Statement

In the pile-up of lan­guage, spec­ta­cle, and garbage, which con­sti­tutes our amne­si­ac present, one role for art is to cre­ate a clear­ing with­in this pet­ri­fied land­scape, and, through a reorder­ing all this new and obso­lete stuff, through brico­lage and play, con­struct new mean­ings, new con­cep­tions of real­i­ty, shot through with his­tor­i­cal mem­o­ry.

Cross-dis­ci­pli­nary in scope, my art­work inves­ti­gates the inter­sec­tion between mate­ri­als, his­to­ry, lan­guage, and ide­ol­o­gy. Many would char­ac­ter­ize my over­all mate­r­i­al sen­si­bil­i­ties and aes­thet­ic as grotesque. The work address­es the need for a posthuman/nonhuman per­spec­tive, counter to the reign­ing ten­den­cies toward human­cen­tric hubris. Humour is explored through a cor­po­re­al reg­is­ter: humans’ under­ly­ing ani­mal­i­ty and mor­tal­i­ty, as well as the absur­di­ty of human­ist moral posi­tions vis‑à ‑vis life on this plan­et.

CV

Mari­na Roy
Asso­ciate Pro­fes­sor
Art His­to­ry, Visu­al Art, and The­o­ry
The Uni­ver­si­ty of British Colum­bia

BA, French Lit­er­a­ture, Uni­ver­sité Laval, 1990
BFA, Visu­al Art (minor Art His­to­ry), Nova Sco­tia Col­lege of Art and Design, 1993
MFA, Visu­al Art, Uni­ver­si­ty of British Colum­bia, 1999

 

EXHIBITION RECORD

 

Solo art exhi­bi­tions

2017        Dirty Clouds,Wil Aballe Art Projects, Van­cou­ver BC (Novem­ber-Decem­ber)

2016        Your King­dom To Com­mand, Van­cou­ver Art Gallery Off­site Project, Van­cou­ver BC

2015        The Float­ing Arch­i­pel­ago, Con­nex­ion ARC, Fred­er­ic­ton, NB

2013        Once Things Have Been Reduced To Noth­ing…,Art­s­peak Gallery, Van­cou­ver BC

2013        Cross­ing Chan­nels (video instal­la­tion series): Mari­na Roy, Art Gallery of Greater Vic­to­ria;

2013        What’s pushed out the door comes back through the win­dow, Win­dow (Art­space Build­ing), Win­nipeg, MB

2011        Ce qui est jete par la fen­e­tre revient par la porte (par­tie 2),La Cen­trale, Mon­tre­al QC

2010-11 What’s pushed out the door comes back through the win­dow, Or Gallery Satel­lite, Berlin, Ger­many

2004        New Work, Con­tem­po­rary Art Gallery, Vancvouer, BC, Sep­tem­ber 2004

1997        26 Man­ic Types, Eye Lev­el Gallery, Hal­i­fax, NS, April-May 1997

1994        Errant,Eye Lev­el Gallery, Hal­i­fax, NS, July-Aug. 1994

1993        Booked Sol­id,Anna Leonowens Gallery, Hal­i­fax, NS, June 1993

 

Two per­son exhi­bi­tions

2016        Neigh­bours (with Abbas Akha­van), Dun­lop Art Gallery, Regi­na, SK

2013    Shell Game(with Natasha McHardy), WAAPART, Van­cou­ver BC

2012        Fire/Fire(with Abbas Akha­van), Cen­tre A Gallery-Van­cou­ver Inter­na­tion­al Cen­tre for Con­tem­po­rary Asian Art, Van­cou­ver BC

2012        Fire/Fire(with Abbas Akha­van), Malaspina Gallery, Van­cou­ver BC

2010        Neigh­bours(with Abbas Akha­van), AMS Gallery, UBC

2009        Menagerie(with Abbas Akha­van), AXENEO7/DAIMON, Gatineau,                                                                                    QC,http://www.bcscene.ca/en/events/eventDetails.asp?eID=420

2008        Neigh­bours(with Abbas Akha­van), VIVO Media Cen­tre, Van­cou­ver, BC, Octo­ber–                                                                      Novem­ber 2008

2006        The King and I (with Phillip McCrum), Mor­ris and Helen Belkin Art Gallery Satel­lite, Van­cou­ver, BC

2004        Roy and McHardy(in col­lab­o­ra­tion with Natasha McHardy), Con­cor­dia Uni­ver­si­ty Gallery, Mon­tre­al, QC

2004        Roy and McHardy(in col­lab­o­ra­tion with Natasha McHardy). Or Gallery, Van­cou­ver, BC

2002        —. Struts Art Gallery, Sackville, NB

2002        Green­er Pas­tures(in col­lab­o­ra­tion with Abbas Akha­van): Open Space Gallery, Vic­to­ria, BC

2001        …,  Art­s­peak gallery, Van­cou­ver, BC

 

Select Group Exhi­bi­tions

2018        A Salve of Sorts, Vaca­tion Gallery, NYC (curat­ed by Wil Aballe)

2108    Lean­ing Out of Win­dows, Michael O’Brian Exhi­bi­tion Com­mons, Emi­ly Carr Uni­ver­si­ty, Van­cou­ver, Jan­u­ary-Feb­ru­ary 2018

