during the first wave of COVID-19 when Beaudry, Biddle, and Yousefbigloo noticed that “shopping was one of the only semi-social public activities that people felt comfortable doing, and [from that] the idea emerged to have an art consignment store.”\u003Cspan id='easy-footnote-10-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-10-812' content='Liquidation World.' v-tippy='{ allowHTML: true }'>10\u003C\u002Fsup>\u003C\u002Fspan> Similarly for Vistan and Kwon, dreams comma delta arose from a first-wave vacancy of the basement suite, some extra time at home, and some extra funds through CERB. Though forced to slow down and adapt to a year of lock-down, both projects acknowledge the continuous need to make, move, and share in a time of a global crisis.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">4. \u003Cstrong>In dreams\u003C\u002Fstrong>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In my separate conversations with Liquidation World and dreams comma delta, both spoke to dreaming. “Artists dream about running a space,” Kwon reflects as he recounted his collaboration with Vistan in 2020, when the duo created a series of 2D works which they curated into the show \u003Cem>Flat Feelings\u003C\u002Fem> — a sequel exhibition to an earlier iteration at Kwon’s family’s restaurant Yum Yum in Airdrie, Alberta. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“Uhm-ma asked me to fill walls at her fried chicken restaurant. She says, you do whatever you want, but do it nicely, with your friends.”\u003Cspan id='easy-footnote-11-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-11-812' content='Aubin Kwon,\u003Cem> Flat Feelings \u003C\u002Fem>exhibition text, \u003Ca href=\"https:\u002F\u002Ffiles.cargocollective.com\u002Fc938494\u002FFlat-Feelings.docx.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Ffiles.cargocollective.com\u002Fc938494\u002FFlat-Feelings.docx.pdf\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>11\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“\u003Cem>A big part of dreaming up the space was not having a fixed vision that excluded any possibilities we hadn’t considered.\u003C\u002Fem>”\u003Cspan id='easy-footnote-12-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-12-812' content='Liquidation World.' v-tippy='{ allowHTML: true }'>12\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“I imagine occupying the wall space in this restaurant.”\u003Cspan id='easy-footnote-13-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-13-812' content='\u003Cem>Flat Feelings\u003C\u002Fem>.' v-tippy='{ allowHTML: true }'>13\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">*\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Seemingly random, there is currently no full explanation to why we dream, but all science points to neurological consolidation processes, ways through which we transform events and emotions into memories, meaning, and learning.\u003Cspan id='easy-footnote-14-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-14-812' content='Linda Geddes, “Weird dreams train us for the unexpected, says new theory,” \u003Cem>The Guardian\u003C\u002Fem>, May 14, 2021,  \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fmay\u002F14\u002Fweird-dreams-train-us-for-the-unexpected-says-new-theory\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fmay\u002F14\u002Fweird-dreams-train-us-for-the-unexpected-says-new-theory\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>14\u003C\u002Fsup>\u003C\u002Fspan> In a recent interview with the \u003Cem>Guardian\u003C\u002Fem>, neuroscientist David Eagleman shares a kind of revelation he had, that our senses compete for control of our brain. Because our civilizations privilege vision and “because the planet rotates into darkness, the visual system alone is [then] at a disadvantage, which is to say, you can still smell and hear and touch and taste in the dark, but you can’t see any more….[D]reams are the brain’s way of defending that territory.”\u003Cspan id='easy-footnote-15-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-15-812' content='Andrew Anthony, “Interview: David Eagleman,” \u003Cem>The Guardian\u003C\u002Fem>, June 12, 2021, \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fjun\u002F12\u002Fdavid-eagleman-the-working-of-the-brain-resembles-drug-dealers-in-albuquerque\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fjun\u002F12\u002Fdavid-eagleman-the-working-of-the-brain-resembles-drug-dealers-in-albuquerque\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>15\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Dreams as a way to defend our visions…\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">…and in defense, we manifest our dreams into action.