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Depixelating History
Chun Hua Catherine Dong, Ryan Park, Linda Zhang
Curated by Gladys Lou
Well Wishes My Love, Your Love, Gabriel Gabriel Garble, film still, 2022
As part of the exhibition public program, the screening Remapping Futures will take place on
Saturday, August 22, at 5:30 PM (Doors open 5:15 PM) at Globe Cinema (617 8 Ave SW, Calgary, AB T2P 0W9).
Remapping Futures presents experimental films and videos that fuse analog and digital media to document the afterlives of places and communities influenced by migration and urban transformation. Through archival research, film collage, 3D scanning, and digital animation, the selected works explore the capacity of moving images in preserving historical events and diasporic memories.
From the story of 8.75mm films once circulated in China to the imagined futures of Toronto’s Chinatown built upon community storytelling, the program considers how places and object carry intergenerational memories. Together, these works examine ways of recovering lost histories, reanimating abandoned sites, and connecting with loved ones who are no longer with us.
Film Lineup:
Peng Zuqiang, Afternoon Hearsay四散, 2025
Linda Zhang, Chinatown 2050, 2020
Daphne Xu, ping pong ping pong ping pong ping pong ping pong, 2024
Gabriel Gabriel Garble, Well Wishes My Love, Your Love, 2022
Peng Zuqiang, Afternoon Hearsay四散, 2025
Linda Zhang, Chinatown 2050, 2020
Daphne Xu, ping pong ping pong ping pong ping pong ping pong, 2024
Gabriel Gabriel Garble, Well Wishes My Love, Your Love, 2022
Depixelating History examines the intersection of technology and tradition in the Asian diaspora, deciphering how popular culture and heritage preservation converge in contemporary life.
An image is made up of countless pixels, just as history is built from personal stories and collective experiences that come into focus when pieced together. Centering on community memories and cultural identity, Depixelating History explores the possibility of digital technology in reactivating history and amplifying marginalized narratives, bridging tradition and modernity. The exhibition asks: How does technology shape our understanding of and connection to our cultural roots? How can digital tools be utilized to reimagine archives and foster new forms of placemaking?
Curated by Gladys Lou, Depixelating History features works by Chun Hua Catherine Dong, Ryan Park, and Linda Zhang, whose practices span 3D animation, augmented reality, digital photography, and sculptural installation. From an immersive journey through Toronto's Chinatown and illuminated convenience store sign boxes to augmented reality self-portraits inspired by Chinese opera masks, the exhibition illuminates the interconnected experiences of migration across cultures and time. Together, the selected works portray a speculative future in which technology and tradition evolve alongside one another.
Image credits
Poster Graphic Design: Hubert Swietorzecki
Poster Image: Chu Hua Catherine Dong, Skin Deep, 2018-2020, photograph with Augmented Reality. Image courtesy of the artist.
Background: Linda Zhang, Chinatown 2050, 2022, 18 minutes, short documentary film, Canada, United Kingdom; co-directed and co-produced by Linda Zhang, Maxim Gertler-Jaffe. Image courtesy of the artists.
Gladys Lou is a curator and critic with an M.A. in Curatorial Studies at the Center for Curatorial Studies (CCS), Bard College, and a B.A. from the University of Toronto. She was awarded a Fulbright scholarship with a placement at the University of Washington, where she studied Digital Arts and Experimental Media in 2022. She has held curatorial and research positions at the Whitney Museum of American Art, the National Gallery of Art (Washington, D.C.), Vtape, the Blackwood Gallery, and Ontario Culture Days. Her independent curatorial projects include "Curator Diary": The Curatorial Work of Shigeko Kubota (2026) at the Hessel Museum of Art, To see the world in a grain of sand (2025) at Factory Media Centre, and All watched over by machines of loving grace (2023) at InterAccess. Lou's critical writing and journalism have appeared in Hyperallergic, ArtReview, ArtAsiaPacific, C Magazine, MUBI Notebook, and Public Parking.
