Table of Contents Ticket Info
Staff + Board
Letters of Welcome
Live Images + On Screen
Map of Festival Venues
THANKS The festival acknowledges the ongoing support of our partners in the public sector: Youssef El Jai, Michèle Stanley, Kelly Langgard, Marie-Christine Feraud (Canada Council for the Arts, Media Arts Section); Karla Hartl & Jeffrey Matt (Department of Canadian Heritage); Carolyn Vesely, Mark Haslam & Lisa Wöhrle (Ontario Arts Council); Agnes Zak, Patricia Jarosz and Alejandra Sosa (Telefilm Canada); William Huffman & Beth Reynolds (Toronto Arts Council); Ernest Labrèque (Department of Foreign Affairs and International Trade); Cecilia Ramirez (National Film Board of Canada), Victoria Jackman (Hal Jackman Foundation); Mima Casola (Ontario Ministry of Culture); Ann Webb & Alia Toor (Canadian Art Foundation); Jutta Brendemühl (Goethe-Institut Toronto), Remco Volmer (Royal Netherlands Embassy), Joël Savary and Pervenche Bourier (Consulat Général de France à Toronto); the Australian Government through the Australian Council for the Arts, its arts funding and advisory board; The Ian Potter Cultural Trust; the Australian Network for Art & Technology (ANAT) with assistance from the Australia Council for the Arts and Arts SA. Special thanks to our corporate & award partners: Carmen Arbour & Diane Langevin (VIA Rail Canada), Sharon Bower (The Globe & Mail), Sue Holland & Peter Lennon (EYE WEEKLY), Chris Goddard (Steam Whistle Brewing), Brandon Sawh (Xtra! Magazine), Christina Zeidler, Chris Mitchell & Penny Rose (The Gladstone Hotel), Susan Shackleton (Super 8 Hotel Downtown Toronto), Sara Budnark (Technicolor), Rob Sandolowich (Westbury National Show Systems), Rhonda Silverstone (Toronto Film & Television Office), Jamaias DaCosta (CIUT 89.5 fm), Tony Barnes (CKLN), Kevin McLaughlin & Tom Devenishek (AutoShare), Justin Lovell (Frame Discreet), George Harris (GIFTS), Silvana Marsella (Kodak Canada), Sara Diamond (OCAD), Deirdre Logue (Vtape), Brenda Longfellow (York University), Marilou Cruz (Ryerson University’s G. Raymond Chang School of Continuing Education Film Studies), Clodagh Moss (Pelee Island Winery), Greg Davis (Soundscapes), Marc Glassman & Greg King (Pages Books & Magazines), Fadi Hakim (Lakeview), Stephen Chan (Bright Pearl Restaurant), Marcello Barone (bar_one), Lynn McNeill and Will Munro (The Beaver) A HUGE thanks to our indispensable local and national colleagues: Vicky Moufauwad-Paul & Rebecca McGowan (A Space), Philip Monk & Emelie Chhangur (AGYU), Todd Eacrett & Deborah de Boer (Antimatter Film Festival), James Missen (Available Light), Terry Lau (Beehive Design), Christof Migone (Blackwood Gallery), Kate Monro & Amish Morrell (C Magazine), Lauren Howes, Larissa Fan & Jeff Crawford (CFMDC), Greg Woodbury & Ross Turnbull (Charles Street Video), Mark Peranson (Cinemascope), Andréa Picard (Cinematheque Ontario), Trudy Mascher (Clarke-Way Travel), Jennifer Waring & Josh Grossman (Continuum Contemporary Music), Benjamin Diaz (Diaz Contemporary), Kari McQueen (EMMEDIA & M:ST * Mountain Standard Time Performative Arts Festival), Charlotte Mickie (Entertainment One), Margaret Wagner (Exclusive Film), Josefa Radman (Factory Hamilton), Shannon Cochrane (FADO Performance Art Centre), Denise Rossi (Film Comment), Heather Haynes & Izida Zorde (FUSE Magazine), Lise Beaudry & Melissa Bennett (Gallery 44), Anne Golden & Liliana Nunez (GIV), Kim Simon (Gallery TPW), Janet Cramp (General Printers), Patrick Macaulay, Marlee Choo & Laura Nanni (Harbourfront Centre/York Quay Gallery/World Stage), Sean Farnel, Gisèle Gordon, and Jonathan DeSilva (Hot Docs), Jennifer Dorner & François-Xavier Tremblay (IMAA), Danis Goulet, Kerry Swanson & Kerry Potts (imagineNative), Scott Ferguson, Jason St-Laurent & Winnie Luk (Inside Out), Dana Samuel, Jennifer Cherniack & Jess Brouse (InterAccess), Annette Hurtig (Kamloops Art Gallery), Ben Donoghue & Renata Mohamed (LIFT), Ric Amis (MacTweek), Jeremy Rigsby & Oona Mosna (Media City), Camilla Singh, David Liss & Gina Facchini (MoCCA), Jonny Dovercourt & Dewi Minden (the Music Gallery), Cecilia Ramirez, Lindsay Wright & Kristine Collins (NFB), Tom Taylor (Pleasure Dome), Scott McLeod & Jayne Wilkinson (Prefix ICA), Helena Reckitt, Christy Thompson & Jon Davies (The Power Plant), Nicholas Brown (Red Bull), Heather Keung, Deanna Wong, Christina Sit Yee & Chris Chin (Reel Asian), Lorne Bly (Russell A. Farrow Customs Brokers), Tricia Martin (Saskatchewan Film