Featured Events in Vancouver in April, 2025 (May Updated)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Information Source: Eastside Sisters | eventbrite

CHFA West continues to be the number one source for new products and education for retailers who are doing business in Western Canada CHFA West continues to be the number one source for new products and education for retailers who are doing business in Western Canada. If your store sells natural health products, organics, specialty foods, health & beauty, sports nutrition and/or nutraceuticals, this is your one-stop shopping experience. Information Source: Canadian Health Food Association | expotobi

📍 The Wise Hall, Vancouver 📅 Thursday, April 3rd, 2024 ⏰ Doors at 7:00 PM | Music at 8:00 PM 🎟 Tickets available atEventbrite.com On Thursday, April 3rd, music lovers will gather at The Wise Hall for a powerful and heartfelt tribute to one of the most legendary concerts in rock history—The Last Waltz. The Great Divide | Canada’s Tribute to The Band will perform The Band’s iconic farewell concert in its entirety, joined by some of Vancouver’s finest musicians to bring the guest performances to life. Joining The Great Divide on stage will be a stellar lineup of special guests, including Dawn Pemberton, Paul Pigat, Jim Byrnes, Dan Moxon, Samantha Parton, Elliot Way, Etienne Tremblay, Chris Woudstra, and Mercy Walker, ensuring a rich and authentic recreation of The Last Waltz experience. A Tribute to a Legendary Moment in Music The Last Waltz was more than just a concert—it was a defining moment in music history. The Band, one of the most influential groups in American and Canadian rock, took the stage for their final performance on November 25, 1976, joined by a legendary roster of special guests. Revered for their musicianship and unique blend of folk, blues, gospel, R&B, classical, and rock & roll, The Band left an indelible mark on the music world. More than any other group, they put rock & roll back in touch with its roots. Now, The Great Divide—celebrating 10 years as a group—will bring this historic night to life once again. Performing with the same instrumentation and five-vocalist approach that made The Band so distinctive, The Great Divide delivers an unmatched authenticity that honors the legacy of Robbie Robertson, Levon Helm, Rick Danko, Garth Hudson, and Richard Manuel. Event Details:📍 The Wise Hall, Vancouver📅 Thursday, April 3rd, 2024⏰ Doors at 7:00 PM | Music at 8:00 PM🎟 Tickets available atEventbrite.com Information Source: Captn. Tripps | eventbrite

Since MGP doesn't allow you to RSVP, this event was created to track levels of interest. Event registration details will be passed on to MGP to hopefully convince her to switch venues if necessary. Signing up for this event does not guarantee admittance Information Source: eventbrite

Hopes & Dreams: A benefit for the children of Ukraine Come join us at the Granville Island Stage, Arts Club Theatre Company for a heartwarming benefit concert dedicated to supporting the traumatized children of Odesa, Ukraine (Vancouver's sister city). Let's come together to make a difference and bring hope to those in need. Your presence can help turn dreams into reality for these young ones. Don't miss out on this opportunity to spread love and kindness. Featuring Luba Goy and the Dovbush Dancers. A night of Ukrainian music, song, dance and culture Information Source: eventbrite

Date: Thursday, April 17, 2025 Time: 7 PM - 8 PM Location: Room 2270, SFU Harbour Centre, Vancouver About the Event: Not long ago, Canada’s Conservative party, led by Pierre Poilievre, were poised to win a majority of the seats in Canada’s Parliament, while the ruling Liberal party was projected to lose most of its seats. Donald Trump’s return to the White House in the United States, however, has changed the situation considerably. Since Trump's inauguration, the Conservative party has gone from being a favorite to win Canada’s election to being a slight underdog to the Liberal party, Both the NDP and the Bloc Quebecois are being impacted by changes in the electorate: Both are also in danger of losing seats in the next election. On April 17, 2025 come hear noted experts on Canadian politics make sense of Canada's rapidly changing political landscape. Information Source: SFU Department of Political Science | eventbrite