2017    What is pres­sure? What is tem­per­a­ture?Wil Aballe Art Projects, Van­cou­ver

2017    Becom­ing animal/becoming land­scape, Kam­loops Art Gallery, Jan­u­ary-March 2017

2017    Land­fall and Depar­ture: Pro­logue, Nanaimo Art Gallery, Jan­u­ary-March 2017

2017    What you look­ing at?!,Plaza Projects, Feb­ru­ary-March 2017

2016    The Best Exam­ple Is All Togeth­er, Wil Aballe Art Projects, Decem­ber 2016

2016    More Than Noth­ing (part 2),Bur­rard Art Foun­da­tion, with artists Kel­ly Lycan, Lucien Durey, Deboarah Edmeades, Justin Pat­ter­son, Natal­ie Purschwitz

2016    Kitchen Mid­den(curat­ed by Anne Lowe & Gareth Moore), Grif­fin Art Projects, North Van­cou­ver, 2016

2016        Becom­ing Animal/Becoming Land­scape, Mor­ris and Helen Belkin Art Gallery, Van­cou­ver BC

2015        Screen Play: Print and the Mov­ing Image, Open Stu­dio, Toron­to ON

2015        Ace­man Col­lec­tionexhi­bi­tion, Van­cou­ver BC

2014        Unre­al,Kam­loops Art Gallery, May 2014

2014       Beasts(exhi­bi­tion curat­ed by Amy Ped­er­son), Mack Sen­nett Stu­dios, Los Ange­les, CA

2013        Full Frontal, curat­ed by Katie Schroed­er, Satel­lite Gallery, Van­cou­ver BC

2012        It’s Fine(Stu­dio Fac­ul­ty exhi­bi­tion), AHVA library gallery, UBC, Van­cou­ver BC

2011        Unre­al,Van­cou­ver Art Gallery, Van­cou­ver BC

2011        TEXT|SOUND|TECHNOLOGY|INFORMATION, Jyvasky­la Art Muse­um, Jyvasky­la, Fin­land

2011       Ani­maCall, Ani­ma­tion Project 2011, Con­tem­po­rary Art Cen­ter of Thes­sa­loni­ki, Greece

2010        Home Movies: sin­gle-chan­nel screen­ings (Jamelie Has­san, Paul Wong, Nik­ki S. Lee, and Roy & McHardy), Plat­form Gallery, Win­nipeg, MB

2010        Cin­e­ma Verite Redux(curat­ed by Sha­heen Mer­ali), Gallery Sumukha, Ben­galu­ru, India

2010        Cin­e­ma Verite Redux(curat­ed by Sha­heen Mer­ali), Gallery Sumukha, Chen­nai, India

2010        Home Sweet Home, Werk­statt der Kul­turen, Berlin, Ger­many

2010        We Want Some­thing From You, Galerie Sans Nom, Monc­ton, NB

2010        No Sex No Life, 304 Days, Van­cou­ver, BC

2010        CUE (artists’ videos),Van­cou­ver Art Gallery, Van­cou­ver, BC

2009        Angels in the Angles, Atsui Gallery, Van­cou­ver, BC

2009        How Soon Is Now,Van­cou­ver Art Gallery, Van­cou­ver, BC

2008        When the Mood Strikes Us, Plat­form Gallery, Win­nipeg, MB, Sep­tem­ber-Octo­ber 2008

2008        The Dead, Great North­ern Way, Van­cou­ver BC

2008        Inte­ri­or of Design, Repub­lic Gallery, Van­cou­ver, June-July 2008

2006–8    Trap­pings (pub­lic art library project Group Search (Art in the Library), curat­ed by Lor­na    Brown, Van­cou­ver Pub­lic Library, Down­town Branch. Sep­tem­ber 2006-March 2008

2006       Every­day Every Oth­er Day, Art Gallery of Mis­sis­sauga, Mis­sis­sauga, ON

2006       The End, H Block Gallery, Bris­bane, Aus­tralia. Feb.-March 2006

2005        No Place as Home: New Art From Van­cou­ver, Pro­jek­traum Vik­tor Buch­er, Vien­na, Aus­tria

2005        No Place as Home: New Art From Van­cou­ver, Galerie AP4-ART, Gene­va, Switzer­land

2003        I am a Cura­tor, Chisen­hale Gallery, Lon­don, Novem­ber-Decem­ber 2003

2003        Sat­ur­day Soci­ety: Explo­rations in Psy­chic Geog­ra­phy II, Or Gallery, Van­cou­ver, BC,

2003        Var­i­ous Prop­er­ties,Mor­ris and Helen Belkin Art Gallery, UBC, Vanc­cou­ver, BC

1999        Emp­ty Returns(MFA Grad­u­ate Exhi­bi­tion), Mor­ris and Helen Belkin Art Gallery, Sept. 1999

 

Pub­lic Art Projects

2016        Your King­dom To Com­mand, Van­cou­ver Art Gallery Off­site Project, Van­cou­ver BC

2016        Ghost Species, Dun­lop Art Gallery/Regina Pub­lic Library Build­ing, Regi­na, SK

 