Pool Cooperative), Haema Sivanesan (SAVAC), Penny McCann (SAW Video), Madi Piller (TAIS), Roy Mitchell, Jason Ebanks & Aubrey Reeves (Trinity Square Video), Sara Maclean (twig design), Sylvie Roy & Denis Vaillancourt (Vidéographe), Kim Tomczak, Lisa Steele, Wanda Vanderstoop, Erik Martinson, Deirdre Logue (Vtape), Gabriel Schroedter (Video Out), Irene Packer (WARC), Kevin Parnell (Wavelength Music Arts Project), Anita Aenishaenslin, Lisa Brown, David Sweeney & Mike Twamley (Workman Arts), Lynne Wynick (Wynick/Tuck Gallery), Serena Lee (XPACE), Ana Barajas (YYZ), and the following individuals: Lise Brin, Brett Burnell, Terence Dick, Elle Flanders, David Frankovitch, Kim Fullerton, Dara Gellman, Lesley Grant, Martin Heath, June Kim, Lev Levner, Isabelle Noël, Leslie Peters, Carol-Ann Ryan, Andres Salazar-Villafane, Peter Sandmark, Alok Sharma, Tess Takahashi, Jowi Taylor, Margie Zeidler, Michael Zryd and all of our faithful and hard working festival volunteers and interns. And thanks to the following international organizations and individuals: Andrew Lampert & Wendy Dorsett (Anthology Film Archives, New York), Geoff Andrews, Elisabetta Fabrizi, Will Fowler and Julie Pearce (British Film Institute), Chi-Hui Yang (Center for Asian American Media), Shai Heredia (Experimenta India), Jean-Pierre Rehm (Festival international du documentaire de marseille), Claartje Opdam & Pim Zwier (Filmbank, NL), Rebecca Meyers (Harvard Film Archive), Takashi Sawa (Image Forum, Tokyo), Arjon Dunnewind and Marc Boonstra (Impakt), Mark Webber (London Film Festival), Gerhard Wissner & Kati Michalk (Kasseler Dokumentarfilm und Videofest), Stefanie Schulte Strathaus & Nanna Heidenreich (Arsenal Experimental, Berlin), Christophe Bichon & Emmanuel Lefrant (Lightcone), Ed Halter and Thomas Beard (Light Industry), Mike Sperlinger (LUX), Kevin McGarry and Nellie Killian (Migrating Forms), Theus Zwaknals, (Montevideo, NL), Sally Berger (Museum of Modern Art), Gavin Smith (New York Film Festival), Karen Mirza and Brad Butler (no.w.here), Patrick Friel (Onion City/White Light Cinema), Kathy Geritz, Susan Oxtoby, and Steve Seid (Pacific Film Archive), Kristan Kennedy and Erin Boberg (Portland Institute of Contemporary Art/TBA Festival), Steve Polta (San Francisco Cinematheque), Ralph McKay (Sixpack Film Americas and Filmbank), Christopher May (TIE, The International Experimental Cinema Exposition), Dewayne Slightweight and Brigid Reagan (Video Data Bank, Chicago), Chris Stults (Wexner Center for the Arts), Ian White (Whitechapel Gallery). And the following individuals: Steve Anker, Rebecca Baron, Paul Chan, Brett Kashmere, Irina Leimbacher, Sharon Lockhart, Scott MacDonald, Mark McElhatten, Aki Onda, Ben Russell, Astria Suparak and Lonnie van Brummelen Special thanks to the Founding Board of Directors of the Northern Visions Independent Film and Video Association: Richard Fung, Marc Glassman, Annette Mangaard, Janine Marchessault, Paulette Phillips, Kim Tomczak and Ross Turnbull.
MANY THANKS TO OUR FUNDERS AND SPONSORS
GETTING YOUR TICKETS Buy tickets online at imagesfestival.com from March 11. No service charges — use a credit card or PayPal account! Single tickets for the following select events are available in person from Soundscapes (572 College Street) and Pages Books and Magazines (256 Queen Street West) starting March 13: Opening and Closing Night Galas and Live Images 3, 5 and 6. Please note that advance tickets are not available for Free or Pay What You Can (PWYC) events.
Regular Ticketed Screenings and Performances $10 general admission $8 students/seniors/members* Live Images programming (Prices vary. Please see individual programs for exact ticket costs) $6 - 15 general admission $4 - 12 students/seniors/members* Opening Night Gala and Closing Night Gala $15 general admission $12 students/seniors/members*
Same Day Tickets
Lav Diaz Screening $13 general admission $8 Images/Cinematheque Ontario members
Pay What You Can Events $5 - 8 suggested donation
Same day tickets will be available at the appropriate venue starting one hour before the event. Cash only. Festival Passes are available only as part of the “16mm” and “35mm” Images Memberships (see p. 5 for details). Please note that advance tickets are not available on these Festival Passes—tickets will be held for passholders until 15 minutes before the start of event. The Festival Pass does not guarantee a seat at PWYC events (which are first come, first served).
