Ron Reed: Numbering Our Days: Time at the Movies – Opening Reception

You’re invited to visit the Dal Schindell Gallery between September 16 and October 3, 2026, to view Numbering Our Days: Time at the Movies, a series of meticulously constructed video artworks by Ron Reed.

This exhibition is a playful but powerful meditation on how cinema shapes our sense of being in time. Assembled from thousands of clips from feature films, Ron’s works reprocess the temporality of cinema through unexpected ordering principles—dates, times of day, an endless sequence of staircases, etc.—in ways that make conspicuous not only the medium of film but the time of the lives we’re living.

Opening Reception: Wednesday, September 16, 4–8 pm

Artist Talk:  Friday, October 2, 7–8:30 pm (Regent Chapel)

Location: Dal Schindell Gallery at Regent College (5800 University Blvd, Vancouver)

Parking: Regent College no longer has its own parking lot. Paid parking options are available nearby with metered parking on Western Parkway, among other locations, and covered pay parking at the Thunderbird Parkade. See parking.ubc.ca for more info.

Artist Statement

″[It is] the mission of art to rescue the world from transience and corruption, to capture moments and events in time and space before they slip into the irretrievable past, and so bear witness to the hand of God in creation.” —Steven D. Greydanus on André Bazin

This video installation is the culmination of a project begun on June 6, 2004. It is an act of oblation that offers up the overwhelming multiplicity of human experiences in seven film montages, considering time and eternity through the lens of world cinema.

The 12-hour Date Movie moves day by day through the 12 months of the year, offering up the array of human experience in more than 3,500 filmclips.

TimePiece compresses 24 hours of clock time into 60 minutes, a tribute to Christian Marclay’s celebrated work The Clock (2010), while the Cinema Chapel contemplates our never-ending conversation with God as portrayed in movie prayers spoken and silent, whether devout, desperate, or profane.

Other works in this exhibition celebrate the movies themselves. Marquee presents a history of cinema through theatre marquees. Screens/Watchers Deconstruction watches people watching movies, dislocated from time and sequence. Studio Credits gives credit where credit is due, in chronological order. And the Endless Staircase offers a vertiginous moving picture of humans ascending and descending in an infinite cinematic pilgrimage.

For Dal Schindell and Loren Wilkinson.