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">5.\u003Cstrong> Time is liquid\u003C\u002Fstrong>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In my waking dream, the streets are garbled, excavated, sutured but spilling, jackhammered and bright, roadworked into rubble. Real estate jargon permeates the everyday through signage; nouveau typography and unctuous renderings of inhospitable towers distort the imagination of what \u003Cem>should\u003C\u002Fem> be possible. It is easy to feel lost in this place, despite its geographically modest size. As the terminus, there’s nowhere else to grow, except up.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRsQAAABXRUJQVlA4ILgAAADQBACdASogABIAPu1kqk2ppaQiMAgBMB2JbACdMtCBeIACZE9u5Tmt5Ezy\u002F8IGgAD+qTeOITEhZ3MZpiYrpAhEkD2ZznxJ2HUw+WdjrtuSYLAl8ECEZLY30qpm3mjKOp41vRlj0fscVaKyw2wN5TxAHEOIqHa0rjcf9x65wkUPP6mBdUqDBI09SMTHCHjj819sE+7fdNFBwe93WXpSX6ArfG2vTGmdrmxbGRtPa02g8r5LY\u002FJQR6AA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-third.jpg\" alt=\"\" class=\"lqip wp-image-816\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-third.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-third-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-third-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F07\u002Findreams-third-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>‘Grow up’ throw up at Dunbar Street and 41st Avenue.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“\u003Cem>We are in the process of losing our entire architectural history as artists in this city. This fact is so well known among our communities, it has become mundane. The constant scurrying around between buildings on the verge of being unnecessarily demolished contributes to an exhaustion and low morale among the people in the city who try to take on the task of building and maintaining spaces that don’t fit neatly inside a commercial economy. Liquidation World is an attempt to create an alternative economy of artists investing time, energy and resources to support each other’s practices.\u003C\u002Fem>”\u003Cspan id='easy-footnote-16-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-16-812' content='Liquidation World.' v-tippy='{ allowHTML: true }'>16\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Vistan’s words about how artist-space projects can adopt from outside contexts resonates with what the Liquidation World team are working towards. Whether it’s their mandate or their vibe, the outcome is a welcoming break from versions of the real world in which systemic challenges often undermine the most noble intentions.\u003Cspan id='easy-footnote-17-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-17-812' content='For instance, The Mount Pleasant Community Art Screen (programmed by grunt gallery), is a tiny claim secured by the artist community in face of the recently completed 21-storey RIZE condo, The Independent, at the Kingsway-Main Street corridor.' v-tippy='{ allowHTML: true }'>17\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“\u003Cem>If it’s just sitting in your studio locked away it’s not doing any good to anyone. Bring it down to Liquidation World, where we turn your art into cold hard cash!\u003C\u002Fem>”\u003Cspan id='easy-footnote-18-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-18-812' content='Liquidation World.' v-tippy='{ allowHTML: true }'>18\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">While their call plays off of the gauche pragmatism of real-life liquidation sale events, where “Everything must go!” earnestly blasts from the sound system in a warehouse that draws both the curious weekend shopper to seasoned bargain hunters, this version of liquidity thinks of itself as a community garden. Buildings awaiting their demise are “often concessioned by landlords or developers to allow for unprofitable activities to temporarily take place and soften the blow of gentrification. At the same time, they reimagine spaces unfit for traditional uses and speak to the resourcefulness of the community to not only make things happen but to mobilize when the opportunity arises because time is liquid.”