Youth Workshops and Screenings, Artist Talks and select ‘Talk to the Pie’ series (See p.24 for more details) FREE To reserve spaces for your class or group, contact firstname.lastname@example.org. *Appropriate ID required. All ticket prices include GST.
STATEMENT ON AGE RESTRICTION Admittance to all screenings (except Youth Screenings) is restricted to those 18 years of age or older. The Images Festival believes in freedom of artistic expression and is against discrimination on the basis of age. However, under the Ontario Theatres Act, film and video festivals are required to adopt a blanket adult rating in order to hold public screenings without having to submit all works for prior classification. Film and video are the only forms of expression subject to this kind of censorship system in Ontario. The Images Festival complies with the Ontario Theatres Act under protest.
MEMBERSHIP The 2009 Images Festival Membership Program is generously supported by the following generous donors:
MEMBERSHIP PROCLAMATION! Sign up today and begin enjoying the benefits of membership immediately! See more and save more as an Images Festival Member while helping support Canada’s largest integrated media arts festival. For 22 years, the Images Festival has been bringing challenging and innovative film, video, installation and live performance to Canadian and international audiences. Make sure you’re first to hear about our programs and first to attend by becoming a member today! For more information on membership call 416 971 8405, email email@example.com or visit the Advance Box Office during the festival. Memberships may also be purchased via our online store at imagesfestival.com without service charges! You can pay with Visa, Mastercard, American Express or with a PayPal account.
YOUR SEATS ARE WAITING...
35mm Membership – $300 Ideal for members who want to share the festival with a friend All the benefits of 16mm, PLUS • Additional Solo Festival Passport for a DUAL FESTIVAL PASSPORT: Includes redeemable vouchers for two free admissions to all ticketed On Screen programs and Live Images programs; • additional voucher for total of 2 free admissions to select year-round Images Festival events; • copy of additional Images publication for total of 3, such as copy of The Sharpest Point: Animation at the End of Cinema; • Complimentary limited edition festival t-shirt; • 2 additional chances to win in the Festival Draw, for total of 6;
16mm Membership – $100 ($75 for students and seniors) For those who can’t bear to miss a thing All the benefits of Super 8, PLUS • SOLO FESTIVAL PASSPORT: Includes redeemable vouchers for 1 person for free admission to all (5) ticketed On Screen programs and all (6) Live Images programs; • 1 voucher for free admission to select year-round Images Festival event; • Copy of additional Images publication, such as Richard Fung monograph Like Mangoes in July for total of 2; • 2 additional chances to win great prizes in the Festival Draw (for total of 4);
Super-8 Membership – $45 Perfect for members who just want to catch a few shows • Member discount on all On Screen and Live Images events ($2 off); • Member discount on select year-round Images Festival events; • Redeemable vouchers for one ticketed On Screen program and one Live Images Event • Copy of Images Festival publication, either Richard Fung monograph Like Mangoes in July OR Philip Hoffman monograph Landscape With Shipwreck • Festival catalogue mailed directly to your home; • 20% off all YYZ Book titles (purchased in person from YYZ Artists’ Outlet); • Complimentary festival tote-bag; • 2 chances to win great prizes in Festival Draw. *Some restrictions apply. Please see Ticketing Information on page 4 for further details. Vouchers redeemable beginning March 13 at the Images Festival office until April 1 and beginning April 3 at the Advance Box Office. Vouchers not redeemable via the Images Online Store. While your admission with voucher is FREE, it doesn’t guarantee you a seat. Please arrive at the venue 30 minutes before program begins to ensure entrance. Entry deadline for festival draw is April 11, 2009. Contest open to residents of Canada, excluding Québec. Images Festival staff and board members are ineligible. Odds of winning will depend on number of entrants. Tax receipts will be issued for a portion of all memberships. Please ask for details. Our charitable registration number is #12741 8762 RR0001. The Images Festival Membership Program is non-voting.
