Reel Artists Film Festival 2015 Press Summary By GAT PR
Interviews: Globe and Mail -‐March 19-‐ "The Art of Forgery: How Beltracchi fooled the art world for decades” http://www.theglobeandmail.com/arts/film/the-‐art-‐of-‐forgery-‐how-‐beltracchi-‐fooled-‐the-‐art-‐world-‐for-‐ decades/article23542289/
Wolfgang Beltracchi, profiled in Beltracchi: The Art of Forgery, fooled the art world for decades with his imitations of artists such as Picasso and Matisse. ‘The director of this film knows nothing about art. It’s a pity.” So says Wolfgang Beltracchi, the style-‐swiping painter and convicted fraudster who is the curious subject of Beltracchi: The Art of Forgery, a documentary by Arne Birkenstock. Beltracchi, 64, was the mastermind behind perhaps the biggest art scandal of last century, fooling the art world for decades and earning himself millions of euros with the scam. The duping involved passing off his own work as recently surfaced paintings done by masters such as Picasso and Matisse, or someone such as the Dada movement pioneer Max Ernst. Beltracchi did not copy their paintings – he extraordinarily appropriated their styles to produce new work. There is no crime in that, but there is in forging a signature to the paintings and concocting fake provenance. In 2011, Beltracchi was found guilty of forging more than a dozen paintings. Co-‐conspirators included his long-‐time wife, Helene, who, like her husband, served a jail sentence that involved them being imprisoned nightly, but free to work – in order to pay restitution to those they conned – during the day. They are both free now. “It’s a funny film,” Beltracchi says of the documentary that is the opening-‐night feature in this year’s Reel Artists Film Festival, which runs March 26 to 28 at TIFF Bell Lightbox. “It’s not so
bad,” Beltracchi continues, speaking earlier this week in passable English from Germany. “But the film is not really serious.” What he means is that the film is not an in-‐depth probe into the international scandal he triggered. It’s more a meditation on authenticity and originality when it comes to art. It’s also a study of Beltracchi, a former hippie and undeniably a real piece of work. “He’s very, very charming, and he has a wittiness one can admire,” says director Birkenstock, also reached in Germany this week. “He is also quite a showoff, and he can be quite rude when talking about others’ art or the market for artists.” In short, Birkenstock sees his documentary subject as someone with an “ambivalent personality.” If there are two sides to Beltracchi, opinions on him are divided as well. Some see him as a genius, while others view as something close to the devil himself. “I was damn angry at Mr. Beltracchi,” says a German auctioneer in the film. Adds James Roundell, of the Society of London Art Dealers, “He hasn’t really brought in anything new.” Most all of the collectors and art experts duped by Beltracchi declined to appear in the film. Understandably so. Birkenstock was unable to speak with Steve Martin, for example. According to a report in the German newsmagazine Der Spiegel, in 2004 the actor and avid art collector had purchased for €700,000 ($950,000) the painting Landscape With Horses, said to be the work of the modernist artist Heinrich Campendonk (and mistakenly authenticated by an expert as such). It was another false Campendonk that brought down Beltracchi. Red Picture With Horses, supposedly from 1914, was determined to be a fake when, in 2008, scientific analysis showed the painting contained titanium white, a pigment not yet available in 1914. Birkenstock, whose lawyer father represented Beltracchi in the criminal case, uses his documentary to question what constitutes artistry. Certainly Beltracchi’s pieces are “original,” but is he a true artist, or is he a master craftsman? “It’s not so easy for me to judge,” Birkenstock says. In considering the question, he looked at the process of making a documentary, which involved editing miles of film to pare the final result down to 90 or so minutes. Beltracchi: The Art of Forgery incorporates archival footage of Ernst, who speaks of invention. “The moment,” Birkenstock says, “where he does not know what to do next.” Beltracchi and others see all art as products of what came before, but Birkenstock doesn’t agree. Where an Ernst could never be sure whether his next piece would be accepted by critics or the market, Beltracchi doesn’t have that same apprehension. “He’s never in the situation of not knowing what to do or being fearful in front of the white canvas,” the director says. “That’s the difference. He always knew what to do next.” As part of Reel Artists Film Festival, Beltracchi: The Art of Forgery will be screened twice (March 26 and 27), with the director on hand for postscreening discussions on art forgeries. Info at canadianart.ca. __________________________________________________________
CBC Our Toronto -‐March 6 -‐“Patron Saint -‐Janusz Dukszta" http://www.cbc.ca/player/Kids/Kids/ID/2657545231/
Patron Saint -‐ Janusz Dukszta Toronto has been the source of inspiration for artists of all genres. But one particular art-‐lover drew the interest of a documentary film maker. 82-‐year-‐old Janoosh Dukszta, has been collecting art his entire life. What separates him from other art collectors is that many of his pieces are of himself. __________________________________________________________
Global Television -‐ March 27 -‐ “Eclectic art collection focus of ‘Patron Saint" http://globalnews.ca/video/1908114/eclectic-‐art-‐collection-‐focus-‐of-‐patron-‐saint
Fri, Mar 27: ‘Patron Saint’ director Michael Kainer visits the News at Noon to discuss his film and the eclectic art collection that served as its inspiration. Repost: https://ca.screen.yahoo.com/global-‐news/eclectic-‐art-‐collection-‐focus-‐patron-‐183359973.html
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National Post -‐March 26 -‐“Meet the Man Who Fooled the Entire Art World" http://news.nationalpost.com/arts/meet-‐the-‐man-‐who-‐fooled-‐the-‐entire-‐art-‐world
When a 2008 scientific investigation found titanium white paint in a pre-‐First World War painting, it began the unraveling of the world’s greatest art forgery 40 years in the making. Master forger Wolfgang Beltracchi combined artistic skill and con-‐man persona with elaborate back stories to create and sell forged paintings by some of the great 20th-‐century artists, including Max Ernst, Fernand Léger and Heinrich Campendonk. His artwork moved undetected through Christie’s and Sotheby’s into galleries and private collections. Several hundred forgeries may still be circling the market, with little effort to identify them. Arne Birkenstock’s new film Beltracchi: The Art of Forgery gives an intimate glimpse into Beltracchi’s life, and explores the upper echelons of the art market, where authenticating artwork can get in the way of maximizing profits. The Post‘s Teddy Wilson sat down with Birkenstock to talk about forgery and art-‐world intrigue. Q: Where did you get the idea to tell Beltracchi’s story? A: My father was a criminal lawyer of Mr. and Mrs. Beltracchi. When the court case was over and they were sentenced, he called me up and asked me if I think this was a good subject for a
cinematic documentary. For sure it was. Beltracchi is a dream for a documentary filmmaker. In the art scene people hate him, but cinema people love these kinds of characters. We love ambivalent characters that have the bad and the good, the witty and the charming, and the betrayal and the genius in themselves. Q: The film also explores many issues in the art world. A: It touches so many important questions like what is art? If you have two Max Ernst’s hanging there, why is one art and the other [Beltracchi’s forgery] is not — they’re both pretty paintings. And I wanted to put a light on the market. Beltracchi put a mirror on a certain segment of the art market, which should have led, but didn’t, to a change in behaviour. Q: He was made into a villain in the art world and media, how did you approach portraying him in the film? A: I wanted to show him as he is. You see a very charming guy, you see a guy who has a high expertise of materials and artistry. You see a showoff, you see a betrayer who does not regret a lot, and you see somebody who has a really strange and disrespectful relationship toward art. You see two sides of him and you can make your own judgements about him. Q: After he got caught, he said he was planning to retire soon anyway. He wanted to buy a house in Venice and be done. Do you think his appetite was satiable? A: I think his wife was the one who stepped on the breaks. The thrill is, of course, financial. But in 40 years he did 300 forgeries, and that’s not so much. It is not the work of someone who wants to accumulate wealth. It has to do with a certain gambling personality, it’s like a kid who pushes the boundaries. He started at the flee market, then went bigger and bigger and bigger. And the doors were always open. How far could he have gone? Q: Francis Bacon forgeries? A: He fooled the most important experts, auction houses, and museums. It is amazing how many exhibitions and collections his forgeries had been accepted into. When his Campendonk forgery was sold, it was the most expensive Campendonk ever, and was referred to as the best Campendonk painting the art world had seen. So it wasn’t only financially rewarding for him, it was quite fun for him. Q: Were there any difficulties interviewing the auction houses and galleries that he scammed? A: It was a big problem. Christie’s and Sotheby’s just blocked everything, they wouldn’t talk. They wouldn’t even talk to the police investigating it. After the trial, the police wrote a letter to the auction houses with a list of paintings that were sold at their auction houses that they believed came from Beltracchi. What did they do after receiving this letter? Nothing. Q: Does the art market need more regulation? A: It needs more transparency. The possibilities you have nowadays with scientific research on paintings are not being used in the amount they could be. How they reacted and dealt with the Beltracchi case shows that the art market’s interest in authentication only goes so deep.
Q: What were Beltracchi’s thoughts on the film? A: He was ambivalent by the film, he doesn’t like it too much. He sees himself as an artist, he considers himself a genius, better than Max Ernst and everyone else. That is something that the film in several parts more than questioned. So it’s natural he’s not a big fan of the film. Beltracchi: The Art of Forgery plays at the Reel Artists Film Festival at the TIFF Bell Lightbox in Toronto March 27. For info and tickets visit canadianart.ca/raff2015 __________________________________________________________
L’Express -‐March 24 -‐"CARICATURISTES: C’ÉTAIT DÉJÀ PÉRILLEUX AVANT CHARLIE HEBDO" http://www.lexpress.to/archives/15108/
Plantu au travail dans le film documentaire de Stéphanie Valloatto présenté au TIFF ce vendredi. «La caricature, c'est le baromètre de la liberté d'expression», a déjà dit Jean Plantureux (Plantu), le dessinateur du journal Le Monde, bien avant les attentats contre Charlie Hebdo. «On comprend tout de suite un dessin, pas besoin de lire un texte», indique Stéphanie Valloatto, la réalisatrice du long-‐métrage documentaire Caricaturistes: fantassins de la démocratie, qui connaîtra sa première torontoise le 27 mars au TIFF Bell Lightbox, dans le cadre du festival Reel Artist Film (RAFF). «Un dessin a donc plus d’impact, et c’est encore plus vrai dans les pays où une grande partie de la population est analphabète.»
Inspirée par une initiative de Plantu, qui monte chaque semaine dans Le Monde une page de dessins de presse du monde entier, et qui a fondé une association comptant aujourd'hui 110 dessinateurs, Stéphanie Valloatto en a rencontré douze dans autant de pays pour comprendre leurs défis, évaluer les dangers auxquels ils sont exposés et partager leurs motivations. C'était en 2013. Le film est sorti en 2014 et a «malheureusement» trouvé un nouveau retentissement après les événements de janvier dernier, se hissant notamment au palmarès des Césars du cinéma français. «La tuerie à Charlie Hebdo, je l'ai ressentie comme un coup de poignard», raconte Stéphanie Valloatto en entrevue a L'Express. La cinéaste aura l'occasion de revenir sur le sujet, au TIFF, au cours d'un débat sur le dessin politique avec deux caricaturistes canadiens, Bruce MacKinnon (Halifax Chronicle Herald) et Brian Gable (Globe and Mail), ainsi que l’éditorialiste Haroon Siddiqui (Toronto Star). Ces douze «fantassins de la démocratie», ce sont Plantu (France), Nadia Khiari alias Willis de Tunis (Tunisie), Angel Boligán Corbo (Mexique), Menouar Merabtène alias Slim (Algérie), Mikhail Zlatkovsky (Russie), Rayma Suprani (Venezuela), Damien Glez (un Franco-‐Burkinabé), Baha Boukhari (Palestine), Michel Kichka (Israël), Lassane Zohore alias Zoho (Côte d'Ivoire), Wang Bo alias Pi San (Chine) et Jeff Danziger (États-‐Unis). On entrevoit aussi Kurt Westergaard, dont les dessins du prophète Mahomet ont provoqué la tourmente mondiale que l'on sait, et l'artiste dissident chinois Ai Weiwei. La Chine, la Russie et le Venezuela trônent en tête du palmarès des pays les plus dangereux pour les caricaturistes, selon Stéphanie Valloatto. «Rayma Suprani n'est d'ailleurs déjà plus à l'emploi de son journal, qui a été racheté par le gouvernement Maduro et perdu son indépendance», déplore-‐t-‐elle. De Mikhail Zlatkovsky, qu'elle connaît bien, elle vante la grande érudition et affirme qu'il fait partie du «2% de Russes qui savent ce qui se passe vraiment dans leur pays». Dans nos démocraties, les caricaturistes sont relativement libres, mais doivent parfois composer avec les intérêts économiques propriétaires de leur journal, ou s’auto-‐censurent lorsqu’ils craignent de choquer un trop grand nombre de lecteurs. Les caricaturistes, que les gens imaginent volontiers assez méchants, «sont en réalité presque tous cultivés et gentils», assure la réalisatrice. Le parallèle, dans le film, entre les dessinateurs palestiniens et israéliens est particulièrement poignant… et encourageant pour les perspectives de paix dans cette région du monde. «Le dessin est un language universel», mentionne-‐t-‐elle, «même si chaque peuple a son sens de l'humour distinct»: ce qui fait rire les Africains ou les Asiatiques ne sera pas nécessairement bien compris en Europe ou en Amérique, et vice-‐versa. Les dictatures, elles, se ressemblent sous toutes les latitudes, menaçant, emprisonnant et parfois même assassinant leurs critiques, dont, souvent en première ligne: les dessinateurs de presse.
