Featured Events in Vancouver in May 2025 (April Updated)

3rd Global Conference on Climate Change and Global Warming (GCCCGW) - May 16 -18, 2025 - Vancouver, Canada Global Conference Alliance Inc. invites you to the 3rd Global Conference on Climate Change and Global Warming, scheduled for 2025 in Vancouver, Canada. This renowned event stands among the top climate change events in 2025, providing a platform for impactful collaborations among experts, researchers, and advocates striving to address the climate crisis. As part of this upcoming climate change conference in Canada, the discussions will revolve around critical topics such as climate science, sustainable innovations, and the transformative role of policy in combating global warming. Attendees will benefit from evidence-based insights, exploring the intersection of technological advancements, renewable energy innovations, and social equity in creating effective solutions. This year’s conference also offers a unique opportunity to explore the latest global warming events in Vancouver, with focused sessions on climate resilience, adaptation strategies, and public awareness initiatives. Engaging discussions will emphasize practical strategies and examine successful case studies from around the world, ensuring attendees leave with actionable solutions to implement in their respective fields. Furthermore, for international participants, this Canada conference with an invitation letter provides seamless support for travel documentation, enabling a global exchange of ideas and experiences. Join us to connect with leading voices and shape the future of global climate action. By fostering collaboration across industries and geographies, this event aims to stimulate collective action and inspire innovative approaches to achieving a sustainable future for all. Conference Date: May 17, 2025 Program Schedule : Saturday, May 17, 2025, 2025 (Conference Day) – Registration, opening speech, keynote speech, and technical sessions. Terms & Conditions : Please note that all registration fees are non-refundable, non-negotiable, and non-transferable. Please make your own arrangements for visa (if applicable), accommodation, meals, and transportation during the conference. After completing the registration and verifying your successful payment, a regular invitation letter will be sent within 3 business days. Changes due to spelling or minor mistakes in the invitation letter will cost US$50 . Information Source: Global Conference Alliance Inc. | eventbrite

32nd Global Conference on E-commerce and Internet Marketing (GCEIM) - May 16 -18, 2025 - Vancouver, Canada The 32nd Global Conference on E-commerce and Internet Marketing (GCEIM), proudly hosted by Global Conference Alliance Inc., is set to take place in Vancouver, Canada. As one of the top Internet marketing events in 2025, this conference serves as a premier platform for exploring innovative practices and emerging technologies. It is a biggest Internet marketing conference in Canada, offering invaluable opportunities to learn about cutting-edge developments in e-commerce. This international event will focus on key innovations like artificial intelligence, blockchain, and virtual reality, all of which are transforming digital marketing and e-commerce strategies. Attendees will gain a deeper understanding of the latest trends, including data-driven methods, integrated communications, and advancements in cybersecurity. Addressing significant global e-commerce challenges, the conference is designed to offer insights into best e-commerce events in Vancouver and develop sustainable digital trade practices. It will also provide valuable perspectives on emerging international regulations, helping participants stay ahead of global trends. For those attending from abroad, the conference also offers a Canada conference with invitation letter, ensuring a smooth entry process. By attending the 32nd GCEIM, participants will be equipped with the crucial knowledge and resources to excel in the digital era, making it an essential event for anyone involved in the evolving e-commerce landscape. Registration Deadline: May 2, 2025 Conference Date: May 17, 2025 Program Schedule : Saturday, May 17, 2025, 2025 (Conference Day) – Registration, opening speech, keynote speech, and technical sessions. Terms & Conditions : Please note that all registration fees are non-refundable, non-negotiable, and non-transferable. Please make your own arrangements for visa (if applicable), accommodation, meals, and transportation during the conference. After completing the registration and verifying your successful payment, a regular invitation letter will be sent within 3 business days. Changes due to spelling or minor mistakes in the invitation letter will cost US$50 . Information Source: Global Conference Alliance Inc. | eventbrite

DAHE 60 PARTY VANCOUVER will take place at the ENSO EVENT CENTRE in Vancouver, located at 750 Pacific Boulevard, Vancouver, BC V6Z 3A1. The event is scheduled to run from May 16 to May 17, 2025. This exciting party promises to be a memorable experience, offering a unique opportunity for attendees to celebrate in style at a premium venue in the heart of Vancouver. Guests can expect an unforgettable evening filled with music, entertainment, and a vibrant atmosphere. Make sure to mark your calendars for this exclusive event in Vancouver.