Film Fes­ti­vals and Film/Video Screen­ings

2018        Sleep­er” screened at From the Archives! VIVO’s 45th Anniver­sary,” Cin­e­math­eque, Van­cou­ver, BC, pro­grammed by Casey Wei

2016       The Float­ing Arch­i­pel­ago” screened atCold Cuts Video Fes­ti­val held in Daw­son City, Yukon

2015        Leg­end” screened at Fab­u­lous Fes­ti­val of Fringe Filmin Durham ON, July 2015

2015        Leg­end” screened at Fab­u­lous Fes­ti­val of Fringe Film. Durham ON July 2015

2014        Errant” and Sleep­er” screened at Edin­burgh Art Fes­ti­val, Screen­ing, Vigne”, August 6, 2014 (with works by Stan Dou­glas, Una Knox, Aaron Car­pen­ter, Kevin Schmidt, Alli­son Hrabluik, Ovide Cohen, Dan Star­ling)

2014        Errant” and Sleep­er” screened at Khoj Inter­na­tion­al Artists Asso­ci­a­tion in New Del­hi, India

2013        Min­er­al Intel­li­gence (video, 10 min­utes, 2011, translated/subtitled into French, 2012); Tra­verse Video (Videos du Cana­da), Toulouse, France, March 2013

2012        Apart­ment (2009), Lumen Fes­ti­val, Stat­en Island, NY, June 2012

2012        Apart­ment (ani­ma­tion, 56 min­utes, 2009), screened at LUMEN film fes­ti­val, Stat­en Island, NY

2012        Min­er­al Intel­li­gence (video, 10 min­utes, 2011), screened at LOSING GROUND Exper­i­men­tal Video shorts from Canada’s West Coast, Embassy of Cana­da Berlin, Ger­many

Co-pre­sent­ed by Arse­nal — Insti­tute for Film and Video Art

2011       Min­er­al Intel­li­gence (video, 10 min­utes, 2011), screened at VIVO Media Centre’s

Sig­nal and Noise Media Arts Fes­ti­val, Jun 23, 2011

2011       Sign after the x (inter­ac­tive web­site project), 24th Stuttgart Filmwin­ter, Stuttgart Ger­many

2010        Sign after the x, File Sao Paulo: Elec­tron­ic Lan­guage Inter­na­tion­al Fes­ti­val, Sao Paulo, Brazil

Sign after the x, 404 Fes­ti­val, Taipei, Tai­wan

Sign after the x, 14th Inter­na­tion­al Video Fes­ti­val VIDEOMEDEJA, Muse­um of Con­tem­po­rary Art of Vojvo­d­i­na, Novi Sad, Ser­bia

Apart­ment (ani­ma­tion, 2008), Inter­na­tion­al Stream­ing Fes­ti­val, The Hague, Nether­lands

Sign after the x, Chico Art Net, Uni­ver­si­ty of Cal­i­for­nia

Apart­ment, Green Lantern Gallery (Corpse Per­for­mance Space), Chica­go IL

Apart­ment, Sites for See­ing: Out of the Cine­plex and Into the Marsh­land”, Struts Gallery and Faucet Media Arts, Sackville, NB

Sleep­er (ani­ma­tion 2004), Entza­ubert — Queer DIY film fest, Berlin

Apart­ment, Big Screen Project, NYC

2009       Sleep­er (ani­ma­tion 2004), Syd­ney Under­ground Film Fes­ti­val, Aus­tralia, Sept. 10–13

Sleep­er, Mon­tre­al Under­ground Film Fes­ti­val, May 2009

Sleep­er, Cen­tre for Art Tapes, Hal­i­fax, NS, April 2009

Apart­ment (ani­ma­tion, 2008), in Watery Grave, Par­lour, Stat­en Island, June 20–21

Apart­ment (ani­ma­tion, 2008), Pavil­ion Projects, Mon­tréal QC

Apart­ment (ani­ma­tion, 2008), Pavil­ion Projects, NYC, NY

Apart­ment, North Island Col­lege The­atre, Comox, BC

Apart­ment, Comox Art Gallery, Comox, BC

Screen­ing of Sleep­er — 3rd Inter­na­tion­al Fes­ti­val of Erot­ic Ani­ma­tion, Rio de Janeiro, Brazil

2008        Screen­ing of Bouch­er and Cac­cia­tore at the Helen Pitt Gallery, Van­cou­ver, BC

Screen­ing of Alice and Martha, Gas­town Dri­ve-In (orga­nized by Cineworks), Van­cou­ver

Screen­ing of Sleep­er, East­ern Edge Gallery, St. John’s New­found­land

2007        Screen­ing of Alice and Martha, New York Inter­na­tion­al Inde­pen­dent Film and Video Fes­ti­val, NCY

Screen­ing of Alice and Martha, Helen Pitt Gallery

 

Art Fair

2018        Mate­r­i­al, Mex­i­co City

2015        Or Gallery at NADA Mia­mi Beach, Edi­tions

2013        Wil Aballe Art Projects, Toron­to Art Fair

 

Events

2013        Stone read­ing (video-per­for­mance lec­ture), VIVO Media Cen­tre (orga­nized by Not Sent Let­ters), Van­cou­ver BC