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Jazz FM -‐March 20 -‐“The Many Faces of Janusz Dukszta” http://www.jazz.fm/index.php/on-‐air-‐mainmenu/the-‐arts/11668-‐the-‐many-‐faces-‐of-‐janusz-‐dukszta
Janusz Dukszta is an elegant, charming, and articulate psychiatrist in his 80s who emigrated to Canada from Poland. He’s an attentive listener and a quick wit. But when you walk into his apartment in an unassuming downtown Toronto building, it’s weird at the least, and to some would be just plain jarring. The walls are overwhelmed by paintings – you feel like every flat surface has a sculpture on it. Okay, so there’s a lot of art, but here’s the uncanny part: most of these paintings feature Janusz. It makes sense that he’s the subject of some paintings -‐ he’s been a beloved and sometimes controversial politician, but he’s also become a fixture of the art community by building this seemingly self-‐obsessed collection of nearly 100 portraits of himself over the past six decades. The question is, is this hubris, narcissism, or eccentricity?
Not a ton of people know about this collection. In it, Janusz appears as pensive, proud, vulnerable, or seductive. In one painting, he lounges nude and self-‐assured in a chair in his living room. In another, he appears depressed, even suicidal, a broken man left isolated in an empty room. He plays the role of a socialite, a royal, even a bit part as the devil in a biblical series. Seeing Janusz in all of these guises as your eyes roam his flat is disorienting and surreal. And impressive! If you saw the list of painters and sculptors that have made Janusz their subject over
the decades, you’d see a catalogue of some of the brightest and most innovative talents in Toronto art history. On first glance, this seems impulsive at best and the collection of a megalomaniac at worst. And you cannot possibly see this collection without asking, in all-‐caps, WHY? This is the question that drove filmmaker Michael Kainer to make a documentary that, if it doesn’t exactly find an answer, muses on the possible reasons for obsessively needing to document oneself for the better part of a lifetime. And when Michael first saw the collection, he realized that the question “why” is the first one on anybody’s mind. It’s possible that the answer isn’t so much weird as it is multi-‐layered. In his doc, Michael has a few ideas to propose. One of them is embedded in Janusz’s beginnings in Poland, from which his family escaped near the end of World War II. Janusz’s childhood holds the kind of traumatic moments that one would expect of a memory of a family that survived the Holocaust. His childhood penchant for visiting museums as a sort of escape seems to be the kind of moment that would explain Janusz’s allegiance to art. And the feeling of disconnection that’d result from being displaced and fearful might account for the impulse to document your presence in the world. But that’s too simple an explanation, especially for Janusz who, you’ll remember, is after all a psychiatrist. If you ask Janusz himself about his childhood (as I did, to little effect), he’s reluctant to make that connection. Instead, he’ll tell you even a bit haughtily that the first commission was driven by his ego, no more, no less.
It would be a mistake to underestimate Janusz’s complexity or chalk it all up to pride. While he doesn’t want to talk about his childhood and denies that he’s trying to examine his own psyche through the eyes of others, he has a social conscience and compassion that’s undeniable. In the 1970s, when he was a politician in Parkdale, he was known for not only his advocacy of gay and women’s rights, he took pains to caution those who weren’t about their proximity to the kind of dangerous thinking that characterized World War II. He’s been an incredible benefactor to Toronto artists like Phil Richards, who’s gone on to paint the Queen and make an enviable
career from his work. Janusz has even commissioned Phil’s son to make a work and told me jokingly that he’s waiting for Phil’s granddaughter to get old enough to commission her. Phil would (and did) argue that Janusz’s collection of works is, simply, a kind way of supporting local artists, making strong connections, and putting portraiture, a bit of a dying art, back in the spotlight. It’s a bit less mysterious of an answer for this collection that seems almost pathological, but truly, it seems to be at least a big part of the reason for almost 100 works of art. And the title of the documentary is, after all, Patron Saint – I’m not sure, in the end, whether this is how Michael sees Janusz, or how Janusz sees himself. I asked Janusz how much longer this will go on – still seeing him as rather compulsive, I was pretty surprised at his answer: You can decide for yourself next weekend when Patron Saint screens at the Reel Artist Film Festival. That’s on March 28th. Director Michael Kainer will be there along with some of Janusz’s stable of artists to answer the questions you will undoubtedly have after seeing the film. And you can go to canadianart.ca to find out more about Patron Saint and the other compelling documentaries about art that make up this festival. __________________________________________________________
Daily Xtra -‐March 26 -‐"Janusz Dukszta, self-‐ appointed Patron Saint" http://dailyxtra.com/toronto/arts-‐and-‐entertainment/film-‐and-‐video/janusz-‐dukszta-‐self-‐appointed-‐ patron-‐saint-‐101001
Documentary at the Reel Artists Film Festival about a real life Dorian Gray Director Michael Kainer’s documentary Patron Saint gets its world premiere at the Reel Artists Film Festival — the only festival of its kind in North America, exclusively dedicated to documentaries about contemporary art.
The film tells the story of Janusz Dukszta, a Polish-‐born psychiatrist and art patron who has commissioned over 100 portraits of himself since 1953. The Dorian Gray-‐esque Dukszta also helped discover some major artists in the process of acquiring his collection, including Phil Richards, who received a royal commission in 2010 to paint an official portrait of Queen Elizabeth II. The documentary features interviews with some of the artists Dukszta has worked with as well as dizzying footage of the art patron’s apartment — every surface in the 82-‐year-‐old’s home is entirely covered in commissioned portraits and other artworks. Notable pieces in the film include a 1965 painting by Kenneth Karol that depicts him as Batman with a speech balloon reading, “But does Robin really care?” Renowned sculptor Evan Penny created 27 nearly identical concrete heads as a portrait of Dukszta in 1990, and Phil Richards’ stunning depiction of The Annunciation features an old lover of Dukszta’s in the buff. Richards actually removed hair from his body as he was painting him to get the desired effect. It’s this kind of humour that makes the deep narcissism underpinning Dukszta’s collection an easier pill to swallow. While Dukszta has been the primary subject in each artwork, over 150 other subjects have also appeared in his commissioned works over the years. “I have often included other people to whom I am close in the portraits done of me. There is a long historical tradition of group and family portraits which I have always admired,” Dukszta says. “It was pointed out to me recently that in the 100 or so portraits done of me, there are about 150 other figures who also appear, most of them friends and family.” Patron Saint strikes a fine balance between profiling a compulsive narcissist and telling the more believable story of a gentle, bright man that’s cultivated innovative means of surrounding himself with beauty for decades. In many ways, the documentary itself acts as an appendage of Dukszta’s impressive collection. Kainer says the process of making Patron Saint was inspirational. “Janusz is a complicated, hence, interesting subject and makes a great figure for a documentary. The whole experience was positive for me and, in fact, inspirational,” Kainer says. “In the same way he encouraged young artists who did his portraits, he encouraged me in the making of the film. There were no topics that he made taboo in my interviews with him.” Patron Saint shows as part of the Reel Artists Film Festival Sat, March 28 TIFF Bell Lightbox, 350 King St W, Toronto 5:30pm canadianart.ca/raff Repost: http://www.topix.com/world-‐leaders/elizabeth-‐ii/2015/03/150326EEEKD8 __________________________________________________________
POV -‐March 14 -‐"The 12th Annual Reel Artists Film Festival” http://povmagazine.com/articles/view/2015-‐reel-‐artists-‐film-‐festival
Presented by Canadian Art Foundation -‐ Thursday March 26 – Saturday March 28, 2015 -‐TIFF Bell Lightbox – 350 King Street West
To purchase tickets: Online: canadianart.ca/raff/tickets Phone: (416) 368-‐8854, ext. 104 (Mon – Fri, 9:30am –5:30pm) Risk-‐taking [noun]: the act or fact of doing something that involves danger or risk in order to achieve a goal. The art world thrives on taking risks and loves the artists who take them: Ai Weiwei, Marina Abramovic and Chris Ofili, are just a few who made names for themselves by taking chances. This year the theme of risk-‐taking in the arts is explored at the 12th-‐annual Reel Artists Film Festival, the Canadian Art Foundation’s film festival devoted to documentaries on art and artists. Three exciting new films will be screened, and special discussions will delve deeper into the ideas and subject matters of these documentaries. See below for details on three of these films – Beltracchi: The Art of Forgery, Cartoonists: Foot Soldiers of Democracy, and Patron Saint – along with video interviews with their directors conducted by POV Editor Marc Glassman. Beltracchi: The Art of Forgery Wolfgang Beltracchi, the ultimate risk-‐taker, pulled off the biggest art-‐forgery scandal of the past 100 years. Together with his wife, Helene, he created works in the styles of well-‐known 20th-‐century artists and introduced them into the market as originals. The charismatic and witty artist fooled Sotheby’s, Christie’s and other international art experts for nearly 40 years before being caught. See into the Beltracchis’ world with this gripping film that won Best Documentary at the German Film Awards. Gala Opening Night Screening and Celebration – Thursday, March 26 6:30 p.m. Cocktail Dinner Reception
8:00 p.m. Screening 9:30 p.m. Exclusive Panel Discussion Also screens Friday, March 27, 9:10pm Directed by Arne Birkenstock (Toronto Premiere)
Cartoonists: Foot Soldiers of Democracy In this ominously timed documentary, director Stéphanie Valloatto investigates 12 international artists who risk everything for freedom of expression. The story will be keenly felt as a grim portent of the recent tragic events at the Charlie Hebdo offices in Paris. Political cartoonists occupy a space that is fraught with risk—of censorship, backlash and physical harm—and create provocative work with the goal of eliciting a response. This documentary provides an in-‐depth look at the unique position these artists occupy. Featured artists: Plantu (Jean Plantureux), Willis from Tunis (Nadia Khiari), Angel Boligán Corbo, Slim (Menouar Merabtene), Mikhail Zlatkokvsky, Rayma Suprani, Damien Glez, Baha Boukhari, Michel Kichka, Zoh (Lassane Zohore), Pi San (Wang Bo) and Jeff Danziger. Screens Friday, March 27, 6:00 p.m. and Saturday, March 28 8:15 p.m. Directed by Stéphanie Valloatto (Ontario Premiere)
Patron Saint Patron Saint is a look at the life and art collection of Janusz Dukszta, a charming 82-‐year-‐old psychiatrist and art patron who came to Canada as a refugee from Poland. Dukszta’s collection consists of nearly 100 portraits of himself that he has commissioned over the past 60 years, and this biographical documentary explores the motivations and history behind those commissions. The portraits, and indeed this film, show a man who is not afraid of being exposed. Screens Saturday, March 28, 5:30 p.m. Directed, Written and Produced by Michael Kainer (World Premiere)
About Reel Artists Film Festival RAFF is one of many programs produced by the Canadian Art Foundation. Your ticket purchase to the RAFF Opening Night Celebration includes a contribution to the Canadian Art Foundation, which will directly support CAF programs and initiatives that connect art enthusiasts with the arts throughout the year. To purchase Opening Night tickets: Online: canadianart.ca/raff/tickets Phone: (416) 368-‐8854, ext. 104., 9:30 a.m.–5:30 p.m., Mon–Fri. __________________________________________________________
Toronto is Awesome -‐ March 28 -‐“Artist Profile: 10 things you may not know about Gary Taxali" http://www.torontoisawesome.com/the-‐arts/toronto-‐artist-‐profiles/artist-‐profile-‐10-‐things-‐you-‐may-‐not-‐ know-‐about-‐gary-‐taxali/
Gary Taxali is one of Canada’s most well-‐known and successful artists today and although his art is recognizable internationally, he still calls Toronto his home.