Chun Hua Catherine Dong (she/they) is a Chinese-born, Tiohtià/Montréal-based artist. Dong received an MFA in Intermedia from Concordia University and a BFA in Visual Art from Emily Carr University of Art + Design. Dong has exhibited their work at the International Digital Art Biennial Montreal, the International Biennial of Digital Arts of the Île-de-France, the Quebec City Biennial, the Musée d’Art Contemporain du Val-de-Marne in France, the PHI Foundation for Contemporary Art, the Canadian Cultural Centre Paris, the Museo de la Cancillería in Mexico City, The Rooms Museum, the Canadian Museum of Immigration at Pier 21, the DongGang Museum of Photography in South Korea, the He Xiangning Art Museum in Shenzhen, and the Hubei Museum of Fine Art in Wuhan. Dong was the recipient of the Franklin Furnace Award in New York in 2014 and a finalist for the Contemporary Art Award at the Musée national des beaux-arts du Québec in 2020. Dong was longlisted for the Sobey Art Award in 2024 and 2026.
Ryan Park’s practice begins with familiar objects, images, and actions that evoke multilayered processes: physical, temporal, biological, and social. He works fluidly across media and techniques to accentuate the properties of his source material, producing artworks that are both analytical and poetic. Born in Calgary (Mohkinstsis) to Korean immigrant parents, Park studied biology at the University of British Columbia and fine arts at Langara College, the Nova Scotia College of Art and Design, and the University of Guelph. His work has been exhibited across Canada, the United States, and Europe, with recent solo exhibitions at Forest City Gallery, London; Modern Fuel Artist-Run Centre, Kingston; and YYZ Artists’ Outlet, Toronto. His work is in the collections of the Blackwood Gallery, University of Toronto Mississauga, and the AGYU Artist Book Collection. He has received grants from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, as well as fellowships from the Chalmers Foundation and the Vermont Studio Center. He lives and works in Toronto (Tkaronto).
Transportation for Ryan Park’s works were supported with exhibition assistance from the Ontario Arts Council.
Linda Zhang is a Toronto-based artist, researcher, and architect working in ceramics and new media. Her practice spans sites of architectural loss, gathering what persists: material residue, community memories, and the silences in official archives. Her spatial practice builds community power and supports anti-displacement efforts through memory technologies and architectural co-design. Using 3D scanning, digital animation, virtual reality, and speculative imagery alongside archival documents, ceramic processes, analogue film, and oral traditions, Zhang builds objects and environments that hold open a more generative space between a neighbourhood's past and its possible futures. She is the founder of Studio Pararaum and an associate professor at the University of Waterloo School of Architecture. She holds an M.Arch I AP from the Harvard Graduate School of Design, where she received the James Templeton Kelley Prize and the AIA Henry Adams Certificate. Selected exhibitions include the Visual Arts Centre of Clarington, the He Xiangning Art Museum, the Nieuwe Instituut, the Seoul Biennale of Architecture and Urbanism, the Mesh Festival of Art and Technology, and the DOXA Documentary Film Festival.
An image is made up of countless pixels, just as history is built from personal stories and collective experiences that come into focus when pieced together. Centering on community memories and cultural identity, Depixelating History explores the possibility of digital technology in reactivating history and amplifying marginalized narratives, bridging tradition and modernity. The exhibition asks: How does technology shape our understanding of and connection to our cultural roots? How can digital tools be utilized to reimagine archives and foster new forms of placemaking?
Curated by Gladys Lou, Depixelating History features works by Chun Hua Catherine Dong, Ryan Park, and Linda Zhang, whose practices span 3D animation, augmented reality, digital photography, and sculptural installation. From an immersive journey through Toronto's Chinatown and illuminated convenience store sign boxes to augmented reality self-portraits inspired by Chinese opera masks, the exhibition illuminates the interconnected experiences of migration across cultures and time. Together, the selected works portray a speculative future in which technology and tradition evolve alongside one another.
Image credits
Poster Graphic Design: Hubert Swietorzecki
Poster Image: Chu Hua Catherine Dong, Skin Deep, 2018-2020, photograph with Augmented Reality. Image courtesy of the artist.