2013        Queue­jump­ing (video-per­for­mance lec­ture), Red Riv­er Col­lege (orga­nized by Platform/Mawa), Win­nipeg MB

 

Com­mis­sioned art­work

2014         Emblem: Death Dri­ve”, Risog­ra­phy, edi­tion of 100, Decem­ber 2014

Lim­it­ed Edi­tion Art­work com­mis­sioned by the Or Gallery for fundrais­ing pur­pos­es

 

Web­site (inter­ac­tive net.art)

2010        Sign after the X  (an inter­ac­tive inter­net site fund­ed by SSHRC): www.signafterthex.net

-Based on a book I pub­lished in 2001, the website’s sub­ject is the let­ter and sym­bol X, its use in the West, and how it talks about the for­eign oth­er. For­mal­ly, the web­site will inves­ti­gate dig­i­tal ani­ma­tion, artist maps, voice-overs, elec­tron­ic music, and visu­al text.

 

Pub­lished essays about my art­work & curat­ing (mag­a­zines, cat­a­logues and brochures)

2018        Meredyth Cole, Pro­file about my work, Cana­di­an Art

2018        Randy Lee Cut­ler, Fold­ing the Longue Durée into Deep Time: Mari­na Roy’s Entan­gled Worlds,” Black Flash Mag­a­zine, Win­ter 2018

2016        Vanes­sa Kwan, Post­script 66: My Min­er­al (For Derek, Deb­o­rah, Aleesa and Mari­na), Art­s­peakhttp://artspeak.ca/artspeak-wp/wp-content/uploads/2016/09/postscript_66_The-Accursed-Share_Proof1.pdf

2014     Randy Lee Cut­ler, Low­er Stra­tum,” Open Wide: an Abecedar­i­um for the Great Diges­tive Sys­tem, pp. 60–66; pp. 117–119 (e‑book)

2014        Cut­ler, Randy Lee; Mur­phy, Joni; Pin­heiro, Andrea, and Makiko Hara. Abbas Akhavan/Marina Roy, Van­cou­ver, BC: Cen­tre A & Malaspina print­mak­ers, 56 pages,2013

2013        Brown, Lor­na & Love, Karen, eds. Mari­na Roy: Trap­pings,” Group Search & Mem­o­ry Palace: Inside the Library Cura­to­r­i­al Ini­tia­tives, Van­cou­ver: Oth­er Sights for Artists’ Projects Asso­ci­a­tion, 2013, pp. 13; 42–25

2013    Zei­gler, Bar­bara. Mari­na Roy’s Apart­ment.” IMPACT 7: Inter­sec­tions and Coun­ter­points.

2012        Rit­ter, Kath­leen. The Ani­mat­ed Wol­rd of Mari­na Roy,” Esse (art+options),vol. 76 The Idea of Paint­ing”, pp. 62–65

2012        Crane, Jen­nifer. Host, File, and Acti­vate: The Past Decade of Media Arts in Van­cou­ver,” Cross­ing Chan­nels: Essays on Con­tem­po­rary Media Art in British Colum­bia, Vic­to­ria: Medi­aNet, 2012, pp. 11–29

2010        Sha­heen Mer­ali, Cin­e­ma Verite Redux,Gallery Sumukha, Ben­galu­ru, India, 2010

2010        Irene Pas­cual, Home Sweet Home, Glo­gauair, Berlin, 2010

2009       Kath­leen Rit­ter, How soon is now, exhi­bi­tion cat­a­logue, Van­cou­ver Art Gallery

2009     Julie Trem­ble,Mari­na Roy/Abbas Akha­van: Menagerie, exhi­bi­tion cat­a­logue, AXENEO7

2008        Joni Mur­phy, Bet­ter Homes and Gar­dens, Van­cou­ver, BC: VIVO Media Cen­tre, 2008, pp. 30.

2008        J.J. Kegan McFad­den, When the Mood Strikes Us…, Plat­form Gallery, Win­nipeg, MB

2006        Lor­na Brown, Mari­na Roy: Trap­pings”, Group Search (Art in the Library), Van­cou­ver Pub­lic Library, Van­cou­ver, BC, Sept. 2006, pp. 4–5

2006        Por­tia Priegert, Phillip McCrum, Gary Pear­son. Beau­ty & the Beast,Alter­na­tor Gallery, Kelow­na, BC, 2006, 20 pages

2006        Sea­mus Kealy, The King and I,” Mor­ris and Helen Belkin Art Gallery, 2006, 12 pages.

2006        Sea­mus Kealy, Every­day Every Oth­er Day,” Black­wood Gallery, Uni­ver­si­ty of Toron­to at Mis­sis­sauga, 2006, 20p.