I had a chance to chat with the artist about the upcoming short documentary, Gary Taxali: The Art of Whimsy that will premiere during the Canadian Art Foundation’s Reel Artist Film Festival (March 26 to 28) held at TIFF Bell Lightbox. This short film will premiere prior to the screening of Cartoonists: Foot Soldiers of Democracy on Saturday, March 28th. 1. You’re in a film! How did this come about? I was approached by producers, Kyriakos Alexopoulos and Ryan Walker about doing a small film on my creative process through their production company, This Is Projector. They are super talented and I had seen some of their other work and quickly agreed. They followed me around at various exhibitions, events and in my work space through the past year. They attended my solo exhibition , “Shanti Town” at Waddington’s in January 2014 and they later came by my studio and shot some additional footage of me working, and interviewed me on my process. Just recently, the film was completed. It’s a really nice little vignette on how I work and what my philosophy is on creativity. They are really good interviewers and did a fantastic job of capturing the essence of my work which is not mainstream or traditional – my work itself is risk-‐taking which coincidentally is the theme for this year’s Reel Artists Film Festival (RAFF). 2. Telling a story in short doesn’t seem like it’s long enough, or does it? Less is more. A little says a lot and the producers were effective in communicating that in this short film. When the camera is on me I like to be in the moment. Because it’s documentary style, I see it the exact same way as if I were doing any interview or other press, whether it’s over the telephone or in person with a camera rolling – to me it’s the same thing. Kyriakos came into it after having done a lot of research on me and my work. He asked terrific questions and incited great dialogue, so it felt like more of a casual conversation than an interview. I felt very natural and I hope that comes across in the film. 3. As the subject of the film, we get a sneak peek of your private workspace. What are your must-‐haves when you settle into your work? When I wake up the first thing I do is meditate. I find that my art flows after meditating and I am in a creative zone. Music is a must have for me in my studio. I need to have something playing to lull me into the zone of creativity. Most often, it’s 1930’s and 1940’s Mississippi Delta blues, which is my favourite music to listen to while I create. I also need to have a quiet space, in the sense that I don’t answer the phone, check my e-‐mail, or any other form of technological communication while I am up in my studio. I can’t be reached, unless I have my cellphone with me and choose to be reached. I love that kind of solitude. Lastly, a variety of art supplies has to always be ready at the helm, since I like to grab different things and work with them in a spontaneous manner when I’m doing my mixed media work.
4. Your work has touched many facets aside from traditional media, from murals, books, toys, magazine editorials, advertising, men’s accessories, etc… what would you love to work on next? I’d like to work on public installation projects. I have created small sculptural pieces and would love to see them large-‐scale around the City. the City already has my art on traffic signal boxes through the StART program and would love to do more of that. Animation and more fashion are also on my list. I don’t like to consciously think too much about what projects pop up – sometimes someone will call and have a great idea. A lot of the projects I’ve done have been really fun surprises. I’m open-‐ minded, and I think that openness keeps things exciting and keeps me on my toes 5. Any vices? What’s your kryptonite? I have a few. Chocolate has always been a vice for me. I love eating it, and I’ve even drawn it in my work in one form or another. I’m a big fan of Adam Sandler movies. I really enjoy his films; I’ve seen them all. I’ve even done a portrait of him once for Rolling Stone magazine. They contacted me and asked me if I would be interested in doing it, and as someone who doesn’t do a lot of portraits, at first I was hesitant. He doesn’t have a particularly easy face to draw, and because I don’t draw faces a lot, I was unsure about accepting the assignment. Nonetheless, I took it and I think the result was pretty good. I think I captured a really good likeness, and it’s one of my favourite illustrations I’ve done to date. Music is a huge vice of mine. I buy music all the time, and love going record shopping. It’s very meditative for me. I’m a long-‐time fan of music. 6. Speaking of music, what’s on your playlist? I love old blues music, as well as 1960’s garage punk music and rock and roll, and blues based garage punk. These days I’m listening to a lot of really old classic jazz by people like the Dave Brubeck Quartet. I saw Dave Brubeck many years ago and I really enjoy his music. I also really love the German group CAN, which is an early 70’s psychedelic progressive rock band. I love listening to the music of my friends; like Aimee Mann and my friend Holly Golightly, who is actually coming out with a new record. She sent me a few of the tracks and they are really fantastic. Danko Jones just came out with a terrific new record as well. Honestly, I have a pretty extensive playlist and I love knowing it’s always ready at the helm. I DJ sometimes and find that DJ’ing is a creative process just like art. 7. Do you have one piece of art that you’ve created that you just can’t let go of?
I have never created anything that I can’t let go of. I don’t have an attachment to the work I create, I have an attachment to the process. I think there is a big difference between the two. As soon as I’ve made a picture and archived it, it’s done. I don’t need to look at it and be around it, I’m too concerned with making subsequent pictures. In addition, because I make my living at this stuff, I would rather it go into the hands of collectors, businesses, or galleries, than for me to keep it. Having said that, there is one piece I created that I am extremely proud of. I was commissioned by OCAD University to create their 100th GradEx limited edition print to raise money for the school. OCAD U has been having their annual graduation exhibition for 100 years and it was an honour to be asked to create the commemorative limited edition print. They are being sold for $100 plus tax and there are a few that are $1000 plus tax for a “gold” version. I don’t keep a lot of my art but this is one piece that I definitely want in my collection. You can get more information here: www2.ocadu.ca 8. The one that got away, that you wish you’d kept? There is nothing I’ve done that I wish I had kept, I don’t think like that. Perhaps there are a few pieces that I look back at in reproductions and in books, and I think, “wow, that’s a really interesting bit of texture or design.” In those cases, it would be nice to look at the original again just to get the wheels turning, from an artistic point of view. However, I really don’t have an attachment to my work. When I finish something, I put it out into the world and hope people enjoy it. 9. What’s on your life bucket list? I’d love to go to Memphis, Tenessee. I’ve been asked to give a lecture in Nashville, and when that happens I will certainly make the trip to Memphis. I’ve always wanted to go there. I’ve been to the Southern United States a few times, but I would love to do a road trip through the United States, in particular the south. As I’ve mentioned, so much of the music I listen to is from the Southern United States, and I would really love to visit some of these places. There are also a lot of really great American folk artists from that region, and I would love to see where they came from. 10. What makes Toronto awesome for you? Toronto is awesome because of the people. My colleagues who are artists and designers are really talented. Torontonians are very patriotic and proud of their city. I realy saw this when I designed a Toronto-‐themed pocket squares available exclusively at Harry Rosen. I love that we are proud of our city and we do have a lot to be proud of. However, I think the city needs to catch up with the times when it comes to art. It’s a bit behind in the art world, which has nothing to do with the talent pool and more to do with the gallery scene. It’s still a very insecure, young city in that sense. Toronto is a mature city that isn’t acting its age. I think it needs to grow up a little bit and express a bit more of its own identity and stop staring at what is happening elsewhere in the world, particularly New York and Los Angeles, and honour its own. Even though my upcoming exhibits in 2015 are not in Toronto, Torontonians will still make the trek to come see them. My next one is in Cambridge, Ontario at Idea Exchange (design and architectural public art gallery) connected with the University of Waterloo this July 2015 and then I have a solo show in November 2015 at Jonathan LeVine Gallery
Having said that, I see the City of Toronto through their Street Art project and the Canadian Art Foundation with new President and CEO, Jill Birch, taking new leaps of faith to change that perception. I am excited for what the Toronto art scene has to offer in the future and am optimistic that we’ll see a change. My neighbourhood is also really terrific. I live in a Portuguese neighbourhood in the Junction. The diversity is one of the best aspects of living in Toronto. I think most people feel that way, and that makes me really proud to call Toronto my home. __________________________________________________________
Frameline with Barbara Goslawski (Regent Radio) -‐ March 19 -‐“Interview with Michael Kainer” [No online link available] __________________________________________________________
Toronto Star -‐ Interview conducted: March 12 -‐ “Home Section: Interview with Janusz Dukszta” [No online link available]
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CBC Radio-‐Canada -‐March 27 -‐“Interview with Stephanie Valloatto” [No online link available]
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Monocle Radio -‐March 26 -‐“Interview with Arne Birkenstock" [No online link available]
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Monocle Radio -‐March 24 -‐“Interview with Michael Kainer” [No online link available]
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Features: Globe & Mail -‐March 27 -‐“Cartoons can leap communication barriers to deliver powerful message" http://www.theglobeandmail.com/globe-‐debate/cartoons-‐can-‐leap-‐communication-‐barriers-‐and-‐deliver-‐ a-‐powerful-‐message/article23662054/
Even as satirical talk-‐show hosts such as Jon Stewart and Stephen Colbert have redefined the genre of biting social commentary, traditional newspaper cartooning continues to be a powerful communication tool. In her documentary, Cartoonists: Foot Soldiers of Democracy, shown this week at the Reel Artists Film Festival in Toronto, French director Stéphanie Valloatto travels the world to discuss the craft with 12 of its leading practitioners. Perhaps first among the film’s many insights is the spirit that infuses the work of all these artists: a shared instinctive desire to identify and satirize injustice and tyranny, and to express the desire of all citizens to be free from oppression. Their styles may vary – from highly trained draftsmanship to street-‐inspired, graffiti-‐like work – but the goal of critiquing abuses of power is shared. Cartoonists, which was screened in France as a tribute after the Charlie Hebdo attack, also shows that being a foot soldier is not without risk. Russia’s Mikhail Zlatkovsky, for example, has had to drive taxis to supplement his income because his work has been banned. Even if he could publish in his homeland, he would have to cope with laws that prohibit caricatures of President Vladimir Putin, the police and the army. Rayma Suprani faced a similar legal hurdle when Venezuela banned the publication of unflattering images of Hugo Chavez when he was president. She responded by creating a stand-‐in – a banana wearing a crown – and readers understood perfectly. In countries that restrict freedom of expression, symbols, innuendo and clever allusions become necessary tools. In more open societies, the problem can be the growing imposition of political correctness, and the self-‐censorship that often results. What makes Cartoonists truly fascinating is the variety of styles and personalities featured in the film. Although the world is still separated, to a degree, by differences in language and visual tradition, a well-‐drawn cartoon can leap any communication barrier and deliver a powerful message. To illustrate this power to resonate, The Globe and Mail invited six of the cartoonists featured in the film to work on a single subject – women’s access to political power – and to explain what
they drew and why. The variety of approaches and styles shown here underscores the impact of the universal, shared message. Brian Gable is The Globe and Mail’s editorial cartoonist and a six-‐time National Newspaper Award winner. Last week he received his 15th nomination. Belgian-‐Israeli artist Michel Kichka
“The iconic drawing of evolution according to Darwin shows the line from ape to man. By replacing the man with a business woman, I force people to look at it differently. I’m personally sure that if the world was led by more women, we would all have a better life!”
Nadia Khiari of Tunisia The text reads: When a male politician speaks: “This is demagoguery!” When a female politician speaks: “What a horrible dress! And she’s put on weight!” “I did this drawing,” Nadia Khiari explains, “while looking at the way people watch television and comment during televised political debates. Sadly, machismo is a subconscious thing. No one will fault a male politician for being fat or ugly. However, that’s often the case with female politicians. For decades we’ve reduced women to objects, to their looks, their decorative traits – so we no longer really listen to their words. But imposing quotas at all costs is no solution, really. We would promote women not on their merit or skills, but just for the fact they are women.”
Cuban-‐Mexican cartoonist Angel Boligan “I think of the topic I’m about to tackle, which in this case, was ‘how much access to political power do women have?’ I form an opinion around this and decide what I want to say. I don’t use text in my cartoons, so I heavily rely strictly on visuals, composition, colours, and humour. In this particular image, I wanted to focus on how difficult it is for women to access political power. I used a combination of visual elements in grey and used colour only in places I wanted to highlight, in order to help the reader understand. My intention is to spark the reader’s imagination and invite them to interpret!”
Rayma Suprani of Venezuela “For this cartoon, I tried to think of how to represent the diverse cultural backgrounds of women around the world (in this case, South Asian, Nordic, African, Muslim and Latin American women), and then arranged them as if they were Greek columns of a powerful empire’s ‘palace of women.’ Unfortunately, in many countries, there is still a lot of work to be done before a woman can become president.” Jeff Danziger of the United States “This cartoon depicts the idea that, no matter how much men defer to women, they still think they are the ones with the ideas, that rights are something to be given to women. They can be equal as long as they get the rest of the housework done.”
Russia’s Mikhail Zlatkovsky “In ancient Greece, caryatids – statues of female figures – served as architectural supports taking the place of a palace or temple column. Today, the role of the caryatid has been returned to the modern woman. Once they already support the building of statehood.” _________________________________________________________
Toronto Star -April 11 -“CITY NIGHTS: Reel Artists Film Festival Gala Opening”
Toronto Star -‐March 27 -‐“Cartoonists a Timely Topic to Kick Off Film Fest" http://torontostar.newspaperdirect.com/epaper/viewer.aspx
Reel Artists annual showcase will feature documentary on risk-‐taking political artists" Reel Artists Film Festival: The Canadian Art Foundation’s 12th annual showcase of docs and shorts about contemporary art, the Reel Artists Film Festival, presents its latest program of visually and intellectually stimulating fare this weekend at TIFF Bell Lightbox.