ON SCREEN OFF SCREEN
LIVE TALK/EDUCATION PARTY
START Sunday March 29
Friday April 3
Saturday April 4
Sunday April 5
Monday April 6
1 PM Special Bonus Screening! Melancholia by Lav Diaz (p. 32) North American premiere of Diaz’s stunning new eight hour feature! Jackman Hall, Art Gallery of Ontario $13/$8
5 PM Talk to the Pie 1: Notes on Composing (p. 24) Join the filmmakers and the composers from our opening night program for a talk about their process. Harbourfront Centre FREE
2 PM Live Images 2 Make Me Stop Smoking (p. 34) Rabih Mroué Harbourfront Centre $15/$12
2 PM Crossing Over (Under Your Skin) (p. 38) Curated by Arjon Dunnewind. A selection of videos from the Netherlands and beyond that look at issues of immigration and movement in the EU. Joseph Workman Theatre $10/$8
3 PM Talk to the Pie 4: Louise Bourque (p. 24) Join Canadian Spotlight Artist Louise Bourque for a conversation with Chris Gehman. Gladstone Hotel Art Bar FREE
Thursday April 2 8 PM Opening Night Gala!! Live Images 1 Notes on Composing: 5 Collaborations in Film and Music (p. 33) Newly commissioned films and scores with live music by Continuum and Malcolm Goldstein. Isabel Bader Theatre $15/$12
10 PM – 2 AM Opening Night Party DJ Isabelle Noël and some well deserved dancing. The Gladstone Hotel PWYC or free with ticket stub or Festival pass
8 PM Live Images 2 Make Me Stop Smoking (p. 34) Rabih Mroué North American premiere of new solo performance by this Beirutbased actor and artist. Harbourfront Centre $15/$12 9:30 PM Live Images 3 In the Room 3 (p. 36) Sung Hwan Kim, dogr and Byungjun Kwon A performance incorporating electronic music, drawing, and both live and pre-recorded video, making up simple actions that take on magical qualities. Gallery TPW $10/$8
10 PM Partytime! You bring the party. We bring the cheap refreshments. InterAccess Electronic Media Arts Centre FREE
2 – 5 PM Off Screen Launch Participating galleries in the 401 building, as well as Diaz Contemporary are officially open! FREE 2 PM and 3 PM Off Screen Gallery Tour (p. 25) Join Terence Dick and CarolAnn Ryan for a guided walk through all of the exhibitions in the 401 building. Meet at the Images Festival office, 401 Richmond Street West, Suite 448 FREE 4 PM Talk to the Pie 2: And Then There Were None (p. 24) Artists Larissa Fassler and Richard Schütz in conversation with curator Stephanie Rogerson. InterAccess Electronic Media Arts Centre FREE 6 PM Live Images 4 Talking Points and Talking Ponies (p. 37) Ben Coonley A Power Point film theory lecture followed by video treats. Harbourfront Centre $6/$4 8 PM Live Images 2 Make Me Stop Smoking (p. 34) Rabih Mroué Harbourfront Centre $15/$12 9:30 PM Live Images 3 In the Room 3 (p. 36) Sung Hwan Kim, dogr and Byungjun Kwon Gallery TPW $10/$8
10:30 PM Off Screen Launch Party Come party with a set of super special karaoke videos set to everyone’s favourite rarified video art object! XPACE FREE
4 PM Talk to the Pie 3: In the Room (p. 24) Artists Sung Hwan Kim and dogr in conversation with Helena Reckitt. Gladstone Hotel Bar FREE 6 PM On Screen Program 1 A Human Drawing Blood From a Bound Prisoner, an Anthropomorphic Cat Doing the Same (p. 40) New films by Jim Trainor, Karø Goldt, Mary Billyou, Mika Kiburz, Neïl Beloufa and Julika Rudelius Joseph Workman Theatre PWYC $ 8:30 PM Canadian Artist Spotlight: Louise Bourque (p. 41 – 43) A survey of recent and not so recent work by Bourque including the premiere of her new film! Joseph Workman Theatre $10/$8 10 PM — 1AM Images Festival Lounge at InterAccess (p. 8) The Images Festival Lounge is open at InterAccess! Meet your fellow festival-goers for a drink! FREE
7 PM On Screen Program 2 And to Perfection All Our Efforts We Devote (p. 45) A new video by Akram Zaatari and Deborah Stratman’s monumental new 16mm film O’er the Land. Joseph Workman Theatre PWYC $ 9 PM On Screen Program 3 Siting Cinema (p. 46) Films by Oliver Husain, Emily Wardill, Andrew J. Paterson, Christine Lucy Latimer, Jorge Lorenzo, Steve Reinke and Isabell Spengler. Joseph Workman Theatre PWYC $ 10 PM — 1AM Images Festival Lounge at InterAccess (p. 8) FREE
Tuesday April 7
Wednesday April 8
Thursday April 9
Friday April 10
Saturday April 11
7 PM On Screen Program 4 The Limits of What We Know (p. 47) Toronto premiere of Amy Bodman’s lyrical feature documentary about land and people in Zimbabwe. Joseph Workman Theatre PWYC$
6 – 9 PM Performance Bus Tour (p. 25) Free bus to The Communism of Forms exhibition at the AGYU. Departing at 6 PM from OCAD and returning at 9 PM. Special performance guest on the bus! FREE
6 – 9 PM Blackwood Bus Tour (p. 25) Free bus tour to awashawave at Blackwood Gallery, University of Toronto Mississauga. Departing at 6 PM from the Gladstone Hotel and returning at 9 PM. FREE
7 PM Talk to the Pie 5: Saving George Kuchar’s Generous Cinematic Corpus (p. 50) Jeff Lambert, Haden Guest and Andrew Lampert discuss and screen recently restored films by George Kuchar. Joseph Workman Theatre $10/$8