Sliding-scale tickets are available. Join us for a creative and relaxing morning at the Colour-Me-Local Natural Dye Garden, where nature and art come together. This visible mending workshop will introduce you to sashiko techniques and style while you enjoy the beauty of the garden’s colours, bird song and natural surroundings. Please bring a garment to work on, and scrap fabric if you wish. The workshop fee includes needle, thread and some scrap fabric. Local artist Yoko Tomita will facilitate this workshop. A message from Yoko: "Mending has been part of my life for a long time. I have been fixing my clothing for about 35 years. It’s good to refresh old sweaters, pants, skirts, winter hats and more to make them your style. I like to wear comfortable, well-fitting clothes, so I often customize a garment's fit and add personal touches through stitching. "It’s good to know the basics of how Sashiko developed to prolong the life of Kimono fabric in Japan. I remember my grandmother and my mother used to make kimonos, and they fixed things all the time. I value good-quality textiles such as linen and silk, which can last a lifetime with good care. My mending started from the love of textiles and upcycling clothing to reduce waste." Summary Where : Colour-Me-Local Dye Garden (west side of Renfrew Ravine Park, 3958 Renfrew Street #3998 Vancouver, BC) Price : $50 per person (all materials included, no tax). Sliding-scale tickets are available on request by emailing info@stillmoonarts.ca. Limited Capacity : 10 people only Ages 16+, all ages if accompanied by an adult. What to Bring Bring a garment to work on, and fabric scraps if you'd like. Bring a water bottle, sunblock and snacks if you’d like. Dress for the weather: This event will take place outdoors. For your comfort, please wear weather-appropriate clothing. Sliding-Scale Tickets As a non-profit organization, Still Moon Arts collects fees for some of our workshops to help cover the costs associated with running our programs. However, we don’t want to exclude people due to unaffordability, so we offer sliding-scale tickets for participants who are unable to absorb the full cost of this workshop. Please contact info@stillmoonarts.ca to request a sliding-scale ticket. Accessibility The Colour Me Local Dye Garden is an unpaved grass garden located in the northwest corner of Renfrew Ravine Park. Wheelchairs may require assistance. There is free street parking in the neighbourhood. Washrooms are not available on site but can be found at the Renfrew Community Centre, located a 6-minute walk away (~350 m). Renfrew Community Centre has gender-neutral washrooms available. There are benches available and chairs will be provided. About Colour Me Local Dye Garden Still Moon’s Colour Me Local Dye Garden, located on the West Side of the Renfrew Ravine, is a community engaged initiative focused on planting, maintaining, harvesting, processing and using plants most known for their pigments. In addition to natural dye extraction, the garden supports pollinators, insects and wildlife, and is home to many Indigenous plants stewarded by our Indigenous neighbours. Land acknowledgement The Renfrew Ravine Moon Festival and all of Still Moon Arts' programming take place on the unceded territories of Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh), Skwxwú7mesh (Squamish) and xʷməθkwəy̓əm (Musqueam) Nations. About Still Moon Arts Society Still Moon Arts Society mobilizes community and creates positive change through eco-arts and environmental stewardship programming, and produces the annual Renfrew Ravine Moon Festival. Still Moon is a registered charity whose mission is to inspire vibrant and connected communities by creating artistic experiences and nurturing a passion for nature. Information Source: Still Moon Arts Society | eventbrite

Welcome to the 2025 Vancouver All British Car Show ! Join us at the beautiful VanDusen Botanical Garden for a day filled with classic British cars, friendly enthusiasts, and a vibrant atmosphere. Whether you're a die-hard fan or appreciate the elegance of British automotive design, this event is perfect for you. Come admire a wide array of stunning vehicles, chat with fellow car lovers, and enjoy the picturesque surroundings of the garden. Don't miss this chance to immerse yourself in British car culture! In the show’s tradition, the organizers will pay tribute to a select marque celebrating its significant anniversary, which for 2025 is Rolls-Royce. Expect an impressive display of these magnificent machines, with models from 1910 to the modern day. Food Truck vendors, plus the popular on-site Carriage Trade Tea House, serving High Tea. Musical entertainment by the Little Mountain Brass Band, featuring Definitely Not The Beatles (DNTB) with frontman and collector car enthusiast Randy Cunningham, also known as John Lennon, will return to rev up the sixties vibe and entertain the lunchtime crowds. Period dress is encouraged, and the band will award prizes to the best-dressed individuals. Information Source: Vancouver ABFM | eventbrite