\u003Cspan id='easy-footnote-19-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-19-812' content='Ibid.' v-tippy='{ allowHTML: true }'>19\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">6. \u003Cstrong>Wheel of fortune\u003C\u002Fstrong>\u003Cbr>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">When I think back to the artist-run spaces I know, a few have moved on to become non-profit spaces while the majority of others live on in archives, memories, and lore. And while I think it would be self-sabotaging to say that our current moment nears the outro in the swan song of artist spaces in Vancouver (and its surrounding, commutable cities), I do think much of the freedom that artists experienced from earlier generations, which came from living in a much more affordable city, is no longer in reach for most of us. I don’t know of anyone who can sustain a practice, however temporarily, by scamming welfare or squatting, and it is certainly impossible to buy a house for $1. I wonder if running an artist space today means that you have to run it not just like a business, but \u003Cem>as\u003C\u002Fem> a business.\u003Cspan id='easy-footnote-20-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-20-812' content='O’Brian notes that “the arts (like housing, health care, and numerous other social services) are not well supported at the federal, provincial, or municipal levels, while corporate models for running public institutions as business are encouraged” in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, 15.' v-tippy='{ allowHTML: true }'>20\u003C\u002Fsup>\u003C\u002Fspan> What if artists ran the restaurant in which they exhibited work by their community? I pine for the art bar (or art restaurant) that no longer exists. Across from the Rize development, there used to be Rhizome Cafe, “a café, community space and social justice hub” that hosted community events, performances, and workshops in addition to regular meal service.\u003Cspan id='easy-footnote-21-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-21-812' content='Rhizome Cafe, accessed July 16, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Frhizomecafe.ca\u002F\" target=\"_blank\">http:\u002F\u002Frhizomecafe.ca\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>21\u003C\u002Fsup>\u003C\u002Fspan> There was also the former iteration of La Bodega (on Howe Street), where visiting filmmakers and the local arthaus crew would end up after a screening at the Cinematheque; VIVO’s Video Bar when the centre operated on Main Street; the Solder and Sons speakeasy; Julia Freyer’s project-cum-exhibition, the Poodle Dog Ornamental Bar,\u003Cspan id='easy-footnote-22-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-22-812' content='Michael Turner, “The Poodle Dog Ornamental Bar and Vancouver’s Subtracted Future,” Website blog, December 19, 2010, accessed July 12, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Fmtwebsit.blogspot.com\u002F2010\u002F12\u002Fas-part-of-their-postscript-series.html\" target=\"_blank\">http:\u002F\u002Fmtwebsit.blogspot.com\u002F2010\u002F12\u002Fas-part-of-their-postscript-series.html\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>22\u003C\u002Fsup>\u003C\u002Fspan>Geoffrey Farmer’s Every Letter in the Alphabet, and Instant Coffee’s Light Bar.\u003Cspan id='easy-footnote-23-812'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-23-812' content='Funded by Cultural Olympiad money, both projects were perhaps the art community’s last hurrahs before the developers seized control. That stretch of Blood Alley, where the Light Bar was located, is now the backside of a Westbank development. The Every Letter in the Alphabet space is now a couple of eateries.' v-tippy='{ allowHTML: true }'>23\u003C\u002Fsup>\u003C\u002Fspan> These are only a few, the ones I remember.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">From my conversations with Liquidation World and dreams comma delta, I’m left wondering what it would take for larger scale community projects like this — where space and rent are involved — to sustain and be sustained by its community. Historically, it seems like where artists have gone, gentrification has surely followed. While we have lived in the dream of critique — that through repeated efforts, critique could raise us above the struggle — real estate deals were made in favour of all we were critiquing. The struggle has gotten more difficult for artists living in this city, but we have grown, and continue to grow more resilient over time, as we transform our critique into the creation of alternative spaces. No matter their longevity, these initiatives teach us how to organize and resist, both in and beyond the coveted urban core. As we lose sense of time, through the slippages of age, experience, development, and erasure, the wheel inevitably reinvents itself, though never the same wheel twice.