7 PM On Screen Program 6 43 After 66 (p. 52) Althea Thauberger’s double screen 16mm film Chelsea Girls and Ian White’s performance Ibiza: A Reading For “The Flicker” Theatre Centre PWYC $
2 PM Talk to the Pie 6: 43 After 66 (p. 24) Althea Thauberger and Ian White will discuss the archival and intergenerational dialogues initiated by each of their projects at the festival. Gladstone Hotel Art Bar FREE
1:30 PM Curse! (p. 62) A commission and residency in partnership with Charles Street Video featuring new works by Guillermina Buzio, Steev Morgan, Lesley Loksi Chan, Sarah Shamash and Penny McCann. Joseph Workman Theatre PWYC
7 PM Live Images 5 Art Since 1960 (According to the Internet) (p. 56) Hanne Mugaas & Cory Arcangel An informal multimedia lecture that examines the alternate discourse on contemporary art that is unfolding on the world wide web. Theatre Centre $10/$8
3 PM On Screen Program 8 Hotel Diaries (p. 63) British filmmaker John Smith’s recently completed feature length series of short video works shot in various hotel rooms around the globe. Joseph Workman Theatre PWYC $
9 PM On Screen Program 5 Various Small Fires and Ice (p. 49) Films by Francisca Duran, Stephanie Barber, Duncan Campbell, Peter Miller and Alexander Stewart. Joseph Workman Theatre PWYC $ 10:00 PM — 1 AM Images Festival Lounge at InterAccess (p. 8) FREE
9 PM S is for Student (p. 51) A program of excellent new film and video entirely curated and made by students from Canada and beyond! Joseph Workman Theatre
10:30 PM Student Party Come celebrate the next generation! The Beaver FREE
9 PM On Screen Program 7 I Want to Wrestle with Your Mind in the Long Grass (p. 53) New works by Erica Eyres, Penny Lane, Zak Tatham, James Fritzgerald Craig, Ariel Smith, Loren Hartman, Gary Kibbins and Judith van der Made. Theatre Centre PWYC $ 11 PM Super 8 Late (p. 55) Curated by Chris Kennedy and featuring work by François Boué, Steve Polta, Jason Halprin, Karen Johannesen, Takehiro Nakamura and Philippe Cote. Theatre Centre PWYC $
9 PM Saturn Returns (p. 60) A screening and launch for the journal INCITE! curated by Brett Kashmere. Includes work by Tasman Richardson, Cory Arcangel, Ben Russell, Seth Price and Leslie Supnet. MoCCA Project Space PWYC $ 11 PM Live Images 6 Feedback Loop (p. 61) Bryant / Migone / Parant / Lemieux and Ben Russell A double-bill of cinema beyond the screen featuring 16mm projection performances by Ben Russell and Karl Lemieux. Theatre Centre $10/$8
6 PM On Screen Program 9 The Landscape as a Collective Memory Device (p. 64) Films by Heidi Phillips, Adele Horne, Naomi Uman, Michelle Smith, Elvira Finnigan and more. 9 PM Closing Night Gala Live Images 7 Cloud Eye Control & Ammo Factory (p. 65) Combining pop music, live performance and video projections, Cloud Eye Control and Ammo Factory present a new take on multimedia performance at this closing night extravaganza. Theatre Centre $15/$12 10:30 PM Awards Ceremony and Closing Party Theatre Centre FREE
Images Festival Mediatheque April 3 – 12, open daily 12 – 6 PM The Gladstone Hotel 1214 Queen Street West, Room 204 Free admission
IMAGES ON SCREEN
The Mediatheque contains viewing stations and a video library of works in the festival, available to all festival-goers free of charge. Starting April 3, the Mediatheque is open every day 12 – 6 PM. Drop by to watch your favourite film or video or catch up on screenings you missed.
O’er the Land by Deborah Stratman
Self Portrait Post Mortem by Louise Bourque
Ten nights including almost one hundred films and videos! The meat and potatoes of the Images Festival featuring NINE ON SCREEN PROGRAMS at the Joseph Workman Theatre and the Theatre Centre. All Pay What You Can (PWYC), featuring a dizzying array of new films and videos from fifteen countries from around the globe. In addition we present EIGHT SPECIAL SCREENINGS including a CANADIAN ARTIST SPOTLIGHT on Louise Bourque, guest-curated programs by Arjon Dunnewind and Brett Kashmere, Super 8 Late curated by Chris Kennedy, and a special screening and talk on the restored films of George Kuchar. Images On Screen pg. 31 — 65
IMAGES OFF SCREEN
LIGHT READING: california sunset by Elizabeth McAlpine
Cinematic (The Log Enchanter) by Pedro Paiva & Joao Maria Gusmao
SIXTY-ONE INSTALLATIONS by Canadian and international artists at eighteen local galleries, artist-run centres and public locations. The fastest growing section of the festival, OFF SCREEN stretches from Queen Street West to Harbourfront to North York. Opening receptions, bus tours, walking tours, performances and artist talks scheduled throughout the festival at the 401 Richmond Building, InterAccess, Gallery TPW, Diaz Contemporary, AGYU and Harbourfront Centre among others. Images Off Screen pg. 69 — 89
Images Lounge at InterAccess
Sunday April 5 – Tuesday April 7, 10 PM – 1 AM 9 Ossington Avenue
Head to the InterAccess Lounge following our evening events and meet your fellow festivalgoers for a drink!