2006       Syd­ney Her­mant, Roy and McHardy,” in d’Or (Goin’ Solo),Van­cou­ver: Or Gallery, 2006, pp.6–9

2004        Jere­my Todd, Some errant thoughts” in d’Or: Explo­rations in Psy­chic Geog­ra­phy, Van­cou­ver: Or Gallery, 2004, pp. 53–54

2004        Jen­nifer Papararo, Mari­na Roy”, Con­tem­po­rary Art Gallery, Sep­tem­ber 2004, 6 pages

2002        Amy Ped­er­son, “—“, Struts Art Gallery, Novem­ber 2002, 4 pages

2002        Jessie Lacayo, Col­lab­o­ra­to­ry: Char­ac­ter, Open Space, July 2002, p. 2

1999        Amy Ped­er­son, Less than 20%” in Emp­ty Returns, UBC/Morris and Helen Belkin Art Gallery, 1999, pp. 5–10

1996        Mur­ray John­ston, 26 Man­ic Types, Hal­i­fax, NS: Eye­lev­el Gallery, 1996, 10 pages

1995     Max Hen­ze, Stereo­types. Anna Leonowens Art Gallery, 1995, pp.1–12

1995     Storme Arden, Digest,” The Food Show, Mount Saint Vin­cent Uni­ver­si­ty Art Gallery, 1995. pp.9–12

1994     Pamela Pike, Artists’ Books,” Art Gallery, Mount Saint Vin­cent Uni­ver­si­ty, 1994, pp. 3–8

1993        Bar­bara Loun­der, Last to be Done, First to be Seen, Eye Lev­el Gallery, 1993, 60 pages

 

Exhi­bi­tion reviews about my art­work (in art mag­a­zines, news­pa­pers, online)

2018        Jayne Wilkin­son,A Salve of Sorts, Vaca­tion Gallery, NYC (curat­ed by Wil Aballe), Cana­di­an Art, Fall2018

2018    Andrew Witt, Paint­ing and Obsti­na­cy,  https://peripheralreview.com/2018/05/09/painting-and-obstinacy/

2018    Karen Moe, ZONA MACO and The Mate­r­i­al Art Fair 2018,” White­hot Mag­a­zine,https://whitehotmagazine.com/articles/maco-material-art-fair-2018/3892

2018    April Thomp­son, Anti­mat­ter, Earth­worms, Stardust—and Paint­ing” Cana­di­an Art (online), Jan­u­ary 29, 2018, https://canadianart.ca/reviews/marina-roy/

2016    Kevin Grif­fin, Tree Stumps In Pub­lic Art Work Recall Indus­tri­al Log­ging in Van­cou­ver,” Van­cou­ver Sun, July 22, 2016

http://vancouversun.com/entertainment/local-arts/art-seen-tree-stumps-in-public-art-work-recall-industrial-logging-in-metro-vancouver

2016    Paul Ges­sell, Abbas Akha­van and Mari­na Roy, Neigh­bours”

http://www.gallerieswest.ca/art-reviews/exhibitions/abbas-akhavan-and-marina-roy-neighbours-dunlop-art-gallery‑r/

2016    Joni Low, The Mate­r­i­al Undo­ings of Kel­ly Lycan,” Momus, Dec. 21, 2016:

http://momus.ca/the-material-undoings-of-kelly-lycan/#attachment_5613

2013    Robin Lau­rence, Shell Game sub­verts the large, the pub­lic, and the hero­ic,” Geor­gia Straight, http://www.straight.com/arts/385951/shell-game-subverts-large-public-and-heroic

2013    Alex Qui­cho, Natasha McHardy & Mari­na Roy at Wil Aballe Art Projects,” Van­cou­ver is Awe­some, http://vancouverisawesome.com/2013/05/23/the-opening-—-natasha-mchardy-marina-roy-at-wil-aballe-art-projects/shellgame-1_sm/

2012    Miguel Burr, What Burns Nev­er Returns: a review of Fire/Fire”, Decoy Mag­a­zine,            http://decoymagazine.ca/what-burns-never-returns-firefire/

2012        Amy Fung, Fire/Fire http://postpacificpost.tumblr.com/post/24711034272/fire-fire

2011        Robin Lau­rence, VAG’s Unre­al taps uncon­scious mind”, The Geor­gia Straight, Feb. 1, 2011

2009     José Clear, Menage a trois: entre l’humain, l’animal et l’art,” Revue Liai­son, no. 137, pp. 40–41.

2009        Sigrid Dahle, When the Mood Strikes Us…”, Bor­der Cross­ings, #108, pp. 121–122.

2009        Sarah Mil­roy, Pic­tures are out—experience is in,” Globe and Mail, Feb­ru­ary 14, 2009, R1

2009        Kath­leen Rit­ter, Mari­na Roy-Abbas Akha­van,” Esse, issue 65, p. 70

2008        Aaron Peck,http://www.akimbo.biz/akimblog/?id=238

2008        Gabrielle Moser, Inte­ri­or of Designhttp://gabriellemoser.blogspot.com/2008/06/interior-of-design.html

2007        Andrew Witt, Con­tem­po­rary Pub­lic Art at Van­cou­ver Library,” White Hot Mag­a­zine, Van­cou­ver BC               http://whitehotmagazine.com/whitehot_articles.cfm?id=938