Nadia Khiari is a Tunisian cartoonist featured in the documentary Cartoonists: Foot Soldiers of Democracy, playing Friday and Saturday at the TIFF Lightbox. This year’s selections share the theme of risk-‐taking, a subject that couldn’t be timelier given the events at the offices of Charlie Hebdo on Jan. 7 and their impact on the artistic milieu depicted in Cartoonists: Foot Soldiers of Democracy, a doc that makes its Toronto premiere at Reel Artists. A prominent French cartoonist who lost many friends in the attack, Plantu is one of the 12 artists featured in the film, which also includes satirically minded and very courageous peers in Tunisia, China, Russia and Venezuela. Director Stéphanie Valloatto introduces the screening on Friday at 6 p.m. and then moderates a panel on political cartooning in Canada with cartoonists Bruce MacKinnon and Brian Gable, and the Star’s Haroon Siddiqui. (It also plays Saturday at 8:15 p.m. with a keynote address on freedom of speech by John Ralston Saul.) A Canadian doc that makes its world premiere at Reel Artists, Patron Saint tells the story of Janusz Dukszta, a Toronto psychiatrist who commissioned more than 100 portraits of himself over the course of the last six decades, a project that would involve some of the country’s best artists. Director Michael Kainer joins Dukszta and artists Rae Johnson, Phil Richards, Andy Fabo and Max Streicher for a discussion after the screening on Saturday at 5:30 p.m.
In addition to the feature-‐length docs, Reel Artists also presents a wealth of shorts, including Micah Lexier: Finder Keeper, a new work by the Watermark team of Jennifer Baichwal and Nick de Pencier that screens with every film at the fest. Leones: The intrepid cinephiles of MDFF and the Seventh Art team for the Toronto premiere of another remarkable new film that deserves more attention in these quarters. A beguiling debut by Argentinian artist and filmmaker Jazmin Lopez, Leones is the dreamlike story of five young people who travel deep into a mountain wilderness for reasons that remain stubbornly opaque. The influence of adventurous young auteurs such as Albert Serra and Lisandro Alonso is clear on Lopez’s elegant and elliptical style. Leones plays Saturday at 8 p.m. at Camera. The Wanted 18: Lest viewers fear that the Human Rights Watch festival at Lightbox is full of nothing but the most depressing of docs, at least one selection is more whimsical in nature. An NFB production co-‐directed by Amer Shomali and Paul Cowan, The Wanted18 uses stop-‐motion animation and much quirky humour to tell one of the weirdest chapters in the saga of the Israeli-‐Palestinian conflict, one involving a group of cows and many carefully concealed batches of “Intifada milk.” A world premiere at TIFF 2014, it returns to the Lightbox on Wednesday at 7 p.m. with a Skype Q&A by Paul Cowan. Alu Cine: Celebrating its Quincenañera this year (also known as its 15th birthday), Alu Cine returns for another program of screenings, installations and performances of work by Latino artists living here and abroad. The 2015 program begins with a gala screening of Alejandro Jodorowsky’s delightful and deeply odd 2013 feature The Dance of Reality at AGO’s Jackman Hall on Thursday at 9 p.m. Alu Cine continues at Jackman Hall, CineCycle and more venues until April 5. The Sound of Music 50th Anniversary: The Von Trapps take to the hills once again when Cineplex’s Classic Film Series presents a digitally restored edition of The Sound of Music to celebrate the film’s 50th birthday. The Yonge-‐Dundas, Queensway and several more locations offer a spoon full of sugar to lederhosen-‐clad patrons on Sunday at 12:55 p.m., with additional screenings on Wednesday and April 6. Versus Dance-‐Off Edition!: Who’s got the best moves of the ’80s: Patrick Swayze or Kevin Bacon? It’s up to you to make the call after critic Kiva Reardon and comedian Anne Donahue plead the case for the hunks they love ahead of Lightbox screenings of Dirty Dancing (Tuesday) and Footloose (Thursday). The victor will be announced on April 3, followed by an encore showing of the winner’s signature dance flick. jandersonesque@gmail.com __________________________________________________________
Living Toronto Journal -‐March 23 -‐"Reel Artists Film Festival" http://livingtorontojournal.com/2015/03/23/reel-‐artists-‐film-‐festival/
The Canadian Art Foundation’s 12th annual Reel Artists Film Festival — RAFF (Thursday, March 26 to Saturday, March 28, 2015, at the TIFF Lightbox, 350 King St. W.) is screening three documentaries on the subject of risk-‐taking in the arts. Discussions with the filmmakers follow each presentation. The Films
Beltracchi: The Art of Forgery
The festival opens with Beltracchi: The Art of Forgery directed by Arne Birkenstock. It follows German artist Wolfgang Beltracchi who “pulled off the biggest art-‐forgery scandal of the past 100 years”. He went to jail, served his time, and continues to make art. Beltracchi’s case is still ruffling feathers as art evaluators, involved with the sale of his copies, are charged with conspiracy. His “fame” lives on in award-‐winning books and documentaries like this one. Watch the trailer here. Cartoonists: Foot Soldiers of Democracy
In post-‐Charlie Hebdo times, French director Stéphanie Valloatto’s Cartoonists: Foot Soldiers of Democracy pushes buttons. It profiles 12 cartoon artists from different countries who aren’t
afraid to draw. One of them says, “A drawing that won’t hurt anyone doesn’t exist.” Watch the trailer here. Patron Saint
What kind of person commissions 100 portraits of himself? Toronto art collector, politician and psychiatrist Janusz Dukszta is the subject of Michael Kainer’s documentary film Patron Saint which screens on Saturday, March 26. The Polish refugee commissioned the portraits over a 60-‐ year period. Kainer captures an intriguing subplot about Toronto’s art scene and the Polish refugee’s love of art. Featured artists in the documentary: Stephen Andrews, Terry Berkowitz, Bob Daignault, Cathy Daley, Patrick De Costa, Marc de Guerre, Andy Fabo, Tom Falus, Oliver Girling, Rae Johnson, Bryan McBurney, James I. MacDougall, Barbara Mercer, Michael Merrill, Charles Pachter, Evan Penny, Fabrizio Perozzi, Goran Petkovski, Vincenzo Pietropaolo, Phil Richards, Max Streicher, Yves Tessier, Jim Vacola, Olaf von Brinckenhoff, Ewa Wilczynski, Tony Wilson and Paul Young. Watch the trailer here. Look for our write-‐up of this one after we see it. See the full RAFF program here. -‐ Elizabeth Cinello __________________________________________________________
Strictly Docs -‐March 24 -‐“Take A Risk with this Festival” http://www.strictlydocs.com/tag/reel-‐artists/
Beltracchi: The Art of Forgery The 12th Annual Reel Artists Film Festival kicks off in Toronto on Thursday and this year’s theme is all about taking risks. Opening with Beltracchi: The Art of Forgery, RAFF begins with big expectations. An award-‐ winning film that sets its focus on the “ultimate risk-‐taker”, Beltracchi follows the story of Wolfgang Beltracchi – a German artist who pulled off the largest art-‐forgery in a century by copying and auctioning off fakes in esteemed auction houses like Sotheby’s and Christie’s for almost four decades. Two other films will premiere that also take a unique look at risk-‐takers.
Cartoonists: Foot Soldiers of Democracy In Cartoonists: Foot Soldiers of Democracy, Stephanie Valloatto follows a dozen international artists dedicated to freedom of expression. In the wake of the attack on political magazine Charlie Hebdo, this film is particularly poignant. Finally, Patron Saint spotlights Janusz Dukszta – a Polish refugee and major art patron that has collected a hundred portraits of himself that he has commissioned over 60 years. Produced by the Canadian Art Foundation, RAFF is an event that helps to sponsor the foundation’s programs and initiatives that “connect art enthusiasts with the arts throughout the year.” To purchase tickets or seek our more information on RAFF, go to www.canadianart.ca/raff/tickets
Reviews: NOW -‐March 25 -‐"FILM FESTIVAL SPOTLIGHT: REEL ARTISTS FILM FESTIVAL” https://nowtoronto.com/movies/reviews/film-‐festival-‐spotlight-‐reel-‐artists-‐film-‐festival/
Taking Reel risks
Janusz Dukszta, here in a painting by Andy Fabo, is the subject of Patron Saint. REEL ARTISTS FILM FESTIVAL at TIFF Bell Lightbox (350 King West) from Thursday to Saturday (March 26-‐28). canadianart.ca/raff. Rating: NNNN The 12th annual Reel Artists Film Festival explores "the theme of risk-‐taking in the arts," a concept expressed quite literally in Cartoonists: Foot Soldiers Of Democracy, French documentarian Stéphanie Valloatto's look at political cartoonists around the world. Filmed mostly in 2013, it doesn't engage with January's Charlie Hebdo massacre. In fact, that publication isn't mentioned at all, even during the discussion of 2005's Muhammad cartoon controversy. The doc's repeated reduction of complex social issues to easy moral arguments is a hallmark of co-‐writer Radu Mihaileanu (Train Of Life, Live And Become), and its insistence on flitting from
place to place means it never really digs into individual stories. But as an overview of political cartooning as an act of civil disobedience, it's certainly watchable. A panel discussion with director Valloatto, editor/columnist Haroon Siddiqui and cartoonists Bruce MacKinnon and Brian Gable follows Friday night's screening; Saturday's repeat screening features a keynote address by John Ralston Saul. My favourite title is Patron Saint, which screens as a world premiere on Saturday. It's a fascinating exploration of the collection of Janusz Dukszta, a Polish refugee who came to Canada as a young man, established himself as a psychiatrist and served as the NDP MPP for Parkdale from 1971 to 81. An avid art collector, Dukszta has a special interest in commissioning portraits of himself. The U of T Art Centre's 2010 show of those paintings, Portraits Of A Patron, serves as the jumping-‐off point for Michael Kainer's documentary. Is Dukszta an egomaniac, a narcissist or simply eccentric? The answer is both simpler and more complex than that, and Kainer's doc makes the most of its access to him and his stable of artists. Following the screening, a panel features director Kainer and artists Andy Fabo, Rae Johnson, Phil Richards and Max Streicher. Dukszta will also be in attendance. __________________________________________________________
Rabble -‐ March 23 -‐"Documentary follows cartoonists under threat of jail, attacks, censorship and lawsuits" http://rabble.ca/columnists/2015/03/documentary-‐follows-‐cartoonists-‐under-‐threat-‐jail-‐attacks-‐ censorship-‐and-‐lawsuits
"I wanted more than anything to denounce terrorism," is the plaintive explanation from the Danish cartoonist whose infamous caricature of the Prophet Muhammad with a bomb under his turban sparked violent protests around the world in 2005. Kurt Westergaard is one of many cartoonists featured in the French documentary Cartoonists: Foot Soldiers of Democracy (director: Stéphanie Valloatto), which has its Ontario premiere March 27 and 28 at the Reel Artists Film Festival in Toronto. Created way before the Charlie Hebdo attacks in Paris, the film is a well-‐rounded collection of stories highlighting the difficulties and complexities of being a political satirist in various countries. Delving into the motivations and lives of the cartoonists, we get glimpses into some of the joy they have in their work: "I was lucky, I had Sharon, Arafat and Bush!" and the dangers -‐-‐ a Syrian cartoonist is dragged out of his Damascus house, jailed and his fingers broken by henchmen for Syrian leader Bashar al-‐Assad. The movie has a lovely storyline involving three cartoonist friends who regularly poke their drawing pens at the Israeli-‐Palestinian conflict as well as religious extremists: one is a Muslim living in Ramallah (whose family home is in Jerusalem), another a Belgian Jew who is an Israeli citizen, and the other a French cartoonist whose background is Christian. The French cartoonist, Jean Plantureux, who goes by the professional name Plantu, takes pride in the fact he was called an anti-‐Islamist, an anti-‐Semite and anti-‐Christian within a three-‐week period. "A drawing that doesn't hurt anyone, doesn't exist," Plantureux declares.
However, some of the most fascinating sections of Cartoonists involve satirists from Venezuela, Tunisia, China and Russia. As each person describes the conditions they live under and the politics they navigate, they reveal much about their precarious environments and thus, the courage with which they forge ahead with their art. Tunisian cartoonist Nadia Khiari bemoans how the advent of democratic elections in her country didn't bring about the freedoms she had hoped for: "Instead of fighting for new rights, we are fighting for the old ones."