Memory Data Register by Bryant/Migone/Parant/Lemieux
LIVE IMAGES continues its ascent as the most popular section of the Images Festival, with programs opening AND closing the festival this year! Armed with multiple projectors, laptops, found footage and huge musical ensembles, these filmmakers, musicians and visual artists perform behind projectors, on instruments and in front of the screen to present seven live spectacles pushing the boundaries of sound and vision. Live Images pg. 31 – 65 Final Space by Cloud Eye Control
Party Guide Opening Party Thursday April 2, 10 PM – 2 AM The Gladstone Hotel 1214 Queen Street West PWYC or free with ticket stub or Festival pass InterAccess Friday April 3, 10 PM – 1 AM 9 Ossington Avenue Off Screen Launch at participating galleries Saturday April 4, 2 – 5 PM A Space Diaz Contemporary Gallery 44 Prefix Institute of Contemporary Art Trinity Square Video Vtape WARC Wynick/Tuck YYZ
Videodrome Saturday April 4, 8 PM MoCCA 952 Queen Street West Video battle event with Jubal Brown Off Screen Launch Party Saturday April 4, 10:30 PM XPACE 58 Ossington Avenue Images Lounge Sunday April 5 — Tuesday April 7 See above Student Party and Awards Wednesday April 8, 10:30 PM The Beaver 1192 Queen Street West Awards Ceremony Saturday April 11, 10:30 PM Theatre Centre 1087 Queen St. West Closing Party Saturday April 11, 10:30 PM Theatre Centre 1087 Queen St. West
Performance Creation Canada: What Has Changed? April 2 – 5, 2009 Various venues and times Performance Creation Canada (PCC) is a nationwide network dedicated to the nourishment, management and study of performance creation in Canada, and the ecology in which it flourishes. The meeting is aimed at creating a discussion between artists in dance, theatre, music, film and visual arts who are interested in the well being of Canadian performance creation. The conference is designed to open conversation and open minds. This year, the Images Festival is pleased to join forces with Harbourfront Centre, Small Wooden Shoe, Buddies In Bad Times Theatre, The Theatre Centre, Dancemakers and SummerWorks Festival to host this biannual gathering of artists and programmers from across Canada. For more information and to register visit: pcctoronto.wordpress.com or email: firstname.lastname@example.org
STAFF PHOTO (LEFT TO RIGHT) Meg Hale, Scott Miller Berry, Pablo de Ocampo, Liz MacInnis, Rebecca Gimmi, Milada Kovacova, Jacob Korczynski and Amy Rouillard PHOTO BY Henry Chan
BOARD OF DIRECTORS Tori Allen (Co-Chair), Jody Shapiro (Co-Chair), Desmond Lee (Secretary), Rose Bellosillo (Treasurer), Giselle Basanta, Sara Chan, Emelie Chhangur, Chris Gehman, Janet Geisberger, Kathleen Mullen and Andrea Slane ADVISORY BOARD Sara Diamond (Toronto), Atom Egoyan (Toronto), Marc Glassman (Toronto), Shai Heredia (Bangalore), Mike Hoolboom (Toronto), Andrew Lampert (New York), Janine Marchessault (Toronto), Charlotte Mickie (Toronto), Serge Noël (Montréal), Andréa Picard (Toronto), Michael Snow (Toronto), Stefanie Schulte Strathaus (Berlin), Karen Tisch (Toronto) and Mark Webber (London, UK)
PROGRAMS Competition Jury: Arjon Dunnewind, Kari McQueen and Dean Otto Guest Curators: Nick Brown, Arjon Dunnewind, Brett Kashmere, Chris Kennedy, Stephanie Rogerson (InterAccess), Earl Miller, Fernando Oliva and Marcelo Rezende (AGYU), Christof Migone (Blackwood Gallery), Michèle Thériault (Prefix ICA) Canadian Screening Committee: Jean-Paul Kelly, Jennifer Matotek and Kathryn McKay S is for Student Jury Members: Liya HyunJoo Choi, Owen Sheppard, Matthew Williamson
STAFF Executive Director: Scott Miller Berry Artistic Director: Pablo de Ocampo Operations Manager: Rebecca Gimmi Programmer: Jacob Korczynski Print Production Coordinator: Liz MacInnis
DESIGN Festival Creative and Design: Terry Lau, beehivedesign.com Illustrator: Jean-Paul Kelly Trailer: Jonathan Culp Web Programmer: Sara Maclean, twig design, twigdesign.ca City Set Photography: Laura Velasquez
Advertising Sales: Milada Kovacova Venue and Volunteer Manager: Amy Rouillard Publicity: Planet3 Communications (Joanne Smale, Marli Bennett, Jessica Charbonneau) Programming Assistant: Meg Hale Technical Coordinators: Antonella Bonfanti, James King Sound Technician: Ben Mayer Guest Coordinator: Marco Cheuk Year-Round Interns: David Frankovitch, June Kim, Andres Salazar-Villafane, Brett Burnell Year-Round Volunteer: Lev Levner Auditor: David Burkes, C.A. Printer: General Printers
THE IMAGES FESTIVAL 448-401 Richmond Street West Toronto, Ontario M5V 3A8 Canada T: 416 971 8405 F: 416 971 7412 E: email@example.com W: imagesfestival.com The Images Festival is produced by the Northern Visions Independent Film and Video Association, a registered charitable organization since 10 June 1988. Charitable # 12741 8762 RR0001
2009 Images Festival materials are printed on FSC and Rainforest Alliance Certified paper.
AWARDS Images Prize: Presented and sponsored by the Images Festival, this is our grand prize, awarded in recognition of the Best Canadian Media Artwork in the festival. The recipient receives a $500 cash prize. National Film Board of Canada Award: This prize is sponsored by the NFB to the Best Emerging or Mid-career Canadian film/ video maker in the festival. The winner receives $5,000 in services through the NFB Filmmaker Assistance Program. Technicolor Cinematic Vision Award: This prize is sponsored by Technicolor and honours excellence and innovation in the visual realization of work by a Canadian film or video artist. The recipient receives $2,500 of 35mm lab or post-production services in the Toronto office donated by Technicolor.