2006        Mile­na Tom­ic, Every­day Every Oth­er Day,” Bor­der­Cross­ings#100, pp. 107–108.

2006        Clint Burn­ham, Who Did What? The Artist Aren’t Telling,” Van­cou­ver Sun, Sep­tem­ber 28, 2006, C3

2006        Robin Lau­rence, Bad Art Has Brains Behind it,” The Geor­gia Straight, Sep­tem­ber 21–28, 2006, p. 56

2004        Kathy Ann Bates, Roy and McHardy”, http://www.sfu.ca/sca/visart/threesixtyseven/kathyann.htm

2004     Rein­hardt Braun, Review of Roy & McHardy”, Cam­era Aus­tria #86, Graz, Aus­tria, June 2004, p. 41

2002     Meg Walk­er, Come Togeth­er”, in Mon­day Mag­a­zine,Issue 28, July 11–17, 2002, Vic­to­ria, BC, p. 15

2002    Adri­an Cham­ber­lain, Artists tick­le our British fan­cy”, Times Colonist, Vic­to­ria, BC, July 2002, D1

2001    Michael Turn­er, Thumb sketch­es” , Last Call, Belkin Art Gallery, Spring 2001, p. 8

2001    Mary Frances Hill, Artist uses a nov­el’ can­vas,” Wes­t­en­der, March 15–21, 2001, p. 21

1998        Robin Met­calfe, Work­ing Papers”, Art­sat­lantic 60, Spring 1998, pp. 82–83

1997     Liz Bolton, Mari­na Roy: 26 Man­ic Types,” Visu­al Arts News, Vol­ume 19, NO. 1, 1997, pp. 12–13

1994    Elis­sa Barnard, Artist’s Books”,The Chron­i­cle Her­ald, March 18, 1994, C1

 

Reviews (cura­to­r­i­al projects)

2016    Sophia Bartholomew,“Aleesa Cohene, Derek Dun­lop and Deb­o­rah Edmeades: The accursed share (curat­ed by Mari­na Roy),”Artspeak, Van­cou­ver, British Colum­bia, 
April 2‑May 21 2016
, C Mag­a­zine, Autumn 2016, pp. 57–58

2016    Stephanie Ling, The Accursed Share at Art­s­peak,” The Dai­ly Serv­ing, May 10, 2016,      http://www.dailyserving.com/2016/05/the-accursed-share-at-artspeak/?platform=hootsuite

2016    Lau­ren Lav­ery, The Affect of Accursed­ness”, July 7, 2016,                 https://peripheralreview.com/2016/07/07/137/

 

Online inter­view

2012        Jes­sa Alston‑O’Connor, This Sor­row­ful World: Artist Mari­na Roy on Fire/Fire” http://centre‑a.posterous.com/this-sorrowful-world-artist-marina-roy-on-fir

 

Res­i­den­cies

2010        Cana­da Coun­cil Inter­na­tion­al Res­i­den­cy Pro­gram (Paris)

2010        Glo­gauair Artist Res­i­den­cy, Berlin, Ger­many

2009        Daimon/AXENEO7, Gatineau, QC

 

 

WRITING/PUBLICATION RECORD

 

Books

2001        Sign after the x.Van­cou­ver: Arse­nal Pulp Press/Artspeak, 2001, 220 pages

2007        Helen’s Cook­book.Edit­ed by Mari­na Roy and Abbas Akha­van. Van­cou­ver, BC: Helen Pitt Gallery, Sum­mer 2007, 86 pages.

*with con­tri­bu­tions by Akha­van, Abbas, Lance Blom­gren, Bob Blumer, Mar­got But­ler, Randy Lee Cut­ler, Alek­san­dra Idzior, Adri­enne Lai, Dona­to Manci­ni, Phillip McCrum, Natasha McHardy, Kegan McFad­den, Erin Moure, Kristi­na Podes­va, Martha Rosler, Mari­na Roy, Car­ollee Schnee­mann, Michael Turn­er, Riisa Walden and William Wood.

 

Queue-jump­ing (upcom­ing 2019: to be pub­lished by Infor­ma­tion Office)

This book uses queue­jump­ing” as a metaphor for human hubris and anthro­pocen­trism, in terms of the­o­ries of nat­ur­al and cul­tur­al evo­lu­tion. It assem­bles writ­ings on biopol­i­tics, evo­lu­tion, human-ani­mal dis­tinc­tion, sov­er­eign­ty and com­mu­ni­ty, nature, the pas­toral, pre­his­toric art, con­tem­po­rary art, cre­ative writ­ing, quo­ta­tions, sta­tis­tics, lin­guis­tics and the let­ter Q.  All sub­jects and head­ings are orga­nized around that exo­tized grapheme, Q.

 

Chap­ters

2018        Dusk’s rosy fin­gers locked in per­pe­tu­ity,” Pow­er­plant Gallery, Toron­to, ON

2017        Beyond the Hedgerow,” Abbas Akha­van, Skira/Third Line

2015        Response to Ques­tion 5: Mari­na Roy,” Inves­ti­ga­tions on Artis­tic Sub­jec­tiv­i­ty, Stock­holm: Antre­po AB

2014        Office Takes, Audi­tions and Cast­ing Couch by Eliz­a­beth Mil­ton”

                  Unsuit­able as an Insti­tu­tion: Tenac­i­ty of Access Gallery 1992–2014

                  Van­cou­ver: Access Gallery, 2014.