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">dreams comma delta is located at 4565 53rd Street, in Delta, BC. The next exhibition will feature works by Mitch Kenworthy and Kiyoshi Whitley, opening in mid-August. Follow \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fdreams_comma_delta\u002F\" data-type=\"URL\" data-id=\"https:\u002F\u002Fwww.instagram.com\u002Fdreams_comma_delta\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">@dreams_comma_delta\u003C\u002Fa> and visit \u003Ca href=\"https:\u002F\u002Fdreamscomma.com\u002F\" data-type=\"URL\" data-id=\"https:\u002F\u002Fdreamscomma.com\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">dreamscomma.com\u003C\u002Fa> for more information.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Liquidation World is located at 1120 E Georgia Street in Vancouver, BC. Follow \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.instagram.com\u002Fliquidationw0rld\u002F\" data-type=\"URL\" data-id=\"https:\u002F\u002Fwww.instagram.com\u002Fliquidationw0rld\u002F\" target=\"_blank\">@liquidationw0rld\u003C\u002Fa> and sign up to their \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fdocs.google.com\u002Fforms\u002Fd\u002Fe\u002F1FAIpQLSfNGYISy8g0RCQyXn-5vYcEHVvKFX10SIxJvMy7AxseI1rofg\u002Fviewform\" data-type=\"URL\" data-id=\"https:\u002F\u002Fdocs.google.com\u002Fforms\u002Fd\u002Fe\u002F1FAIpQLSfNGYISy8g0RCQyXn-5vYcEHVvKFX10SIxJvMy7AxseI1rofg\u002Fviewform\" target=\"_blank\">newsletter\u003C\u002Fa>.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Trevor Mahovsky, “Radical, Bureaucratic, Melancholic, Schizophrenic: Texts as Community,” \u003Cem>Canadian Art \u003C\u002Fem>(Summer 2001): 50, as quoted in “Adventures in Reading Landscape” by Marina Roy, in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, eds. Melanie O’Brian, Vancouver (Arsenal Pulp Press: Artspeak, 2007): 72.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-812\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid. Current discourse via Indigenous Sovereignty and Reconciliation has now outdated this posture.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-812\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Melanie O’Brian writes that “the international success of a handful of Vancouver artists has set a benchmark for interested outsiders as well as for subsequent generations of Vancouver artists” in her “Introduction: Specious Speculation”, in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, 16.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-812\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Kurtis Doering and Hana Mae Nassar, “Vancouver most expensive city in Canada (again), according to new ranking,” \u003Cem>CityNews 1130\u003C\u002Fem>, June 23, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.citynews1130.com\u002F2021\u002F06\u002F23\u002Fvancouver-expensive-city-ranking\u002F\" target=\"_blank\">https:\u002F\u002Fwww.citynews1130.com\u002F2021\u002F06\u002F23\u002Fvancouver-expensive-city-ranking\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-812\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-812\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>For instance, Kitt Peacock traces the history of the Chinese community renting land from xʷməθkʷəy̓əm along the Fraser River and dominating the agricultural market after finishing work on the CPR in “What used to be the marsh: “Food sovereignty and cultural work in Chinatown,” \u003Cem>ReIssue\u003C\u002Fem>, July 7, 2021, \u003Ca href=\"https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-used-to-be-the-marsh-food-sovereignty-and-cultural-work-in-chinatown\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-used-to-be-the-marsh-food-sovereignty-and-cultural-work-in-chinatown\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-812\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-7-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>The cost of living in Vancouver is $20-$21, whereas minimum wage is $15.20. Compare Vancouver City Savings Credit Union, “What is a Living Wage?” accessed July 10, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.vancity.com\u002FAboutVancity\u002FVisionAndValues\u002FValuesBasedBanking\u002Flivingwage\u002F\" target=\"_blank\">https:\u002F\u002Fwww.vancity.com\u002FAboutVancity\u002FVisionAndValues\u002FValuesBasedBanking\u002Flivingwage\u002F\u003C\u002Fa> to Province of British Columbia, “Minimum Wage,” accessed July 10, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Femployment-business\u002Femployment-standards-advice\u002Femployment-standards\u002Fwages\u002Fminimum-wage\" target=\"_blank\">https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Femployment-business\u002Femployment-standards-advice\u002Femployment-standards\u002Fwages\u002Fminimum-wage\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-7-812\" aria-label=\"Back to note 7 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-8-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Liquidation World, in an email interview, July 6, 2021.