She describes Tunisia as place trapped in a cycle of "Nepotism, corruption, fundamentalism, worship and oppression." 'Random censoring' Her Chinese counterpart runs his own mini-‐media factory -‐-‐ in which young animators help him put out videos online. Pi San, who insists he's an artist and not a political commentator, said he grew up in a generation under Communism but as an adult living in modern times, he can't help but notice the contradictions that exist in contrast to his upbringing. Many of his animations are critiques of an old educational system in which "children were put through a machine" and taught to be workers for the cause. He's also well aware of what he calls a "random censoring system" in which there are "no specific rules" and it's a line he treads with some caution. Artist Ai Wei Wei -‐-‐ a long-‐time critic of the Chinese government -‐-‐ makes an appearance here, describing the kind of artistic repression they both live under. Meanwhile, Rayma Suprani in Caracas bemoans Hugo Chavez's socialism, which she says allowed him to stockpile money and power for himself. As the film takes dips into her life in Venezuela, we discover the restrictions residents live with. Watching her purchase groceries, we are told that every time you buy something, the store has to note your name, address and what you bought. Suprani had hoped with Chavez's death, his successor, Nicolas Maduro, would have a lighter hand. Instead, what Venezuelans get is more oppression in the form of censorship. So what drives these "foot soldiers sent to the frontlines"? (That's the observation of one of the French cartoonists about his profession). Jeff Danziger of the U.S. -‐-‐ "The cartoon is a visual metaphor, it's a warning." Mikhail M. Zladkovsky of Russia -‐-‐ "I'm naming and shaming stupidity." Plantu of France -‐-‐ "Democracy is an ongoing battle." But I'm most struck by the poetic ruminations of Suprani in Venezuela: "Freedom makes you think, it makes you grow." June Chua is a Toronto-‐based journalist who regularly writes about the arts for rabble.ca. Photos from Cartoonists: Foot Soldiers of Democracy. More info on the fest here: http://canadianart.ca/raff/ The film was supported by the international organization Cartooning for Peace Screening Times at TIFFBell Lightbox in Toronto: March 27 6 p.m. March 28 8:15 p.m. __________________________________________________________
Toronto Film Scene -‐ March 25 -‐“ RAFF 2015 REVIEW: BELTRACCHI: THE ART OF FORGERY” http://thetfs.ca/2015/03/25/raff-‐2015-‐review-‐beltracchi-‐art-‐forgery/
For years, Wolfgang Beltracchi fooled the art world with his forgeries of art by some of the best painters in the world. Claiming these pieces had been part of private collections, Beltracchi and his wife, Helene were able to make millions. The con couldn’t last forever, and Beltracchi was eventually discovered. Arrested and sentenced to a rather lenient prison term, that allowed him and his wife to leave prison during the day to work together, Beltracchi never revealed how many forgeries he actually made. Beltracchi: The Art of Forgery sheds some light on his process, his arrest, and how Beltracchi’s fakes may be even more popular than his own work. The first thing that a viewer will notice about Wolfgang Beltracchi is the almost total lack of appreciation for art. It’s not a passionate process to him, and he’s not overly impressed by those, many of us would deem masters of the craft. It’s a strange counterpoint to the way that art dealers seem more concerned about what they’ll earn and not what they’re selling. Perhaps that is part of his reason for his forgeries. A way to ‘stick it to them’ as one might say. Whatever the reason, Beltracchi is obviously talented, but may be more known for his fakes instead of his real work. Beltracchi: The Art of Forgery doesn’t dive as deep into the life and crimes of Beltracchi as one may like, but it does give a great overview of everything, including the piece of art that finally caught up with him. IS BELTRACCHI: THE ART OF FORGERY ESSENTIAL FESTIVAL VIEWING? A very interesting look at Wolfgang Beltracchi, but one that doesn’t dig too deeply, which is a little disappointing. It’s still worth watching, but don’t expect anything too revealing. BELTRACCHI: THE ART OF FORGERY SCREENING TIMES Thursday, March 26, 2015 – 8:00 pm – TIFF Bell Lightbox Friday, March 27, 2015 – 9:10 pm – TIFF Bell Lightbox
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Toronto Film Scene -‐March 25 -‐"RAFF 2015 REVIEW: CARTOONISTS: FOOT SOLDIERS OF DEMOCRACY” http://thetfs.ca/2015/03/26/raff-‐2015-‐review-‐cartoonists-‐foot-‐soldiers-‐democracy/
Twelve cartoonists from around the world share stories of their work, highlighting the ways in which their work is frequently censored. Quite often, these cartoonists are faced with threats on their livelihood, as well as their lives, but they continue to draw. Although we may often think of these images as silly and maybe even unimportant, they actually share very strong messages, and may even be the only truth that can be freely shared. Although Cartoonists: Foot Soldiers of Democracy was finished before the attacks on the Charlie Hebdo headquarters, the stories shared by the cartoonists seem eerily similar. Death threats have been received and the artists have had their jobs threatened, but nothing quite as shocking as those attacks have happened before. Surely, that moment has changed the lives of the artists taking part in this film. However, chances are it won’t stop them. In North America, these cartoons don’t have the same kind of impact as around the world. In some places, the readers actually use the cartoons as their main way of keeping up to date on current events. That puts a different light on how important these cartoons become in other places. No matter where they come from though, their job and role become the same, causing each artist to feel an obligation to deliver the truth in their drawings. IS CARTOONISTS: FOOT SOLDIERS OF DEMOCRACY ESSENTIAL FESTIVAL VIEWING? Obviously recent events make this an even more important film, but there are many reasons why you shouldn’t miss out on this one. We may overlook how important the work of these artists is, which is something that changes after viewing this movie. CARTOONISTS: FOOT SOLDIERS OF DEMOCRACY SCREENING TIMES Friday, March 27, 2015 – 6:00 pm – TIFF Bell Lightbox Saturday, March 28, 2015 – 8:15 pm – TIFF Bell Lightbox
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Next Projection -‐March 27 -‐“RAFF: Beltracchi: The Art of Forgery, Patron Saint, & Cartoonists: Foot Soldiers of Democracy Capsule Reviews" http://nextprojection.com/2015/03/27/raff-‐beltracchi-‐art-‐forgery-‐patron-‐saint-‐cartoonists-‐foot-‐soldiers-‐ democracy-‐capsule-‐reviews/
Editor’s Notes: The following review is part of our coverage of the 2015 Reel Artists Film Festival. For more information visit canadianart.ca/raff. Beltracchi: The Art of Forgery Wolfgang Beltracchi lived a life of lavish parties and exquisite art, gorgeous villas and expensive vacations, and it was all paid for with forgeries. For decades, Beltracchi had been scamming the art world out of millions of dollars by faking the works of masters of early 20th century art. This highly profitable scam came to an end in 2010 when Beltracchi, his wife and two associates were arrested for fraud, and he subsequently confessed. Beltracchi: The Art of Forgery (2014) follows Wolfgang and his wife Helene after their sentencing, as the pair reminisce on their criminal career and forge a few paintings for the cameras. If you’re looking for a balanced account of the scandal, however, you won’t find it here. Directed by Arne Birkenstock, the son of Beltracchi’s lawyer who has, in the words of a 2012 Vanity Fair profile, been working “to turn [his]notoriety into a marketable commodity,” The Art of Forgery is almost entirely concerned with rehabilitating Beltracchi’s image. Not that it needs that much rehabilitation in his own country: he is frequently considered a kind of populist hero, a Regular Joe taking on the overstuffed art world elite. Beltracchi himself certainly believes this, and The Art of Forgery seems to concur.
The scenes of Beltracchi creating his forgeries offer up nothing new by way of technique — prior documentaries, television specials and even the Jonathan Gash Lovejoy books have gone into it all before — but the film seems more concerned with legitimizing his artistic ability than anything else. A couple of zippy montages of Polaroids from his early “hippie” days and later life with his family give him an almost harmless, sitcom-‐star air. But even though it tries, the film cannot completely conceal Beltracchi’s arrogance, anti-‐intellectualism and outright jealousy, or his desperation to sell his most recent paintings… all signed with his own name, of course, at least now that the authorities are watching. Viewers may be left wondering if The Art of Forgery is documentary or a commercial. Patron Saint Since 1953, Canadian psychiatrist and politician Janusz Dukszta has commissioned over 100 sculptures, murals and portraits of himself. His fabulously appointed (if over-‐crowded) apartment holds most of these artworks, including a series of photographs of himself standing before his bookshelves; those photos, in turn, have been mounted and placed in front of those very same shelves. In Patron Saint, which has its world premiere on March 28 at the Reel Artists Film Festival, Dukzsta is interviewed next to these photos, creating a delightfully silly pastiche of the Droste effect, and proof that neither Dukzsta nor the filmmakers take him too seriously. Often, the artists he commissions don’t take him that seriously, either. References to Dukzsta’s physical similarity to Lenin are made in several artworks that depict him, and most of the artists featured in Patron Saint have a few chuckles at their patron’s expense. But Dukzsta chuckles at himself, too, and even if he doesn’t fully understand why he’s commissioned all these artworks, he has several amusing and insightful theories. Director Michael Kainer does a terrific job of easing you into the colorful Canadian art scene by opening at a bal masqué held in Dukszta’s honor on the occasion of “Portrait of a Patron,” a collection of his portraits on display at the University of Toronto Art Centre. A psychiatrist and colleague is interviewed at the ball discussing Dukszta’s eccentricity, oblivious to the fact that he’s telling us all this through a fabulous scarlet mask covered in beads and dyed feathers. As the film continues, there are more interviews, more feathered masks, more delightful characters, and more paintings of Dukszta as Christ and Batman, all of which seems completely logical, even necessary, by the finale. And throughout, Janusz Dukszta maintains an elegant and cultivated distance, impeccable — and mask-‐less — in his formal dinner dress. Cartoonists: Foot Soldiers of Democracy The lives and careers of 12 political cartoonists from around the world are profiled in Stephanie Valloatto’s Cartoonists: Foot Soldiers of Democracy, her first feature-‐length film. With interviews, archival clips, cartoons and animation, Cartoonists takes a broad look at the sociopolitical functions of political cartoonists, their struggle against censorship, and their effect on the public during times of political upheaval. With the massacre at the offices of Charlie Hebdo, a French satirical magazine, in January of this year, Cartoonists has become more relevant than ever. In its attempt to tackle such a complicated topic in one fell swoop, however, Cartoonists risks being too general to be of much import. So often, just as a cartoonist such as Pi San or Willis From Tunis really gets into the topic of their work and its reception, the film cuts away to
another cartoonist in another part of the world. It’s jarring and frustrating because Cartoonists rarely goes back to delve deeper; with 12 artists to profile, it doesn’t have the time. There is also a strange lack of truly offensive cartoons to be seen in the film. What’s shown is largely what certain governments or religions find offensive, and it’s fascinating stuff, but Cartoonists so deliberately side-‐steps common racist, homophobic and sexist depictions in these cartoons that the absence of discussion becomes notable. This is especially true in their obvious avoidance of the “Face of Muhammed” cartoons printed in a Danish newspaper in 2005 and lack of mention of the 2011 Charlie Hebdo attacks. Cartoonists is obviously afraid to tackle the more difficult subjects, and the avoidance is off-‐ putting. Similarly, there is far too much filler; Mikhail Zlatkovsky spends more time dancing around in his backyard with neighbors than talking about his career, and Michel Kichka gives an interview where it’s clear he’s practiced everything he’s going to say, at length, and probably in front of a mirror. Cartoonists manages to take an important topic full of history and nuance and turn it into a dull and overly broad survey that will leave viewers wanting much more. __________________________________________________________
Way Too Indie -‐March 25 -‐"2015 Reel Artists Film Festival Preview” http://waytooindie.com/news/2015-‐reel-‐artists-‐film-‐festival-‐preview/
In one of the films to be shown at this year’s Reel Artists Film Festival, the subject, an 82-‐year-‐ old art patron, points out that documentary film is an art. That, indeed, taking part in his very own film is art. In this same spirit of discussing the meta nature of creating, the Reel Artists Film Festival will show three feature-‐length documentaries (along with a series of documentary shorts) that tackle relevant issues in contemporary art. The themes of these films ask big questions: At what point is a painting a forgery? What social responsibilities should cartoonists hold themselves to? And, finally, is a commissioner of art selfish or selfless?
I think these questions are all worth asking, and they’re all the more engaging when tackled via the colorful subjects in each of these films. I got the chance to preview the three full-‐length documentaries ahead of the festival’s March 26 opening in Ontario, and hopefully the reviews below will whet your palate. For those who can see the films in person, each screening will be followed by a panel discussion or guest speaker you won’t want to miss out on. You can see the full schedule and get more information here. Beltracchi: The Art of Forgery Director: Arne Birkenstock Screening: March 26 – 8:00 pm, March 27 – 9:10 pm Keynote Speaker(s): Arne Birkenstock, producer, director and screenwriter of Beltracchi: The Art of Forgery, will introduce the film, and then art critic Blake Gopnik will give a talk on the subject of art forgeries.