2007        Adven­tures in Read­ing Land­scape,” pub­lished in Van­cou­ver Art and Economies, Van­cou­ver:          Artspeak/Arsenal Pulp Press, 2007, pp.69–94

2007        Fore­ward”, Decem­ber Din­ner Par­ty,” and Roy & McHardy” in Helen’s Cook­book, (Mari­na Roy & Abbas Akha­van, edi­tors), Helen Pitt Gallery, pp. 4, 9, 34–37.

 

Short Sto­ry

In Hague­nau For­est” (short sto­ry) inthere’s some­thing I want to show you, edit­ed by Sigrid Dahl,

Win­nipeg: Lives of Dogs pub­lish­ers (12 pages) – sub­mit­ted for pub­li­ca­tion

 

Jour­nals

2016        I am in ani­mal,” esse, arts + opin­ions, #87, spring-sum­mer 2016, pp. 64–69

2015        Queue­jump­ing” and Quaint Cunts” in Cre­ative Verse 2, Win­nipeg MB

2010        Holy Shit (thoughts on gold)”, Toron­to: C Mag­a­zine, Decem­ber 2010

2004        Saddam’s Arms” in Pub­lic Mag­a­zine, Win­ter 2004, pp. 56–76

2004        How To Do Things With Art: Per­for­ma­tive Utter­ances in Pho­tog­ra­phy” in Pre­fix Pho­to 9, Spring 2004, pp.33–35

2001        Cor­po­re­al Returns,” Cana­di­an Art Mag­a­zine, Toron­to, 2001, pp. 58–65 (to my knowl­edge this                                            essay has been assigned as read­ing for a few art and art his­to­ry class­es)

 

Art reviews for mag­a­zines

2015        Kel­ly Lycan,” Cana­di­an Art, Win­ter 2015, pp. 144–145

2014        JORDY HAMILTON
A BIT DAFT: SORRY BUT

Wil Aballe Art Projects
June 5 — July 12, 2014

Left­Coas­tArt, http://leftcoastart.ca

2014        FAN-LING SUENTHE BROOD”, Access Gallery,
March 21 — May 10, 2013, Left­Coas­tArt, http://leftcoastart.ca

2013       Sean Alward, A Ver­ti­cal City Goes Both Ways”, C Mag­a­zine, Spring 2013, issue 117, pp. 44–45

2013        Lise Lemieux”, Bor­der Cross­ings, Spring 2013, issue 125 (1000 words)

2012        Nature, Knowl­edge, and the Know­er, an exhi­bi­tion curat­ed by Moham­mad Sale­my”, C Mag­a­zine,Fall 2012, issue 115, pp. 45–46 (1000 words)

2012        Nature, Knowl­edge, and Know­er” curat­ed by Moham­mad Sale­my, C Mag­a­zineFall 2012

2005        As the Ham­mer Strikes”, Fil­lipvol.1/issue1, Summer/Fall 2005, pp. 1–2

2003        A Thou­sand Miles of Dust and Ash­es by Lucy Pullen,” Cana­di­an Art Mag­a­zine, Fall 2003, p. 138

2003        Songstress by Althea Thauberg­er,” Cana­di­an Art Mag­a­zine, Spring 2003, p. 100

2001        These Days,” Last Call, vol. 1/no. 2, Mor­ris and Helen Belkin Art Gallery, 2001, pp. 2–4.

 

Art Cat­a­logue Essays

2014        Walls and Tow­ers: Works by Gwe­nes­sa Lam and Matil­da Aslizadeh”

Text com­mis­sioned by Skol for exhi­bi­tion Edge State, Mon­tre­al, QC

http://skol.ca/wp-content/uploads/2014/07/roy_marina_angl.pdf

2014        Heather Pass­more, Enlight­en­ment”

Text com­mis­sioned by Malaspina Print­mak­ers for Heather Passmore’s exhi­bi­tion Enlight­en­ment,” Novem­ber 2014

1000 words

2013        Mari­na Roy, Study for a Glass House” in Abbas Akha­van:Study for a Glass House,Toron­to: South Asian Visu­al Arts Cen­tre, 2013, pp. 2–4

2011        Min­er­al Intel­li­gence and the moral­i­ty of paint”, The Moral­i­ty of Paint: Erfurt Win­dow: an                 instal­la­tion by Robert Tombs, Kingston, ON: Mod­ern Fuel, pp. 3–7 & 17–21 (Eng­lish w/                  Ger­man trans­la­tion)

2004    Make Mon­ey to Buy Can­dy,” exhi­bi­tion essay for Chris­tine Donofrio, Strange Agen­cies, Helen

Pitt Gallery, Sep­tem­ber 2004. p. 2

2002       I love you” in Gillian Wear­ing: A Tril­o­gy(exhi­bi­tion cat­a­logue), Van­cou­ver: Van­cou­ver Art

Gallery, 2002, pp. 13–16

2002        on loca­tion” in Fac­ing His­to­ry: Por­traits from Van­cou­ver, Van­cou­ver: Arse­nal Pulp            Press/Presentation House Gallery, 2002, pp. 76–77

 