We are the Oregon Brewery Running Series™, and we want to invite you to be active, have fun, and give back to local nonprofits! Join us at Trap Door Brewing on 5/17/25 for a 5k-ish, fun run/walk event that starts and ends at this awesome taproom in Vancouver, WA. Run, walk, jog - whatever goes! Complete the course and celebrate with a local craft brew at the finish line. What’s included?! All participants receive: A FREE craft brew from Trap DoorYour choice of a collector’s pint glass or seasonal swag item from the Brewery Running SeriesYour chance to win sweet door prizes, like Brewery Running Series merchandise or a beer to take homeAccess to event festivities, games, goodies, and giveawaysAnd more!Our mission is to be active, have fun, and give back to our local community. A portion of all proceeds supports local nonprofits. Nationally, we have raised over $400K to date! This event will add to that tally and support the efforts of Oregon Wild, Big Brothers/Big Sisters, Ronald McDonald House, and more. So not only do you get to enjoy some healthy activity and great local beer - but you are also helping us support local organizations that do important work in our community. Registration is limited, so sign up today! Important details: This is an untimed, fun run. All levels of walkers, runners, rollers, and strollers are welcome.This is an open course, meaning roads will NOT be closed. You are responsible for obeying all traffic laws and regulations.We create each route to start and end at the brewery and to show off the surrounding neighborhood. The course will be marked with arrows and volunteers; we provide a digital map to help you know where to go.You must bring a valid ID or driver's license. You do not need to be 21 to enjoy the event, but you must be 21 to enjoy the beer. Please drink responsibly. Registered, underage participants will receive a token for a FREE non-alcoholic beverage.Our events are rain or shine! If conditions become unsafe to run, we will still hang out and drink beer.There will not be a bag check; please plan accordingly and dress appropriately for the weather.Dogs and strollers are welcome on the course with care and caution. Please remember - you are running at your own risk on city sidewalks/streets/trails, which might not be suitable for your 4-legged and /or pint-size running buddies. You will also want to check with the brewery to make sure you can abide by their dog / underage policies. Please make the best decision possible for your crew.Please drink responsibly. We always encourage carpooling and safe, designated drivers.Keep an eye out - we will email you all final event details the week of this event and share anything else you might need to know. Questions? Check out our FAQ | Contact us at nathan@breweryrunningseries.com Cheers to beers! The Oregon Brewery Running Series is happy to be back with another season of organizing 5K fun run/walk events at local breweries! We started with one event - a 5k in Minneapolis, MN, in celebration of Global Running Day. We now collectively organize over 300 events annually across 20+ states and counting! Check out our full event lineup here! Information Source: Oregon Brewery Running Series® | eventbrite

Otani Workshop: Monsters in My Head is Otani’s first solo presentation in North America. Featuring new paintings inspired by his personal memories, alongside hand-built figurative and abstract ceramic sculptures in varying scales, the exhibition will be a compelling introduction to the artist’s practice. The immersive exhibition design will situate ceramic works produced during Otani’s stay at the Deer Lake Artist Residency within a labyrinth-like installation fabricated from natural materials foraged from local public parks and forested areas.

Written in Clay presents a history of ceramics made in British Columbia told through the collection of John David Lawrence. Featuring more than 300 objects, it examines the materials and processes artists utilized in relation to the context in which studio ceramics arose and developed in the region. The exhibition features three interconnected sections: influence and inspiration; form and function; and artist spotlights that highlight important figures whose work and legacies altered the direction of ceramic arts in BC. Celebrating 35 artists, Written in Clay establishes the mentors, interlocutors, societies and schools that made up a vast clay community in the region from the 1930s to the early 2000s. This exhibition will be accompanied by a publication.

Otani Workshop: Monsters in My Head is Otani’s first solo presentation in North America. Featuring new paintings inspired by his personal memories, alongside hand-built figurative and abstract ceramic sculptures in varying scales, the exhibition will be a compelling introduction to the artist’s practice. The immersive exhibition design will situate ceramic works produced during Otani’s stay at the Deer Lake Artist Residency within a labyrinth-like installation fabricated from natural materials foraged from local public parks and forested areas.