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-8-812\" aria-label=\"Back to note 8 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-9-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>dreams comma delta, in conversation, July 6, 2021.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-9-812\" aria-label=\"Back to note 9 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-10-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Liquidation World.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-10-812\" aria-label=\"Back to note 10 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-11-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Aubin Kwon,\u003Cem> Flat Feelings \u003C\u002Fem>exhibition text, \u003Ca href=\"https:\u002F\u002Ffiles.cargocollective.com\u002Fc938494\u002FFlat-Feelings.docx.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Ffiles.cargocollective.com\u002Fc938494\u002FFlat-Feelings.docx.pdf\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-11-812\" aria-label=\"Back to note 11 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-12-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Liquidation World.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-12-812\" aria-label=\"Back to note 12 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-13-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Flat Feelings\u003C\u002Fem>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-13-812\" aria-label=\"Back to note 13 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-14-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Linda Geddes, “Weird dreams train us for the unexpected, says new theory,” \u003Cem>The Guardian\u003C\u002Fem>, May 14, 2021,  \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fmay\u002F14\u002Fweird-dreams-train-us-for-the-unexpected-says-new-theory\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fmay\u002F14\u002Fweird-dreams-train-us-for-the-unexpected-says-new-theory\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-14-812\" aria-label=\"Back to note 14 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-15-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Andrew Anthony, “Interview: David Eagleman,” \u003Cem>The Guardian\u003C\u002Fem>, June 12, 2021, \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fjun\u002F12\u002Fdavid-eagleman-the-working-of-the-brain-resembles-drug-dealers-in-albuquerque\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.theguardian.com\u002Fscience\u002F2021\u002Fjun\u002F12\u002Fdavid-eagleman-the-working-of-the-brain-resembles-drug-dealers-in-albuquerque\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-15-812\" aria-label=\"Back to note 15 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-16-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Liquidation World.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-16-812\" aria-label=\"Back to note 16 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-17-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>For instance, The Mount Pleasant Community Art Screen (programmed by grunt gallery), is a tiny claim secured by the artist community in face of the recently completed 21-storey RIZE condo, The Independent, at the Kingsway-Main Street corridor.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-17-812\" aria-label=\"Back to note 17 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-18-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Liquidation World.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-18-812\" aria-label=\"Back to note 18 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-19-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-19-812\" aria-label=\"Back to note 19 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-20-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>O’Brian notes that “the arts (like housing, health care, and numerous other social services) are not well supported at the federal, provincial, or municipal levels, while corporate models for running public institutions as business are encouraged” in \u003Cem>Vancouver Art & Economies\u003C\u002Fem>, 15.