Exhi­bi­tion Essays

2015        Tombs Goth­ic,” in Robert Tombs: Index: Graph­ic Works 1985–2015, Owen Art Gallery

2012        Très cher, très hon­oré et bien-aimé père: Mari­na Roy on Danh Vo”, Post­script 48, Van­cou­ver: Art­s­peak

2012        Office Takes, Audi­tions, and Cast­ing Couch,” Eliz­a­beth Mil­ton: Audi­tions, Van­cou­ver: Access Gallery.

2009        White Hot.” Cat­a­logue essay for Kel­ly Lycan’s exhi­bi­tion White Hot: A White Flea Mar­ket”, Gallery TPW, Toron­to ON, http://www.gallerytpw.ca/publications/pdf/0905-Klycan.pdf

2009        Invis­i­ble Hands, cat­a­logue essay for artist David Clark, 1500 words, Video­graphe, Mon­tre­al, QC

2007        Why not sneeze?”, exhi­bi­tion essay for Abbas Akhavan’sVacate, June 2007, p. 1

2004        Cast down­ward”, exhi­bi­tion essay for Jere­my Todd, Xeno Gallery, Jan. 2004, 4 pages

 

Book reviews about my writ­ing

2006        Vanes­sa Kwan,“On the hori­zon (cast­ing shad­ows): Van­cou­ver art, economies and the pit­falls of suc­cess,” Fuse Mag­a­zine,29:2, pp. 45–47

2004        Mar­cel Dane­si, Sign after the x,” Uni­ver­si­ty of Toron­to Quar­ter­ly, vol­ume 73, num­ber 1, Win­ter 2003/4, p.                 87

2003        Sign after the x,” Cana­di­an Art Mag­a­zine Web­site, Art Books Sec­tion, 2003

2002        Sign after the x,” list­ed in Top 100 Books of the Year,” Globe and Mail, Nov. 25, 2002, D13

2002        Megan Purn, Sign after the x,”  The Stranger/The Port­land Mer­cury, Port­land, Ore­gon, Sept. 2002, p. 23

2002     Anne Bor­den, Sign after the x,” The Dan­forth Reviewwww.danforthreview.com/review/ nonfiction/roy.htm

2002     Gale Zoe Gar­nett, This book is x‑rated,” The Globe and Mail,Sat. Feb­ru­ary 2, 2002, D4

2002     Anne Flem­ing, For­get Word­play: This is Let­ter Play: Eunoia/Sign after the x,” The Geor­gia Straight,Jan. 31-Feb. 7, 2002, vol. 36, no.1780, p. 58

2002     Ron Nur­wisah, Sign after the x,” The Ubyssey, vol. 83, issue 27, Jan. 2002, p. 5

2001    Valerie MacEwen, The impos­si­bil­i­ty of a cos­mo­log­i­cal proof of the exis­tence of x,” Pop­mat­ters(web­site), 2001

 

CURATORIAL PROJECTS

 

2017    The Divin­ers, paint­ing exhi­bi­tion curat­ed in col­lab­o­ra­tion with Philip McCrum, AHVA Gallery, Audain Art Cen­tre, UBC, Van­cou­ver (works by Sean Alward, Steven Hubert, Nick Lakows­ki, Athena Papadoupo­los, Ryan Peter, Car­olyn Stock­bridge, and Tia Whit­ten

2016    Colonies and Broods, Video screen­ings of works by Abbas Akha­van, Bar­ry Doupé, and Eleanor Mor­gan, Dun­lop Art Gallery Mediatheque

2016    The Accursed Share(part 2), Cineworks, Video screen­ings of works by Alee­sha Cohene, Deb­o­rah Edmeades, and Aman­da Christie

2016    The Accursed Share, Art­s­peak gallery, Van­cou­ver BC

With works by Aleesa Cohene, Derek Dun­lop, and Deb­o­rah Edmeades

2014        Beside Your­self, AHVA Gallery, Audain Art Cen­tre, UBC

With art­works by Eliz­a­beth Zvonar, Eliz­a­beth Mil­ton, Howie Tsui, Erdem Tas­de­len, Lyse Lemieux, Kristi­na Fiedrich, Randy Lee Cut­ler, Jordy Hamil­ton, Kel­ly Lycan, Sean Alward, Lor­na Brown, Vanes­sa Kwan, Christi­na Dixon & Woo­jae Kim

2012        Nev­er-Dying Worm, AHVA Library Gallery, group exhi­bi­tion of art­works by Abbas Akha­van, Ray­mond Boisjoly, Bar­ry Doupé, Derek Dun­lop, Kel­ly Lycan, Natasha McHardy, Heather Pass­more, Ryan Peter, and Fan-Ling Suen)

2008        Per­sis­tent Resis­tance: Fem­i­nist Video in Van­cou­ver, VIVO Media Cen­tre, Van­cou­ver BC

(Screen­ings of Short Videos and Longer Doc­u­men­taries from Women Video Artists from 1970 to   1985)

Long Video Pro­gramme: Women’s Col­lec­tives and Doc­u­men­taries, VIVO Media Cen­tre (curat­ed with Jen­nifer Fish­er and Eliz­a­beth Macken­zie)

 

AWARDS AND DISTINCTIONS

 

2010        VIVA Art Award