Born in Vancouver (Canada), 1960
Lives & works in Vancouver (Canada)
Very active in: 80s, 90s, 2000s, Current decade

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Born in 1960 in Vancouver. He decides to quit studies after one year and start to learn by himself. He incorporates new media technologies in his works, which always seem infected with popular genres. His installation art, oscillating between film, video and photography, ranks among one of Canada's most important cultural exports.

Douglas has exhibited widely since his first solo show in 1981.
Among numerous group exhibitions, Douglas was included in the 1995 Carnegie International, the 1995 Whitney Biennial, the 1997 SkulpturProjekte in Münster and Documenta X in Kassel. From September 15, 2007 until January 6, 2008, the Württembergische Kunstverein and the Staatsgalerie Stuttgart is presenting a comprehensive exhibition of the works of Stan Douglas within a space covering 4,000 sq. metres. The exhibition encompasses fourteen video and film installations plus numerous photographs.

Douglas' work reflects the technical and social aspects of mass media, and since the late 1980s has been largely influenced by the work of Samuel Beckett. Also of concern is both modernism as a theoretical concept and modernity as it has affected North American urbanism since World War II. Douglas' installation Win, Place or Show is shot in the style of the late-1960s CBC drama The Client, noted for its gritty style, long takes and lack of establishing shots. Set in 1950s Vancouver in the Strathcona redevelopment, the installation explores the modernist notion of urban renewal with the demolition of existing architecture in favour of grids of apartment blocks. Two men share a dormatory room on a rainy day off from their blue-collar jobs. The conversation flares up during a discussion of the day's horse races and the 6 minute filmed loop is repeated from different angles on a split screen, each cycle presenting ever-changing configurations of point-of-view. The takes are edited together in real time by a computer during the exhibition, generating an almost endless series of montages.