I probably have to confess that one of my favorite movies of all time is Catch Me If You Can, the Spielberg-‐directed caper about a teenager who gets away with convincing the world he’s an airline pilot, attorney, and even a doctor. So, naturally, director Arne Birkenstock’s documentary about Wolfgang Beltracchi, a man who spent nearly 40 years selling his own replicas of master paintings for millions of dollars, was right up my alley. But Birkenstock’s film is not an action thriller—it firmly takes place in the present day with a nostalgic Beltracchi (along with his wife and partner in crime) looking back on some of their “success stories.” When not looking backward, much of the film takes place in their studio, allowing Beltracchi to show us some of the tricks of the trade, everything from peeling off the paint of old canvases (to reuse them) to capturing that perfect this-‐painting-‐is-‐totally-‐old smell. The filmmakers are ever so careful to give us a full hour of lust for art before showing us the benefits of Beltracchi’s seedy endeavors: a mansion that might make Mark Zuckerberg jealous, with open glass windows and a magnificent view. Indeed, the editing is key here. By only allowing us see the studio at first, we’re able to feel bad for this passionate older man who is about to lose his home for the much colder confines of a German jail. As the film goes on, Beltracchi’s cockiness is more apparent (apparently Da Vinci is “easy to replicate”), but we’ve already been seduced by his energy and love for detail by this point. Thanks to careful editing
and scripting, we go back and forth between being enchanted and remembering, “Oh, no wait. This is bad.” The film also takes care to interweave as many sides of the story as possible—the buyers, the museum purchasers, and Beltracchi’s family—in order to build the full scope of what circumstances had to exist to let a man get away with this for four decades. But these diversions from the main plot never fully puncture the heart of the film: the childlike thrill of doing something naughty and damn near getting away with it. Cartoonists: Foot Soldiers of Democracy Director: Stéphanie Valloatto Screening: March 27 – 6:00 pm | March 28 – 8:15 pm Keynote Speaker(s): At the March 27 screening, producer Stéphanie Valloatto will introduce Cartoonists: Foot Soldiers of Democracy, and then moderate a panel discussion on political cartooning in Canada with cartoonists Bruce MacKinnon and Brian Gable and editor Haroon Siddiqui. At the March 28 screening, Stéphanie Valloatto will introduce the film, and John Ralston Saul will give the keynote address on the theme of freedom of speech.
French director Stéphanie Valloatto’s documentary Cartoonists: Foot Soldiers of Democracy couldn’t be more timely, especially after the attack this past January on the Parisian satirical weekly Charlie Hebdo. Valloatto takes a broad lens in this expose on the political cartoonist, interviewing at least a dozen illustrators from anywhere and everywhere: Russia, France, Israel, Caracas, Mexico, Tunisia, and the USA. As the attack in Paris demonstrates, hostility toward individuals who would dare question the status quo is hardly limited to non-‐democratic nations, and cartoonists share their struggles on obnoxious restrictions, like an artist who gets around a ban on depicting a leader’s likeness by drawing him as a banana, to terrifying burdens like friends and colleagues going missing or turning up dead. But even when one’s life isn’t on the line, the obstacles are real. Jeff Danzinger, an American political cartoonist for the New York
Times, points out the irony of working for an institution that relies on big business to stay afloat but having a job that requires critiquing those same deep pockets. At nearly two hours, the film could do with a bit of editing—the lengthy feeling might have something to do with the lack of a coherent narrative (this is really a collection of loosely related interviews). Perhaps, it’d be easier to feel invested with less subjects, allowing the individual political climates time to get a little fleshed out. But the breadth the filmmakers cover does have some advantages. Lest we believe the political cartoon is purely a western concept, Valloatto’s wide lens seems to imply that Maya Angelou was all too right when she said, “We are more alike, my friends, than we are unalike.” Image as satire is a human concept, and the the heart of this film is giving voice to the extraordinary men and women who want to keep overarching governments in check. The fight to maintain the voice to do so is universal. The image that stood out the most to me was a cartoon made of one of their own: Ali Ferzat is a Syrian political cartoonist who was brutally attacked by President Bashar al-‐Assad’s soldiers while living in Damascus. Not disguising the attack’s primary motivation, Assad’s henchman took special care to break all of his fingers. The resulting comic shows Ferzat in a hospital bed, black and blue with bruises and with casts on both hands. But above the casts, he’s making peace signs and a caption reads: “It hurts when I laugh but when I think that Assad is afraid of a pencil, LOL!” More than any other image it shows that the work done by these artists aren’t cheap shots by third parties several steps removed from the conflict—they live their fight for democracy, and in this case, the pen really is mightier than the sword. Patron Saint Director: Michael Kainer Screening: March 28 – 5:30 pm Keynote Speaker(s): Director Michael Kainer will introduce the film and moderate a panel discussion with artists Rae Johnson, Phil Richards, Andy Fabo and Max Streicher. Janusz Dukszta, art patron and subject of the film, will also be in attendance.
When I studied writing at an art school, my color theory professor let me write a short story for my final project—using words to depict translucency, saturation, and temperature instead of a paint brush. In a similar way, director Michael Kainer paints a portrait of Canadian art collector Janusz Dukszta in his delightful 70-‐minute expose on the man. But Dukszta is no ordinary collector. From every crevice of his Ontario house, you’ll find sculptures, paintings, and drawings of just one subject: himself. The public exhibition of these works, once and for all showcasing the 90 portraits commissioned by Dukszta over the course of 50 years, serves as the catalyst for a film that’s both charming and unexpectedly insightful. Standing on a podium before all the gallery’s guests, a curator posits the filmmaker’s primary concern: Is Dukszta’s collection simply an act of supreme narcissism? But this premise is quickly dismissed as Kainer interviews the many artists and colleagues that make up Dukszta’s circle of friends. “I can’t find anyone who actually dislikes him,” Kainer confesses from offscreen during an interview. Indeed, the film feels like both a defense of one man—long live the patron of the arts, may as well be its subtitle—but it also feels like a defense of portraiture. It easily succeeds in both regards. Many documentaries have scoured the trenches of the fine artist, the dancer, the musician who can no longer make a living, but in Patron Saint,we see a glimpse of how one man can galvanize an art scene just by respecting young artists enough to pay them their due. We see the confidence an artist builds by being shown the respect a dollar represents. And we see more taboo topics—Dukszta went through a phase where placing himself into classic religious works seemed like it might be a bit of fun—discussed with a certain thoughtfulness, not readily dismissed as disrespectful and self-‐serving. The film is well-‐served by an incredibly eloquent group of characters (including Dukszta himself) that elevate the film to a discussion of art interpretation. “Sometimes I think the self portraits are a pre-‐text for Janusz to have a close encounter with an artist,” suggests curator Gordon Hatt. “Someone who … may bring him in contact with whatever you want to call it: beauty, refinement, intellect, or profound emotion.” Those types of gems keep coming and coming. Beyond the interviews, a foray into Dukszta’s past as a refugee from Poland during World War II grounds the film in history and goes a long way in defining his motivations. Kainer did his homework, and the result is just as impactful as any other evocative piece of art. Is Dukszta a narcisstic man? Quite possibly. But he’s also honest and more than willing to show a little vulnerability. What more could you want from the subject of a painting—or a film? __________________________________________________________
Cinemablographer -‐ March 25 -‐"Reel Artists Film Fest Kicks Off with ‘Beltracchi’" http://www.cinemablographer.com/2015/03/reel-‐artists-‐film-‐fest-‐kicks-‐off-‐with.html
Beltracchi: The Art of Forgery (Germany, 93 min.) Dir. Arne Birkenstock
“You don’t have to be a genius to do a painting like that,” says painter Wolfgang Beltracchi as he observes one of his own beautiful canvasses hanging on his studio wall. Beltracchi is a virtuoso with his paintbrush, but he also happens to be a master forger. Anyone can paint a Max Ernst, he implies as he looks upon the “Max Ernst” painting of his own creation. As for whether Beltracchi is a painterly genius or a true artist is another matter, though, as Beltracchi: The Art of Forgery paints an ingenious portrait of the way we perceive art. Beltracchi opens Toronto’s Reel Artists Film Festival on Thursday, and it’s bound to stimulate a healthy debate over what constitutes “real art.” The film provocatively asks if artistic genius resides in technique or in inspiration. Beltracchi finds itself in the guise of an unlikely crowd-‐pleaser as director Arne Birkenstock offers both an insider’s glimpse at the art of forgery and an exposé of the art world in turn. Entering the mind of a criminal and a charlatan is rarely so enjoyable. The film is very fun and insightful as it follows the charismatic Beltracchi like an observant apprentice as the convicted art forger reveals the skill, technique, and keen understanding of the idiosyncrasies of the business that allowed him to score nearly £30 million before he the art world discovered his con. It might not take a genius to paint a masterpiece, but it takes a level of wily skills to outsmart so many experts for so long. Beltracchi gives an impressive range of access as he takes Birkenstock on the full journey of a forgery. Learn how to spot a good old canvas to use as the foundation—art dealer stamps are king!—and learn how to strip away the layers to replace the canvas with a new coat of paint. He even shows audiences the essential tip of padding the space between the canvas and the frame with dirt to mimic the dust that accumulates under a painting over the years. (It’s all in the details!) Beltracchi seems to relish the chance to show the tricks of his trade—he went to jail for his crimes, so he has nothing to hide—and the elaborate attention to detail and genuine technical prowess with a paintbrush reveal a man who could have been a legitimate artist if he could find the inspiration. However, therein lays the film’s true stroke of genius: why don’t some figures in the art world consider Beltracchi an artist? His paintings are undeniably beautiful and they fetch the same exorbitant prices as the works they imitate. Beltracchi, on one level, asks if the value of art comes from the work on the canvas or simply from the name etched onto the corner. Alternatively, the film takes Beltracchi’s game of art-‐for-‐profit to ask if the value of art derives from something far more philosophical.
One intriguing interview with a couple of passionate art collectors who fell victim to Beltracchi’s con shows the inherent extra-‐textual element that classifies a work as art. It’s the reason behind the work, its meaning, which gives art value. (Although it’s worth noting that the couple takes a noticeable amount of pride in name recognition.) The couple describes how they adored the painting when the husband bought it as a gift for his wife, but then relate how the baseness of the painting strips it of its work. “Now it’s just something to decorate a wall,” they say, noting that a painting that aims not to express or evoke feeling is not “art.” The curators, auctioneers, experts, critics, and aficionados who chime in throughout the documentary offer a range of ideas to cover the full spectrum of the debate. Some might say that art is in the eye of the beholder, while others call a duck a duck and dismiss the merit of the work over its deviant intent. The all seem to agree, though, that the enormity and meticulousness of Beltracchi’s con game (his wife was also complicit as a seller) is a truly impressive stroke. (And their elaborate backstory to validate the forgeries is a highlight of the film.) However, Birkenstock cuts the perspectives of the talking heads together to reveal the fickleness of the artistic canon. No matter how much one admires or abhors Beltracchi’s work, the film provides a healthy range of proof that art is a business driven by names, dollars, and some very debatable sense. Rating: ★★★½ (out of ★★★★★) Beltracchi: The Art of Forgery opens the Reel Artists Film Festival on Thursday, March 26 at TIFF Lightbox. Please note that director Arne Birkenstock will introduce the film and then participate in a conversation with art critic Blake Gopnik on the subject of art forgeries. It also screens on Friday, March 27 at 9:10pm at TIFF Lightbox. Please visit canadianart.ca/raff/ for more information. __________________________________________________________
Cinemablographer -‐March 27 -‐"RAFF Review: 'Cartoonists: Footsoldiers of Democracy’” http://www.cinemablographer.com/2015/03/raff-‐review-‐cartoonists-‐footsoldiers-‐of.html
Cartoonists: Footsoldiers of Democracy? (Caricaturists, fantassins de la démocraties?) (France, 106 min.) Dir. Stéphanie Valloatto, Writ. Radu Mihaileanu, Stéphanie Valloatto Plantu -‐ Cartoonists: Footsoldiers of Democracy The January 2015 murder of satirical cartoonist Stéphane ‘Charb’ Charbonnier arguably makes Cartoonists: Footsoldiers of Democracy? more relevant to audiences than it was when it premiered at Cannes back in 2014. #JeSuisCharlie might not be trending anymore now that the masses have turned their attention to the latest cause, One Direction, but the outcry over Charbonnier’s death and the deaths of his colleagues at the Charlie Hebdo headquarters makes this documentary an urgent essay for anyone who cares about free speech. That the film remains relevant almost a year after its premiere supports one of the talking heads’ observation that cartoonists often act as cultural barometers. They sniff something in the air and anticipate the political landscape, and they use their drawings in turn to provoke feelings and thought about the global political landscape. Cartoonists: Footsoldiers of Democracy captures the global role of the cartoonist as director Stéphanie Valloatto interviews a dozen satirical cartoonists in twelve countries to find a universal ideal within their drawings. Each artist has a story to tell about the value of free speech and the consequent threats to personal liberty and security that come with voicing truths through humorous images. The central figure in the film is French cartoonist Jean Plantureux aka ‘Plantu’, who provides stories of his work as the satirical cartoonist for Le Monde for forty years. Plantu, hardly a stranger to controversy, could easily have found himself the target of the bullets riddled throughout the offices of Charlie Hebdo, for his accounts of threats and hostile reactions to his drawings, which don’t shy away from hyperbolizing any political, spiritual, or cultural figure, stress the very need to confront such radical ideals through humour. His work shows how a positive reaction trumps a negative one, and the power of laughter is a greater political weapon than a bullet or a book. Other stories, such as the thread featuring Nadia Khiari, creator of the feline figure Willis from Tunis, finds a powerful tool in the juxtaposition of humour and violence as her cartoons stress the bloodshed in Tunisia. Rayma Suprani, alternatively, finds herself a target in Venezuela for substituting a banana for the President when new laws banned artists from drawing his face. Stories in Russia reveal a hammer against freedom of speech that swung long before the days of Pussy Riot, while New York cartoonists reveal a repository of Bush/Cheney jokes far more bottomless than the pit into which America dug most of the world. Each story champions the need of speaking truth to power and shows that where voices may be silenced, images speak louder than words. Each of the figures is as good and witty a character as one hopes a shrewd artist to be, and it’s almost a shame that the film doesn’t give even more time to the dozen voices participating in the essay. Each story adds to a greater volume, though, and honours the work of political commentators, journalists, and artists of any form. Cartoonists features a healthy range of political cartoons to accompany the word and stories of each artist. The images are expectedly provocative and hilarious, and the film lets the visual