Background: Linda Zhang, Chinatown 2050, 2022, 18 minutes, short documentary film, Canada, United Kingdom; co-directed and co-produced by Linda Zhang, Maxim Gertler-Jaffe. Image courtesy of the artists.
Gladys Lou is a curator and critic with an M.A. in Curatorial Studies at the Center for Curatorial Studies (CCS), Bard College, and a B.A. from the University of Toronto. She was awarded a Fulbright scholarship with a placement at the University of Washington, where she studied Digital Arts and Experimental Media in 2022. She has held curatorial and research positions at the Whitney Museum of American Art, the National Gallery of Art (Washington, D.C.), Vtape, the Blackwood Gallery, and Ontario Culture Days. Her independent curatorial projects include "Curator Diary": The Curatorial Work of Shigeko Kubota (2026) at the Hessel Museum of Art, To see the world in a grain of sand (2025) at Factory Media Centre, and All watched over by machines of loving grace (2023) at InterAccess. Lou's critical writing and journalism have appeared in Hyperallergic, ArtReview, ArtAsiaPacific, C Magazine, MUBI Notebook, and Public Parking.
Chun Hua Catherine Dong (she/they) is a Chinese-born, Tiohtià/Montréal-based artist. Dong received an MFA in Intermedia from Concordia University and a BFA in Visual Art from Emily Carr University of Art + Design. Dong has exhibited their work at the International Digital Art Biennial Montreal, the International Biennial of Digital Arts of the Île-de-France, the Quebec City Biennial, the Musée d’Art Contemporain du Val-de-Marne in France, the PHI Foundation for Contemporary Art, the Canadian Cultural Centre Paris, the Museo de la Cancillería in Mexico City, The Rooms Museum, the Canadian Museum of Immigration at Pier 21, the DongGang Museum of Photography in South Korea, the He Xiangning Art Museum in Shenzhen, and the Hubei Museum of Fine Art in Wuhan. Dong was the recipient of the Franklin Furnace Award in New York in 2014 and a finalist for the Contemporary Art Award at the Musée national des beaux-arts du Québec in 2020. Dong was longlisted for the Sobey Art Award in 2024 and 2026.
Ryan Park’s practice begins with familiar objects, images, and actions that evoke multilayered processes: physical, temporal, biological, and social. He works fluidly across media and techniques to accentuate the properties of his source material, producing artworks that are both analytical and poetic. Born in Calgary (Mohkinstsis) to Korean immigrant parents, Park studied biology at the University of British Columbia and fine arts at Langara College, the Nova Scotia College of Art and Design, and the University of Guelph. His work has been exhibited across Canada, the United States, and Europe, with recent solo exhibitions at Forest City Gallery, London; Modern Fuel Artist-Run Centre, Kingston; and YYZ Artists’ Outlet, Toronto. His work is in the collections of the Blackwood Gallery, University of Toronto Mississauga, and the AGYU Artist Book Collection. He has received grants from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, as well as fellowships from the Chalmers Foundation and the Vermont Studio Center. He lives and works in Toronto (Tkaronto).
Transportation for Ryan Park’s works were supported with exhibition assistance from the Ontario Arts Council.
Linda Zhang is a Toronto-based artist, researcher, and architect working in ceramics and new media. Her practice spans sites of architectural loss, gathering what persists: material residue, community memories, and the silences in official archives. Her spatial practice builds community power and supports anti-displacement efforts through memory technologies and architectural co-design. Using 3D scanning, digital animation, virtual reality, and speculative imagery alongside archival documents, ceramic processes, analogue film, and oral traditions, Zhang builds objects and environments that hold open a more generative space between a neighbourhood's past and its possible futures. She is the founder of Studio Pararaum and an associate professor at the University of Waterloo School of Architecture. She holds an M.Arch I AP from the Harvard Graduate School of Design, where she received the James Templeton Kelley Prize and the AIA Henry Adams Certificate. Selected exhibitions include the Visual Arts Centre of Clarington, the He Xiangning Art Museum, the Nieuwe Instituut, the Seoul Biennale of Architecture and Urbanism, the Mesh Festival of Art and Technology, and the DOXA Documentary Film Festival.