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-20-812\" aria-label=\"Back to note 20 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-21-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Rhizome Cafe, accessed July 16, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Frhizomecafe.ca\u002F\" target=\"_blank\">http:\u002F\u002Frhizomecafe.ca\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-21-812\" aria-label=\"Back to note 21 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-22-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Michael Turner, “The Poodle Dog Ornamental Bar and Vancouver’s Subtracted Future,” Website blog, December 19, 2010, accessed July 12, 2021, \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Fmtwebsit.blogspot.com\u002F2010\u002F12\u002Fas-part-of-their-postscript-series.html\" target=\"_blank\">http:\u002F\u002Fmtwebsit.blogspot.com\u002F2010\u002F12\u002Fas-part-of-their-postscript-series.html\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-22-812\" aria-label=\"Back to note 22 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-23-812\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Funded by Cultural Olympiad money, both projects were perhaps the art community’s last hurrahs before the developers seized control. That stretch of Blood Alley, where the Light Bar was located, is now the backside of a Westbank development. The Every Letter in the Alphabet space is now a couple of eateries.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-23-812\" aria-label=\"Back to note 23 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images:\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>\u003Cspan style=\"font-weight: 400;\">Storefront view of Liquidation World. Photo: Maya Beaudry. Courtesy of Liquidation World, Vancouver.\u003C\u002Fspan>\u003C\u002Fli>\n\u003Cli>\u003Cspan style=\"font-weight: 400;\">Installation view of \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight: 400;\">Flat Feelings\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight: 400;\">, dreams comma delta. Photo: Christian Vistan and Aubin Kwon. Courtesy of dreams comma delta, Delta.\u003C\u002Fspan>\u003C\u002Fli>\n\u003Cli>\u003Cspan style=\"font-weight: 400;\">‘Grow up’ throw up at Dunbar Street and 41st Avenue. Photo: Casey Wei.\u003C\u002Fspan>\u003C\u002Fli>\n\u003C\u002Fol>\n","",null,[34],{"id":26,"slug":28,"name":27,"firstName":35,"lastName":36,"bioHtml":37},"Casey","Wei","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>\u003Ca href=\"http:\u002F\u002Fcaseywei.com\" target=\"_blank\" rel=\"noreferrer noopener\">Casey Wei\u003C\u002Fa> \u003C\u002Fstrong>is an interdisciplinary artist, musician, and writer based in Vancouver, BC, on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. She is a PhD candidate in Contemporary Arts at Simon Fraser University, where her practice-based research in film-making, writing, and performance is informed by participatory activities such as editing, publishing, and programming. Recent works include the book \u003Cem>Tuning to Oblivion: an artist residency\u003C\u002Fem> (M:ST Performative Art, 2023), and the album \u003Cem>Stimuloso\u003C\u002Fem> (Mint Records, 2022) with her band, Kamikaze Nurse.\u003C\u002Fp>\n",{"title":39,"robots":40,"og_locale":46,"og_type":47,"og_title":39,"og_description":48,"og_url":49,"og_site_name":50,"article_publisher":51,"article_modified_time":52,"og_image":53,"twitter_card":56,"twitter_site":57,"twitter_misc":58,"schema":60},"In dreams: liquidity, art, and business in the real estate meat machine - ReIssue",{"index":41,"follow":42,"max-snippet":43,"max-image-preview":44,"max-video-preview":45},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Casey Wei explores pop-up art spaces around Vancouver, situating them amidst an increasingly alienating social landscape.","https:\u002F\u002Freissue.pub\u002Farticles\u002Fin-dreams-liquidity-art-and-business-in-the-real-estate-meat-machine\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2021-07-20T22:55:34+00:00",[54],{"width":20,"height":21,"url":18,"type":55},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":59},"13 