• born in Toronto, Ontario, in 1952
• parents immigrated from Latvia via Germany in 1948

Born to Latvian parents four years after their immigration to Canada in 1948, Vid Ingelevics reconnected with his Latvian heritage in the late 1980s. After having produced an exhibition about an amnesiac, titled museum of a man, that toured across Canada from 1987-1989, Ingelevics realized that his own unfamiliarity with his family's history made him similar to the amnesiac whose story he had explored. Sparked by this realization, Ingelevics visited Latvia in 1989, and later that year mounted his show, Places of Repose: Stories of Displacement. The installation, which combined photographs, video and thrift store furniture, reconstructs from memory the journey of Ingelevics' mother and her two sisters as they fled Latvia in 1944 just ahead of the Red Army. Eventually they found themselves in 1945 in Bavaria living in one of the many displaced persons camps that dotted Germany after the war. This work toured across Canada and throughout Europe from 1989 - 1994. While in Latvia in 1989, Ingelevics encountered the photography scene deeply influenced by Glasnost (Openness), which led to his curating the show, Latvian Photographers in the Age of Glasnost (1992) bringing Latvian images of daily life and upheaval to Canada. A second installation work, Alltagsgeschichten (some histories of everyday life), followed in 1994 in which Ingelevics revisited the present-day sites of these former displaced persons camps. This work was comprised of personal texts, large-format colour photographs of the former camp sites, historical images from various archives and a transparent, functional filing cabinet. Central to this work conceptually were the often conflicting roles of memory and history as the public archive as a site of both remembering and forgetting became increasingly important issues for Ingelevics. This work was featured at the Rotterdam Fotobienalle in 2000. This latter installation carried within it the seeds of the two directions in which Ingelevics' work has continued to simultaneously evolve - a strong interest in local urbanist issues in Toronto, where he lives, and in the contemplation of the complex role of the institutional photographic archive for our understanding of the past. Ingelevics teaches at the Ontario College of Art and Design in Toronto.

Mémoire morte, mémoire vive, with Eric Cameron & Vik Muniz
Dazibao, Montréal

Codicologie(s), Le Vertige de l'évidence, collaboration with Patrick Altman
VU, Quebec City

Nature Canada
Art Gallery of Hamilton, Hamilton

Photography and Engagement
Foto Biënnale Rotterdam, Nederlands Foto Instituut, Rotterdam

In Visible Light: Photography & Classification in Art, Science and the Everyday
Finnish Museum of Photography, Helsinki

Still Life
York Quay Centre, Harbourfront, Toronto

Election Blues
Artspace, Peterborough

Here's Looking at Me
Art Gallery of North York

Real Stories: revisions in documentary and narrative
Museum Folkwang, Essen, Germany

La mémoire
Le mois de la photo à Montréal, Québec

Message: Sent and Received
Saw Gallery, Ottawa

Coleman, A. D. "Letter from Toronto/New York No. 86." photo metro 18, no. 157 (2000).

Fernandez, Julian. "Brief encounters." British Journal of Photography, 14 May 1997.

Gingras, Nicole, Serge Bérard, Louise Abbott, et al. Le mois de la photo à Montréal. Montréal, Québec: Vox Populi, 1991.

Graham, Robert. "Le Mois de la Photo à Montréal 1999." Muse XVII, no. 4 (2000).

Hannah, Deirdre. "Lost treasures lurk in museum archives." Now Magazine, 5-11 Nov. 1998.

Ingelevics, Vid, Mara Gulens, and Lorraine Johnson. Latvian Photographers in the Age of Glasnost. Toronto, Ontario: Toronto Photographers Workshop, 1991.

Lundstrëm, Jan-Erik, Helle Damsgard, Stephen Willats, et al. Real Stories: Revisions in Documentary and Narrative Photography. Odense, Denmark: Museet for Fotokunst, 1992.

Mayrand, Céline. Scripta manent. Montréal, Québec: Galerie d'art Lavalin, 1988.

Miller, Earl. "Ingelevics, Vid. Gallery TPW, Toronto." Art Post 5, no. 3 (Spring 1988): 15-16.

Ouellette, Robert, Stephen Strauss, Chris Rowat, et al. Virtual Metropolis, Situation #1, John Street, Toronto: The City is a Book with 100,000 Million Poems. Toronto, Ontario: s.n. 1997.

Silvers, Ronald. "museum of a man." Blackflash 7, no. 3 (Fall 1989): 3-6.

Tuer, Dot. "The Camera and the Museum." Canadian Art 16, no. 1 (2000).

---. "Camera obscured." Canadian Art 16, no. 1 (Spring 1999): 46-53.