Otani Workshop: Monsters in My Head is Otani’s first solo presentation in North America. Featuring new paintings inspired by his personal memories, alongside hand-built figurative and abstract ceramic sculptures in varying scales, the exhibition will be a compelling introduction to the artist’s practice. The immersive exhibition design will situate ceramic works produced during Otani’s stay at the Deer Lake Artist Residency within a labyrinth-like installation fabricated from natural materials foraged from local public parks and forested areas.

Written in Clay presents a history of ceramics made in British Columbia told through the collection of John David Lawrence. Featuring more than 300 objects, it examines the materials and processes artists utilized in relation to the context in which studio ceramics arose and developed in the region. The exhibition features three interconnected sections: influence and inspiration; form and function; and artist spotlights that highlight important figures whose work and legacies altered the direction of ceramic arts in BC. Celebrating 35 artists, Written in Clay establishes the mentors, interlocutors, societies and schools that made up a vast clay community in the region from the 1930s to the early 2000s. This exhibition will be accompanied by a publication.

Otani Workshop: Monsters in My Head is Otani’s first solo presentation in North America. Featuring new paintings inspired by his personal memories, alongside hand-built figurative and abstract ceramic sculptures in varying scales, the exhibition will be a compelling introduction to the artist’s practice. The immersive exhibition design will situate ceramic works produced during Otani’s stay at the Deer Lake Artist Residency within a labyrinth-like installation fabricated from natural materials foraged from local public parks and forested areas.

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

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

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

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

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

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

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

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

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

Riopelle: Crossroads in Time is a retrospective exhibition that covers 50 years of Jean Paul Riopelle’s creative production. Organized by the National Gallery of Canada to mark the centenary celebration of Riopelle’s birth, the exhibition brings together paintings, sculptures, drawings, prints and collages by the artist. The presentation features artworks drawn from 20 private and public collections and includes a number of significant works, as well as works that have not been previously exhibited. Curated by art historian and independent researcher Sylvie Lacerte, the exhibition highlights one of the most significant Canadian artists of the twentieth century.

Postcards from the Heart: Selections from the Brigitte and Henning Freybe Collectioncelebrates the Freybes’ contributions as patrons of the arts, collectors and longtime supporters of the Vancouver Art Gallery.Comprising a selection ofmore than 30 paintings, sculptures, photographs, films and works on paper,Postcards from the Heartis a tribute to the couple’s deep engagement with modern and contemporary art andreflects the depth of the Freybes’ collecting with works from the 1960s to today. Over the last four decades, the Freybes’ collection has grown to include some of the most important artists working in the last fifty years, including post-war American artists Robert Rauschenberg and Frank Stella; leading contemporary artists Julie Mehretu and William Kentridge; and work by major Canadian artists Rodney Graham and Jeff Wall. While the Freybe collection is diverse and wide-ranging, at its core, it honours the creativity and knowledge that artists produce.

Postcards from the Heart: Selections from the Brigitte and Henning Freybe Collectioncelebrates the Freybes’ contributions as patrons of the arts, collectors and longtime supporters of the Vancouver Art Gallery.Comprising a selection ofmore than 30 paintings, sculptures, photographs, films and works on paper,Postcards from the Heartis a tribute to the couple’s deep engagement with modern and contemporary art andreflects the depth of the Freybes’ collecting with works from the 1960s to today. Over the last four decades, the Freybes’ collection has grown to include some of the most important artists working in the last fifty years, including post-war American artists Robert Rauschenberg and Frank Stella; leading contemporary artists Julie Mehretu and William Kentridge; and work by major Canadian artists Rodney Graham and Jeff Wall. While the Freybe collection is diverse and wide-ranging, at its core, it honours the creativity and knowledge that artists produce.