Tom Berner Award: This award, sponsored by LIFT (The Liaison of Independent Filmmakers of Toronto), commemorates the late Tom Berner, who for many years supported and nurtured Canadian filmmakers. The award is presented annually to an individual who has provided extraordinary support to the cause of independent filmmaking in Toronto. In 2009 the Tom Berner Award is presented to Mike Hoolboom. “In addition to his exceptional work as an artist, Mike Hoolboom has made irreplaceable contributions to independent movie making through his critical writing. In his magazine writing and books, Mike has created a sustained analysis of independent movie activity ignored by mainstream arts coverage. For his contributions as a writer, Mike Hoolboom is a very worthy recipient of the 2009 Tom Berner Award.” – Mark Wihak The 2009 Images Festival Awards Ceremony is free of charge and will take place at our closing night party at 10:30 PM on Saturday April 11, 2009 at The Theatre Centre.
International On Screen (film) Award: Presented and sponsored by the Images Festival, this award honours the strongest new international film in the festival. The recipient receives a $300 cash prize. International On Screen (video) Award: Presented and sponsored by the Images Festival, this award honours the strongest new international video in the festival. The recipient receives a $300 cash prize. OCAD Off Screen Award: Sponsored by the Ontario College of Art and Design (OCAD), this award honours the strongest new Canadian or international installation or new media work in the festival. The recipient receives a $300 cash prize. Steam Whistle Homebrew Award: Sponsored by Steam Whistle Brewing, this award honours excellence and promise in a local artist. The recipient receives a $500 cash prize and a Steam Whistle Prize Package. Overkill Award: This award was established by the Images Festival in 2000 to honour former Executive Director Deirdre Logue (1996 through 1999 festivals), and is presented annually to a film, video or installation artist whose work approaches extremes of incorrigibility through form and/or content and challenges our notions of edgy, experimental practice. Sponsored by an anonymous donor, the recipient receives a $300 cash prize. Marian McMahon Award: Presented and sponsored by the Images Festival with generous support from Kodak Canada, this award is given to a woman filmmaker each year to honour strong work in autobiography, the complexity of “subject” and the spirit of late filmmaker and sociologist Marian McMahon. The recipient is invited to attend the Independent Imaging filmmaking retreat, held each June in Mount Forest, Ontario, and facilitated by Philip Hoffman. York University Award for Best Student Film: Presented and sponsored by York University’s Department of Film and Video, the recipient receives a $300 cash award generously donated by the Department of Film and Video, a Gulf Islands Film and Television School scholarship covering tuition for any one-week Media Intensive Program of their choice and $250 worth of Super 8 to video transfer services courtesy of Frame Discreet. The recipient is determined by audience vote. Vtape Award for Best Student Video: This longstanding award is presented by Vtape, Toronto’s video art distributor, and includes a $300 cash prize and $250 worth of Super 8 to video transfer services courtesy of Frame Discreet. The recipient is determined by audience vote. Ryerson University Award for Best Emerging Canadian Film/Videomaker from the Greater Toronto Area (GTA): Now in its second year, this award provides the recipient with a continuing education course (valued at $500) in the Chang School’s Film Studies program at Ryerson University.
Jury Arjon Dunnewind (born in Ommen, The Netherlands, 1967) studied at the Utrecht School of Arts. In 1988 he was co-founder of the first Impakt Festival. Since then, Impakt has grown to a full-size organization that organizes multiple events related to video art, with Dunnewind as the festival director and artistic director. Impakt aims to offer a platform for innovative and interdisciplinary audio-visual arts, both nationally and internationally. Apart from the Impakt Festival Arjon Dunnewind produced tv series about video art and experimental film and he worked as an adviser for the Dutch Film Fund, department Research & Development. He puts together programs for international museums, galleries and festivals, regularly gives guest lectures at universities and art academies and is an experienced member of juries at festivals and concourses. Kari McQueen graduated from ACAD in 1992, and completed her BFA in 1998. She has been active in the cultural sector as a visual and media artist, arts educator and programmer in the Southern Alberta region for over 16 years. She is currently Program & Outreach Coordinator at EMMEDIA Gallery & Production Society, and co-founder of the Calgary Underground Film Festival (CUFF) and Mountain Standard Time Performative Art Festival Society (M:ST). She also co-chaired the steering committee for Performance Creation Canada (PCC), Calgary (October 2008). Screenings include: the Calgary International Film Festival, Alberta Scene Albertaine (Ottawa), Prairie Tales Touring Program (Metro Cinema), WNDX (Winnipeg), The Glenbow (Calgary) and Red Deer & District Museums, Festival International du Film sur l’Art and Canada Council for the Arts’ Definitely Independent curated DVD Program. She recently completed Springboard’s interdisciplinary, dance based residency, Interrarium, at the Banff Centre and is currently working on a collaborative six part video and sound based project titled Tekhne. Dean Otto (Walker Art Center Film/Video Associate Curator) has been active in film and video programming for 22 years. Over the past 14 years at Walker he has programmed the 19-part Rainer Werner Fassbinder film series, managed the international tour of the series Magnetic North at 17 sites, and coordinated the residencies of Arthur Dong, Cheryl Dunye, Christian Marclay and Craig Baldwin. For the past three years he has co-curated the Expanding the Frame series at Walker and the last edition included new work by Bruce McClure and a visit by experimental filmmaker Pat O’Neill. He curates the Walker’s annual Queer Takes program after serving as the programmer for the Minneapolis/St. Paul LGBT Film Festival for several years for Minnesota Film Arts. He also served as president of the board of Midwest Media Artists’ Access Center in St. Paul during his two-year term. Otto is co-curator of the MNTV series on Twin Cities Public Television and co-directed the short Minnesota Mean with Marjie Thieman that premiered at the Flaming Film Festival in May 2001.