power of the still frames find its own gravity. Cartoonists sometimes approaches too many of these cartoons with the glance effect, though, and moves through the images too quickly to do some of them justice, but the pictures pass by like animated cartoon and find a life of their own through the chorus of images. Cartoonists, like many of the works it honours, is provocative, funny, and perceptive. Rating: ★★★½ (out of ★★★★★) Cartoonists: Footsoldiers of Democracy screens at the Reel Artists Film Festival on Friday, March 27 at 6:00 pm at TIFF Lightbox. Producer and director Stéphanie Valloatto will introduce the film and then moderate a panel discussion on political cartooning in Canada with cartoonists Bruce MacKinnon and Brian Gable and editor Haroon Siddiqui following the screening. And on Saturday, March 28 at 8:00 pm at TIFF Lightbox: Stéphanie Valloatto will introduce the film, and John Ralston Saul will give the keynote address on the theme of freedom of speech at this event. Please visit http://canadianart.ca/raff/12th-‐annual-‐reel-‐artists-‐film-‐festival/ for more info. __________________________________________________________
Cinemablographer -‐March 28 -‐"RAFF Review: 'Patron Saint’” http://www.cinemablographer.com/2015/03/raff-‐review-‐patron-‐saint.html Patron Saint (Canada, 71 min.) Written and directed by Michael Kainer
Various interviewees in the documentary Patron Saint refer to subject Dr. Janusz Dukszta as “vain.” Other interviewees call him “eccentric,” “narcissistic,” “a force,” "a patron of the arts," and “a closet altruist.” A man such as Dr. Dukszta embodies the facets of all these characteristics: when one has almost one hundred portraits of oneself painted over fifty years, one needs to be a little bit crazy, a little bit vain, and a little bit passionate about supporting the arts. Patron Saint paints its own portrait of Dr. Dukszta as director Michael Kainer explores the life of the man whose collection of art about himself receives its own exhibition at the gallery at the University of Toronto. This collection is a novelty for sure, but it’s also a peculiar testament to the range of talent in the Toronto fine arts scene. Just look at how differently the artists approach the same subject. See Dr. Dukszta as a cubist figure; see him as a divine figure. See him as a painting; see him as a statue. Even see him as one statue or see him as a statue in a collection of twenty-‐seven statues. There are many sides and shades to this one man. The film looks at many of the paintings of Dr. Dukszta within his own archive as he explains the motivation behind so many of these portraits. Patron Saint looks at the facets of Dr. Dukszta’s character that each painting draws out—his background, religious/spiritual beliefs, political efforts, etc—and helps better understand the subject through his art. The film frequently remains respectful (at times almost reverential) as it explores the dimensions of Dukszta's character, but Kainer smartly uses the art to reveal aspects of character that the subject himself is keen to explore and reveal. Unlike the wonderful pop art of Andy Warhol, though, Patron Saint shows that repetition doesn’t necessarily deconstruct this subject. If anything, the range of portraits only makes Dr. Dukszta more intriguing and personable. He’s quite the character! The artists themselves add their voices to the mix and explain the inspiration they find in each portrait. Some of them actually have several pieces in the Dukszta collection, so it’s a marvel to see how even the same artist approaches the same face so differently. The various voices also show that Dr. Dukszta’s fascination with his own image serves the Toronto art community well, for his devotion to the arts frequently encourages him to seek out new artists and gamble on unproven talents. This patronage in turn supports and motivates many emerging artists within the scene. Call it egotism or altruism, but a reliable patron of the arts is nothing but a good stroke for the community. Rating: ★★★ (out of ★★★★★) Patron Saint screens at the Reel Artists Film Festival in Toronto on Saturday, March 28 at 5:30 pm at TIFF Lightbox. Director Michael Kainer will introduce the film and moderate a panel discussion with artists Rae Johnson, Phil Richards, Andy Fabo and Max Streicher. Subject Janusz Dukszta will also be in attendance. Please visit http://canadianart.ca/raff/toronto-‐patron-‐saint/ for more information. __________________________________________________________
Flick Hunter -‐March 29 -‐"RAFF 15 Film Review -‐ Beltracchi: The Art of Forgery” http://flickhunter.blogspot.ca/2015/03/raff-‐film-‐review-‐beltracchi-‐art-‐of.html The film opens with interviews with the principals involved with the painting that brought down Wolfgang Beltracchi's forgery career. They discuss the fate the forger should face. Each has a harsher sentence that the next with the most extreme being Kunstahaus Lempertz owner Hendrik Hanstein who recommends punishment under Muslim Sharia law. In fact Beltracchi received a 6 year prison sentence for his crime of selling 47 million in fake art over a 40 year period but after a year and a half was allowed to spend his days in his studio working on pieces as he attempts to pay back the 27 million he now owes through law suits. As with any con man a big personality and extreme confidence is a must. Beltracchi has both in abundance. As he tours around his studio he reflects on works of his main target Max Ernst along with other masters commenting on how easy it is to re create their work and in fact his versions of their works or his inspired creations to fill in gaps in an artist catalogue are better that the original works of the artists themselves. His wife Helene was a vital part of the plan. The pair met in 1993 and Helene soon fell in step with her husbands work. Helene was front and centre in the couples biggest scam. A claim that her grandfather had hid his art collection from the Nazi's before the war that she inherited at his death. Only there was no collection only works by Beltracchi's filling in gaps in targeted painters catalogues.
Director Arne Birkenstock basically says Action the hits lets Beltracchi roll full on. The story follows Beltracchi as he goes through the process of creating a forgery. Mixing period appropriate pigments, foraging though flea markets for early 20th's century picture frame preferably with dealer stamps on the back of the frames. Birkenstock shows Beltracchi's technique for removing the original painting from the frame to leave a blank canvas for his work. Lastly the forger's finishing aging steps are displayed including adding dust to the inner nooks and crannies of the frame to give that bumpy feel that one expects as they run their
fingers over the frames's outer edge. Birkenstock uses a lot of long shots when filming the work in the studio. Overhead shots are also prevalent to show the scope and physicality of the work. It turns out that the protagonist was tripped up by a moment of carelessness. He used a tube of white paint for his lost Campendonk creation Red Painting with Horses 1914 that contained a titanium white pigment that would not have existed in Campendonk's era. The mistake led to a police investigation and arrest as the family headed for an evening out. Beltracchi's teenage children were in the vehicle and it was the first time that they learned that their dad did not have a legitimate job in the art world.
Birkenstock also exposes the seedy underbelly of the High Art world. The auction houses make millions in commissions along with the authenticators. The collectors are greedy for the prestige of owning a unique work of a master. So all parties have a vested interest for the paintings to be real. Couple this with the inexact science of authentication makes it relatively easy for forgeries to reach galleries, private collections and museums. Beltracchi: The Art of Forgery is an enjoyable production that is entertaining viewing whether you're an Art world insider or know nothing about art at all. Director Birkenstock creates a relaxed environment for his frank and open protagonist to tell their story. The charismatic pair committed crimes but somehow it seems that the people the pair duped were entwined in a system that is full of holes. It is a film that I can recommend. *** 1/2 out of 4. Beltracchi: The Art of Forgery | Arne Birkenstock | Germany | 2014 | 93 Minutes. __________________________________________________________
CINSSU – March 9 2015 -‐ "REEL ARTISTS FILM FESTIVAL REVIEW: CARTOONISTS FOOT SOLDIERS OF DEMOCRACY” http://cinssu.ca/blog/2015/3/8/reel-‐-‐-‐artists-‐-‐-‐film-‐-‐-‐festival-‐-‐-‐review-‐-‐-‐cartoonists-‐-‐-‐foot-‐-‐-‐soldiers-‐-‐-‐of-‐-‐ -‐democracy
Cartoonists – foot soldiers of democracy is a French documentary film by Stephanie Valloatto. The film introduces political cartoonists from all over the globe including Plantu, Jeff Danziger, Willis from Tunis (Nadia Khiari), among others. The film follows them as they explain the difficulties and political situations they have to deal with in their respective countries. Many have to deal with government censorship but even the satirical cartoonists from western democracies have to deal with pressures: whether informal government pressure or popular pressure. The film never really delves deeply into the issues and national politics affecting each cartoonist but rather compares and contrasts the situations of cartoonists everywhere. This was also made before the barbarous attacks on the Charlie Hebdo offices in Paris, France however this has only made it even more relevant and important. Those attacks prove that, as the film claims, that this is a community that do indeed risk their lives. It is immediately apparent that this is a community that clearly expresses its solidarity to one another: Baha Boukhari, a Palestinian cartoonist, says that he has more in common with Michel Kichka, a Belgian-‐raised Israeli cartoonist, than other Palestinians. What lies at the core of this community is the belief in the power of drawings and images to criticize social injustices and government policy. This belief in the power of the image is something that a filmmaker and even a film viewer can appreciate. The blank page wielded by these satirical cartoonists is more or less repressed in
certain countries with dictatorial tendencies. Cartoonists Rayma Suprani (Venezuela), Mikhail Zlatkovsky (Russia) and Pi San (People’s Republic of China) are some of the cartoonists that deal with strong state intolerance towards their art. . The film, and the cartoonists themselves, describe the absurdity of governments which do not allow dissent in the form of a mocking image. Rayma Suprani takes the crew with her as she drives through her city describing how all the buildings that have been built recently all have the image of Chavez on them, even after his death. These people are not the only ones being persecuted however they represent an interesting mix of the resistant artist and the resistant journalist. The multi-‐faceted nature of their job and the fact that everyone can understand an image gives these political cartoonists a form of power that governments and armed groups fear. The more people they rile-‐up, and better yet, the more the government is riled-‐up the more they know they are doing their job properly. Conversely they also express a belief that they must help criticize on behalf of their peoples, of their fellow citizens. Foot soldiers of democracy is an effective documentary that engages the core themes affecting political cartoonists around the world. It takes an affectionate look at this diverse group of individuals however it does so without resorting to base sentimentality. There is honesty in the film that mirrors the honesty found in the simplicity of satirical political cartoons. The cartoons of the artists that the film shows are very simple to understand if you have understood the national context of an image. As Lassane Zohore from the Ivory Coast says, even the illiterate can understand an image. The same way, a viewer can have no knowledge of the various contexts necessary to fully understand the situation of these cartoonists and will still have an understanding of the importance and significance of their work. The Reel Artists film festival runs from March 26th-‐28th at the TIFF bell lightbox. Cartoonists: foot soldiers of democracy will be screened March 27th at 6pm and March 28th at 8pm.
Flick Hunter -‐March 29 -‐"RAFF 2015 Film Review-‐ Cartoonists: Foot Soldiers of Democracy" http://flickhunter.blogspot.ca/2015/03/raff-‐2015-‐film-‐review-‐cartoonists-‐foot.html In light of the January events at the Charlie Hebdo offices in Paris the role of Newspaper Cartoonist is acutely focused. Is their role to be satirical, should they provoke a response are their any taboo subjects that should be off limits? Do the answer to these questions change depending on the part of the world the cartoonist resides? Director Stephanie Valloatto's film features 12 Cartoonists from around the world. Valloatto leans mainly towards French speaking professors but all corners of the planet are well represented. The leader of the group is Le Monde's political cartoonist Jean Plantureux who signs as Plantu. He has been called anti-‐Semitic one day then anti-‐Muslim the next. French Presidents call Le Monde to complain about how they are being portrayed and at the time of filming Plantu had a pending case in front of the French courts for a post where he went a linked the Pope to the Churches ongoing struggles with defrocked priests. Plantu is also the co-‐founder of Cartooning for Peace along with then UN Secretary General Kofi Annan.
The different artists style of work depends on the accepted standards in their society. One of the most interesting subjects is Rayma Surprani who has to undergone personal verbal attacks in her native Venezuela. She started drawing Hugo Chavez when he came to power but as he got fatter she kept adding chins and bulk until the government passed a law that the President was not to be drawn. Suprani had to resort to ways around the edict by drawing stand in bananas with a crown to represent the leader. The same scenario greeted Zlatkovsky in Russia. He had some freedoms in the Perestroika era especially under Yeltsin that continued during as Putin's rise to power. But as in Venezuela after Putin took office drawing the President was banned.