Lucy Raven: Murderers Bar is the first major presentation of work by multidisciplinary artist Lucy Raven in Vancouver and the artist’s largest exhibition in Canada to date. Based in New York, Raven (b. 1977) works in installation, photography, video, drawing and sculpture to examine historic and contemporary representations and narratives of the American West. The exhibition takes its name from Raven’s newest work Murderers Bar (2025), the third installment in a series of moving-image installations and related works called The Drumfire. Co-commissioned by the Vancouver Art Gallery and The Vega Foundation, it features an ensemble of sculptural elements and a video, projected vertically on a tall, free-standing aluminum structure in the gallery space. Created between 2023 and 2025, the video centres around the recent removal of a century-old, concrete gravity dam along the Klamath River in Northern California—the biggest dam removal project in American history. The exhibition also presents previous and related works—including a selection from Raven’s series Depositions (2024) and Casters X-2 + X-3 (2021)—that provide further context to her practice and a broader appreciation of her ongoing investigations and visual language. The arc of these works reveals the intermingling of nature and technology; the frequent interrelation of military and entertainment applications; and the impact of these forces on lived experience. Together, the works in this exhibition provide a timely glimpse into the expanding field of Raven’s vision—the push and pull between human intervention and the more-than-human forces of nature and the physical world. The exhibition explores objectivity, subjectivity and perception, from individual and discrete elements of history, technology and the popular imagination to the broader sweep of geological and physical forces that define experience over millennia. This exhibition is part of the 2025 Capture Photography Festival Featured Exhibitions Program. Murderers Bar is co-commissioned and jointly acquired by the Vancouver Art Gallery and The Vega Foundation.

At quarterly meetings of 100 Gay Men for a Cause - YVR, we receive presentations from three charities, selected in advance, who are providing support for the vibrant community of gay, bi, and queer men in Vancouver. Members then cast their votes for which charity should receive our pooled support. 100 gay men x $100 per quarter = $10,000 impact. Business starts at 6:15pm , but there's so much more to our giving circle than business! Join us early for the opportunity to mingle and socialize with other gay, bi, and queer men in Vancouver. Save your spot for dinner Interesting in even more socializing? We encourage members, charity representatives, and guests to stick around after the event to enjoy a more intimate socializing opportunity and dinner with members of our leadership team. If you purchase a "Dinner and Event" ticket, your $60 fee covers a fabulous set menu dinner (taxes and gratuities included — but note that Eventbrite also charges a processing fee). Not available to stick around? No problem — the "Event Only" ticket is for you. Not a member yet? It's not too late. While we always appreciate guests at our events, please note that only members are eligible to vote — but there's still time to become a member! Click here to learn more about membership in 100 Gay Men YVR and to join. (And if you're under 35 years old, you're eligible for a special membership rate, thanks to the generosity of members of our enhanced giving circles .) Information Source: 100 Gay Men for a Cause – YVR | eventbrite

Sophisticated Simplicity Our events offer a fresh alternative to speed dating and matchmaking. We don't find anything romantic about whistles, name-tags or over-the-top party trimmings typically found at singles events so we have done away with them. Creating an atmosphere that is at once casual and comfortable. It's what we call cheeky-chic! Meeting your special someone shouldn't be anything but an enjoyable and relaxed experience. Creating a private club atmosphere while recognizing our clients are also our product - we reward lovely daters with discounts and complimentary events and refuse service to anyone we don't think you'll fancy meeting. This is where being lovely has its perks! Offering uncompromising value with unparalleled service. Lovely venues and our lovely Hosts to assist you with anything or anyone. For those that prefer a more intimate one on one experience - learn more about our Blind-Date Matchmaking with Complimentary Events here . --- Gay Men Speed Dating @ BC Kitchen - May 1st 2025 Ages: 22-44 | 8PM 39 Smithe St, Vancouver, BC V6B 0R3, Canada https://www.mycheekygaydate.com/ MyCheekyGayDate See what all the fuss is about! From Marie Claire to The New Yorker, from Top Chef Masters to Bravo's 'Rate The Date', find out why everyone can't stop getting cheeky by clicking here! Also offering heterosexual events & matchmaking! Find out more by clicking here! Information Source: MyCheekyGayDate | eventbrite

Come explore our campus with us! At UCW, we believe in transforming minds and empowering leaders. Join us for a detailed exploration of our state-of-the-art Vancouver House Campus—an ideal opportunity to experience our lively learning atmosphere first-hand. During the tour, you'll learn about our wide array of degree programs and micro-credentials, as well as our student support services and the various awards and scholarships available. This is an opportunity to discover why so many students select UCW as their preferred study destination. To reserve your spot for an in-person Campus Tour, please fill out the form. Information Source: University Canada West | eventbrite