minutes",{"@context":61,"@graph":62},"https:\u002F\u002Fschema.org",[63,78,80,94,109],{"@type":64,"@id":49,"url":49,"name":39,"isPartOf":65,"primaryImageOfPage":67,"image":69,"thumbnailUrl":18,"datePublished":70,"dateModified":52,"breadcrumb":71,"inLanguage":73,"potentialAction":74},"WebPage",{"@id":66},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":68},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fin-dreams-liquidity-art-and-business-in-the-real-estate-meat-machine\u002F#primaryimage",{"@id":68},"2021-07-19T18:59:24+00:00",{"@id":72},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fin-dreams-liquidity-art-and-business-in-the-real-estate-meat-machine\u002F#breadcrumb","en-US",[75],{"@type":76,"target":77},"ReadAction",[49],{"@type":79,"inLanguage":73,"@id":68,"url":18,"contentUrl":18,"width":20,"height":21,"caption":22},"ImageObject",{"@type":81,"@id":72,"itemListElement":82},"BreadcrumbList",[83,88,92],{"@type":84,"position":85,"name":86,"item":87},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":84,"position":89,"name":90,"item":91},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":84,"position":93,"name":6},3,{"@type":95,"@id":66,"url":87,"name":50,"description":96,"publisher":97,"potentialAction":99,"inLanguage":73},"WebSite","critical discourse for experimental art practices",{"@id":98},"https:\u002F\u002Freissue.pub\u002F#organization",[100],{"@type":101,"target":102,"query-input":105},"SearchAction",{"@type":103,"urlTemplate":104},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":106,"valueRequired":107,"valueName":108},"PropertyValueSpecification",true,"search_term_string",{"@type":110,"@id":98,"name":50,"url":87,"logo":111,"image":115,"sameAs":116},"Organization",{"@type":79,"inLanguage":73,"@id":112,"url":113,"contentUrl":113,"width":20,"height":114,"caption":50},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":112},[51,117,118],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":120,"slug":121,"title":86,"contentHtml":31,"acf":122,"backgroundBlur":125,"seo":126},48,"home",{"background_image":123,"isBlack":16,"header_text":124},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":127,"robots":128,"og_locale":46,"og_type":47,"og_title":127,"og_url":129,"og_site_name":50,"article_publisher":51,"article_modified_time":130,"twitter_card":56,"twitter_site":57,"schema":131},"Home - ReIssue",{"index":41,"follow":42,"max-snippet":43,"max-image-preview":44,"max-video-preview":45},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":61,"@graph":132},[133,141,145,151],{"@type":64,"@id":129,"url":129,"name":127,"isPartOf":134,"datePublished":135,"dateModified":130,"breadcrumb":136,"inLanguage":73,"potentialAction":138},{"@id":66},"2018-04-21T23:04:08+00:00",{"@id":137},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[139],{"@type":76,"target":140},[129],{"@type":81,"@id":137,"itemListElement":142},[143,144],{"@type":84,"position":85,"name":86,"item":87},{"@type":84,"position":89,"name":86},{"@type":95,"@id":66,"url":87,"name":50,"description":96,"publisher":146,"potentialAction":147,"inLanguage":73},{"@id":98},[148],{"@type":101,"target":149,"query-input":150},{"@type":103,"urlTemplate":104},{"@type":106,"valueRequired":107,"valueName":108},{"@type":110,"@id":98,"name":50,"url":87,"logo":152,"image":153,"sameAs":154},{"@type":79,"inLanguage":73,"@id":112,"url":113,"contentUrl":113,"width":20,"height":114,"caption":50},{"@id":112},[51,117,118],{"id":156,"slug":157,"title":158,"contentHtml":159,"acf":16,"backgroundBlur":32,"seo":160},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. 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To donate, contact: editor@reissue.pub Sign up for our email newsletter","https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F","2026-11-13T20:28:08+00:00",{"Est. reading time":167},"1 minute",{"@context":61,"@graph":169},[170,178,182,188],{"@type":64,"@id":164,"url":164,"name":161,"isPartOf":171,"datePublished":172,"dateModified":165,"breadcrumb":173,"inLanguage":73,"potentialAction":175},{"@id":66},"2020-12-15T23:44:21+00:00",{"@id":174},"https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F#breadcrumb",[176],{"@type":76,"target":177},[164],{"@type":81,"@id":174,"itemListElement":179},[180,181],{"@type":84,"position":85,"name":86,"item":87},{"@type":84,"position":89,"name":158},{"@type":95,"@id":66,"url":87,"name":50,"description":96,"publisher":183,"potentialAction":184,"inLanguage":73},{"@id":98},[185],{"@type":101,"target":186,"query-input":187},{"@type":103,"urlTemplate":104},{"@type":106,"valueRequired":107,"valueName":108},{"@type":110,"@id":98,"name":50,"url":87,"logo":189,"image":190,"sameAs":191},{"@type":79,"inLanguage":73,"@id":112,"url":113,"contentUrl":113,"width":20,"height":114,"caption":50},{"@id":112},[51,117,118],1794704116600]