Therefore Zlatovsky resorts to using the Russian bear and an overbearing Kremlin shaped crown to show the weight of the Russian Government on the Russian people and foreign states alike.
Valloatto does not avoid the controversial issues. She brings Israeli cartoonist Kichka and Palestinian foil Boukhari together with Plantu present as a buffer to discuss the goings on each side of the Sharon Wall. Boukhari Faso's Glez visits Zohore in his Ivory Coast editorial room as they discuss the boundaries of what they can get print and the points where they self edit. Some of the drawers have to use other means to get their work out. China's Pi San has to resort to You Tube to get his more sketch like scenarios out to the public while in Tunisia Nadi Khiari's alter ego a cat named Willis from Tunis finds a home on Facebook and amongst graffiti on courtyard and building walls. But the two main sources of backlash concern the piece called The Prophet by Danish author Kurt Westergaard that led to violent protests in the streets in the Muslim world and burning of Danish flags for the Artist daring to draw the Prophet Mohammed. A greater The backlash occurred in Syria where cartoonist Ali Farzat was kidnapped and had all of his fingers broken due to a posting about President Assad. Plantu responded with a cartoon showing Assad at the steps of a butcher shop with the Title: Son of A Butcher since 1957. Cartoonist: Foot Soldiers of Democracy is a timely look at the craft and obstacles facing cartooning. The artists have to deal with censorship, political correctness, taboos and an increasing level of violent responses to their work. In some locations only overt racism is off the table while in others discussing the leader, Army, Judiciary and Religion are forbidden. Each cartoonist and editor self sensor but even the mildest post can gain extreme criticism in the modern world of immediate feedback over social media. *** Out of 4 Cartoonist: Foot Soldiers for Democracy | Stephanie Valloatto | France | 2014 | 106 Minutes. __________________________________________________________
Flick Hunter -‐ March 29 -‐"RAFF 2015 Film Review-‐ Patron Saint" http://flickhunter.blogspot.ca/2015/03/raff-‐2015-‐film-‐review-‐patron-‐saint.html
Janusz Dukszta lives in a small apartment in Toronto. He came to Toronto from Poland in 1959 then studies to become a Psychiatrist. He also served as the NDP member from Parkdale at the Provincial Legislature from 1971 to 1981. But the most remarkable fact about Dukszta is that he is a large contributor to the Toronto Art Scene having hundreds of pieces crammed into his Toronto apartment. The unusual thing is that all of them are commissions and just about all are of his likeness.
The film opens with a 2010 show at the University of Toronto Art Centre entitled Portraits of a Patron. The show brought Dukszta's pieces out of hiding from his Apartment and into the public eye. Among his collection are 89 self portraits and several sculptures. The sculptures tend to mainly be of his head in different sizes of varied material including stone, granite and bronze. The question one has to ask is the purpose. Is it ego, is it narcissism or is Dukszta simply an eccentric individual with no family to carry on his linage so he has done so through Art. First time director Michael Kainer's documentary takes the viewer into Janusz Dukstza's world. The bowels of his apartment are put on display and are the thoughts and reflection of the Artists that have produced pieces for the collection. The camera follows Dukszta back to Poland where his early memories were formed first during the Russian/Germany split of the country followed by the German occupation. Dukszta was witness to the removal of the Jewish residents followed by the killing of dissidents then anyone with any standing in the community that might threaten Nazi rule. The effect on Dukstza of his return to Poland could have been explored further in the piece.
The interviews with the artist themselves is the strength of the film. They speak to the fact that Dukszta would work with young artists that were just starting out. Therefore a commission meant validation of their work. Dunkszta would also encourage them to be bold and take chances which helped with their confidence, enhanced their reputation and the money was a good base for them to advance their carriers. Painter Phil Richards did the most pieces in the Dunkszta collection dating back to his first collaboration with the Patron in 1971. He would often exchange travel for his services instead of money. Richards has gone on to produce pieces all over the world including a 2010 Royal Commission to paint a Portrait of Queen Elizabeth II. Max Streicher a sculpture and installation artist completed multiple works for Dukszta including a massive bronzed head. The overflowing personality and humour of Dukszta drives the narrative. In one particularly funny scene he spots a fluorescent green city tram when back in Krakow and shouts nice colour then looks at his tie that happens to be an identical match. The gratefulness of the Artists also shines through in the piece. As Rae Johnson points out she was just starting out when Dukszta asked her to do a portrait she did not yet have a style or voice as an artist and his commission helped to kick start her career. The narrative could have done more to explore Dukszta passion for Art or the reason why he keeps going or what Dukszta learned about himself as a result of the production. The volume is evident but the root cause is not pursued by the production. ** 1/2 Out of Four. Patron Saint | Michael Kainer | Canada | 2014 | 71 Minutes. __________________________________________________________
Mentions: NOW -‐March 25 -‐"SPECIAL SCREENINGS: MARCH 26 -‐ APRIL 1” https://nowtoronto.com/movies/film-‐fests-‐and-‐screenings/special-‐screenings-‐march-‐26-‐april-‐1/
Film Festivals: Reel Artists Film Festival International feature-‐length and short documentaries that address topics and challenges present in today's art world. $20-‐$35, stu/srs $15. TIFF Bell Lightbox, 350 King W. canadianart.ca/raff. Mar 26 to 28 __________________________________________________________
Blog TO -‐March 26 -‐"Today in Toronto: Bjork Party, Reel Artists Film Fest, Queer Songbook, Once, Greys, Jessica Baldanzas” http://www.blogto.com/radar/2015/03/today_in_toronto_bjork_party_reel_artists_film_fest_q ueer_songbook_once_greys_jessica_baldanzas/ Canadian Art's 12th Annual Reel Artists Film Festival will open at TIFF tonight. This year's theme is risk taking artists in the vein of Ai Weiwei, Marina Abramovic, and Chris Ofili. It's on until Saturday. Greys and Total Love are playing at a temporary bubbly-‐drink branded underground skateboard on Dufferin, while brand new venue Burdock Music Hall on Bloor will host Michael Feuerstack, and the Queer Songbook Orchestra will perform downtown. For more events, click on over to our events section. ▪ Film: 12th Annual Reel Artists Film Festival (TIFF)
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CBLDF -‐March 24 -‐"Documentary Captures Cartoonists’ Struggle Against Censorship" http://cbldf.org/2015/03/documentary-‐captures-‐cartoonists-‐struggle-‐against-‐censorship/
A small independent film team in France is making a big statement for freedom of expression with their 2014 documentary Cartoonists — Foot Soldiers of Democracy, which was recently released on DVD as a tribute to the victims of the Charlie Hebdo attack, played at Cannes, and is showing at the Reel Artists Film Festival in Canada later this month. __________________________________________________________
CINSSU -‐March 25 -‐REEL ARTISTS FILM FESTIVAL -‐ BELTRACCHI: THE ART OF FORGERY/PATRON SAINT http://cinssu.ca/blog/2015/3/25/reel-‐artists-‐film-‐festival-‐beltracchi-‐the-‐art-‐of-‐forgerypatron-‐saint
The 12th annual reel artists film festival begins tomorrow at the TIFF Bell Lightbox and runs from March 26th to March 28th. In Addition to Cartoonists: foot soldiers of democracy the festival will also be screening two other documentary films that deal with artists who are willing to go far and take risks. In the aforementioned film cartoonists risk much including their safety to criticize and satirize through political cartoons. The film will be screened March 27th at 6:00 PM and March 28th at 8:15 PM. Beltracchi: the art of forgery is a documentary about the famous art forger Wolfgang Beltracchi. Beltracchi is infamous in the international art world for the quality of his forgeries. Many of them have fooled art evaluation firms. The documentary explores the history and stories of Beltracchi and the impact he made on the art world. It was also the recipient of the best
documentary award at the German film awards.The film will be screened March 26th at 8:00 PM and subsequently March 27th at 9:10 PM. Patron Saint is about the art collection of Janusz Dukszta an 82 year old Canadian psychiatrist and former refugee from Poland. The man commissioned several portraits, around 100, of himself. The documentary explores his reasoning for doing so. The film will be screened March 28th at 5:30 PM. __________________________________________________________
Strictly Docs -‐January 22 -‐"THE FILM FEST THAT’S TAKING IT CHANCES” http://www.strictlydocs.com/raff/
Are you ready to take a few risks? The 12th Annual Reel Artists Film Festival (RAFF) has just announced its line up and this year’s theme is “risk-‐taking in the arts”. At a time when freedom of expression is in constant debate, it’s a theme that seems as topical as ever. Opening the festival with the award-‐winning doc Beltracchi: The Art of Forgery – in which director Arne Birkenstock follows Wolfgang Beltracchi – a now convicted man who “pulled off the biggest art-‐forgery scandal of the past 100 years”. Other films to be screened include Cartoonists: Foot Soldiers of Democracy (directed by Stéphanie Valloatto) which profiles artists who use their pencils as weapons; plus, the world premiere of Patron Saint – filmmaker Michael Kainer’s look at a major art patron that has commissioned nearly 100 portraits of himself over the past 6 decades. The festival begins March 26th in Toronto and is supported by the Canadian Art Foundation. Your ticket to the RAFF Opening Night Celebration includes a contribution to the Canadian Art Foundation, which will directly support CAF programs and initiatives that connect art enthusiasts with the arts throughout the year.
For more information, visit: www.canadianart.ca/raff _________________________________________________________
Hye’s Musings -‐March 24 -‐"Reel Artists Film Festival” http://www.hyemusings.ca/2015/03/on-‐screen-‐film-‐festival-‐season-‐begins.html
March 26 -‐ 28, 20015 -‐ TIFF Bell Lightbox Reel Artists Film Festival is the only film festival in North America to focus exclusively on documentaries about contemporary art. How great is this? During three days you can partake more than fim screenings, you can attend talks and events that will shine the spotlight on risk-‐ takers in art from around the world, including daring art forgers, outspoken political cartoonists, and an incomparable patron of the arts. On my radar are the films, Cartoonists: Foot Soldiers of Democracy and Beltracchi: The Art of Forgery. Both of these have two screening times. Be sure to check out the festival's website for more information.
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Bye Bye Couch -‐March -‐"Reel Artists Film Festival: Cartoonists: Foot Soldiers of Democracy" http://byebyecouch.com/event/reel-‐artists-‐film-‐festival-‐cartoonists-‐foot-‐soldiers-‐of-‐democracy/
Producer and director Stéphanie Valloatto will introduce Cartoonists: Foot Soldiers of Democracy, and then moderate a panel discussion on political cartooning in Canada with cartoonists Bruce MacKinnon and Brian Gable and editor Haroon Siddiqui.
Globe & Mail -‐April 10 -‐“Party photos of the week: Honouring contemporary art and the Reel Artists Film Festival” http://www.theglobeandmail.com/life/fashion-‐and-‐beauty/party-‐photos-‐of-‐the-‐week-‐and-‐real-‐artists-‐ film-‐festival/article23819338/
On March 26, the Reel Artists Film Festival, known as RAFF, kicked off its 12th-annual weekend-long festival in Toronto with an opening-night reception followed by the Canadian premiere of Beltracchi: The Art of Forgery. The documentary, which was directed by Arne Birkenstock, explores the mind and work of Wolfgang Beltracchi and his wife, Helene, who pulled off one of the biggest art forgeries of the past century. “We love characters like Beltracchi because they are benevolent,” Birkenstock said before the debut, adding that he wanted to present the couple “as they are … and let the audience decide.” Post-screening, Birkenstock engaged in a discussion with Artnet News critic-atlarge Blake Gopnik on the topics of artistic integrity and forgery before opening the floor to audience questions. Among those attending the reception and screening were Rundi Phelan and daughter Jennen; Canadian Art Foundation publisher and CEO Jill Birch; German consul general Walter Stechel; Jennifer Kerbel Poirier of the Corkin Gallery; RAFF 2015 Committee Chair Marc Glassman; Patron Saint director, writer and producer Michael Kainer with the film’s subject, the psychiatrist, art patron and general charmer Janusz Dukszta; Cartoonists: Foot Soldiers of Democracy director Stéphanie Valloatto; Canadian Art editor Richard Rhodes; art critic Sarah Milroy and filmmakers Jennifer Baichwal and Nick de Pencier, directors of the short film Micah Lexier: Finder Keeper, which premiered that night as well. (Photos by Emma McIntyre)
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Snapd – April/May Issue -‐ “Reel Artist Film Festival “ https://queen.snapd.com/event/824620#/ TIFF Lightbox was pleased to present the Reel Artists Film Festival, showcasing three exciting new films. The documentaries, which all explored contemporary art and artists, were shown over the course of three days at Lightbox Theater. The theme this year? Risk-‐taking. The documentaries that were shown were titled The Art of Forgery, Cartoonists: Foot Soldiers of Democracy and Patron Saint. All explored exciting themes and captured viewers with the art world. After the films, director-‐led discussion panels explored deeper ideas present within the documentaries and what the future of art looks like. Photos by Britney Townsend
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