Other Sights board members include Patrik Andersson, Clint Burnham, Holly Schmidt, Jordan Wilson and Gabrielle L'Hirondelle Hill.
The production team includes Lorna Brown, Barbara Cole, Colin Griffiths, Vanessa Kwan, Marko Simcic, Jen Weih, and general manager, Sunshine Frère.
Through a program of workshops, printed matter, artist editions and installations, BRCM considered the school as a site of production with a variety of capacities and processes.
The artists chose this title because, as they describe it, “The Big Rock Candy Mountain is a topsy-turvy world, where adults and rationality no longer define the rules and limits of what is possible.
Lucien Durey wrote of BRCM, “The project has proven that socially engaged practices can be funny and accessible while exploring new material approaches and furthering contemporary art dialogues.
Inspired by the influence of waterways on the cities and societies of the West Coast of Canada, and of the foreshore as a zone of flux and change, the project was an extended think-tank intended to bring about the exchange of ideas.
Presenters for Phase II, sessions 1-3 include: Carmen Papalia, Joulene Tse, Coll Thrush, Kamala Todd, Dana Claxton and Jaleh Mansoor.
The series episodes were: "Embodiment" by Stacey Ho, "Water Weight - Friction Possibility" by Dan Pon, "Sea Legs" by Sara Moore, and "We Call You To Witness" by Vanessa Campbell.
[7] The cabin was first constructed in Coal Harbour then later towed on a barge and mounted on piles on the Dollarton Mud Flats by Cates Park, Tsleil-Waututh territory, where it stayed until 2015.
When the McKenzie Barge site was sold to Polygon Homes for redevelopment in 2014, the developer was obligated by Port Metro Vancouver to remediate the neighboring contaminated foreshores, including the small bay where the cabin was located.
In June 2017, the cabin was relocated to a sheep pasture at Maplewood Farm in North Vancouver, where it underwent a full remediation by Mayne Island artists Jeremy and Sus Borsos.
[11] When the Hosts Come Home was a series of art projects that presented three different collaborative-based artist teams who use recycled and re-purposed materials to produce large-scale sculptural works that addressed the meaning of “legacy” in relation to Vancouver's changing urban identity.
[13] The piece took advantage, originally unintentionally, of its location on the tidal zone as a jurisdictional grey area to comment on issues of land ownership and histories of squatting.
Vancouver based writer and curator Kimberly Phillips said of the project, "The barge is tugged into a zone of leisure and capital that has ever-so-successfully concealed its edge, its recent pasts of shoreline squatting, immigrant shanties and specious evictions...