Welcome to the 2009 Images Festival! We are so excited to share a slice of well-researched and programmed contemporary media art with you! We invite you to discover vanguard developments from Canadian and international media artists at 24 venues throughout the Greater Toronto Area during the month of April. Media art is exploding in every direction. The infiltration of moving image culture into daily life via PDAs, public screens, galleries, not to mention inclusion in theatre and dance productions is enthralling. How are contemporary media artists working today? What are the conditions that nurture and sustain healthy media art ecology? How does technology continue to affect production and what are the burning issues affecting media artists today? These are some of the questions that we hope this festival continues to address through our programming, commitment to dialogue and audience engagement via artist talks and educational programming. The Images Festival is thrilled to be hosting the 2010 International Experimental Media Congress during next year’s festivities. We invite you to get involved by completing the brief survey at experimentalcongress.org and look forward to hosting you at this exciting 4-day intensive symposium where media artists, theorists, activists and programmers will engage in critical discussions with each other and the public. The theme “Print Generation” at this year’s Festival celebrates the abilities of young artists to celebrate and respond to the histories of avant-garde tradition and to encourage us to reflect on these histories. By doing so, they bring us closer to a clearer vision of what it means to be creating experimental media art in the 21st century. From Ben Coonley’s infiltration of YouTube [catch his videos on our website!] to Ming Wong’s re-enactment of The Bitter Tears of Petra von Kant, these landmark approaches to media art defy categories and embrace a fluidity that highlights the central role of media artists in defining our past, present and future. I hope you will take advantage of our Pay What You Can pricing on our On Screen programs and note that the festival continues to prioritize presenting media art to new audiences — please take in our artist talks, gallery installations, live programming. Don’t forget to visit our Mediathèque, free and open to the public during the festival at the Gladstone Hotel, where you can watch works featured in the festival. Kindly contemplate becoming an Images member — each and every membership greatly contributes to our operations.
I’m often asked, “What’s the theme of the festival this year?” and my usual cheeky answer is “Showing good work.” And it’s true, sort of. In the year leading up to each festival, we survey a wide field of mediabased art and stitch together programs that we hope will push the boundaries, challenge our preconceived notions and showcase the best of the bunch. That’s the plan anyway. But to say there is no theme is a bit misleading; common ideas always appear as we go through piles of tapes and these unspoken and unintentional nuances become a throughline, pulling all of the various components at the festival together. This year, we’ve decided to foreground those undercurrents by “naming” the 22nd edition of the Images Festival “Print Generation.” This was inspired (in a round-about way) by the 1973 film of the same name by American structural filmmaker J.J. Murphy. In the film, Murphy took a one minute segment of 16mm footage and then printed and reprinted the shot 50 times until the image completely deteriorated. Ben Coonley, more recently, created an online video, J.J. & Murphy’s .flv Generation, using a 12 second clip pilfered from YouTube of a dog named J.J. chasing a dog named Murphy around in circles, re-encoding it 1000 times over. The results of this process are on view at www.imagesfestival.com starting April 2. By naming the festival in this way, we acknowledge the way in which the history of art and cinema has itself become a subject or framework for making new work. Contemporary artists are reengaging the canons of modernism and the avant-garde: from Althea Thauberger’s Chelsea Girls, subtly making a nod to Warhol’s film of the same name in its documentation of a 1970s social housing building in Victoria, to Rosa Barba’s installation Western Round Table 2027, which re-examines a Modernist meeting of the minds in the California desert. For every remake of a classic experimental film you might find in this year’s festival, you are sure to find several more that engage with an entirely different set of histories and ideas: from Wafaa Bilal’s cannibalization of über-nationlistic videogames in his installation at MoCCA, to Amy Bodman’s The Limits of What We Know, a documentary 15 years in the making about land and people’s relationship to it in Ethiopia. It is of course impossible to give a shoutout to everything you will encounter over the next 10 days in these 473 words, but therein lies some of the fun. Experiencing a festival like Images is in large part a process of discovery, of venturing into the great unknowns that these 194 artists have charted in their work. I’m looking forward to figuring out where this festival takes me this year and hope to see you at some stops along the way.
In case you are wondering why our audiences are restricted to those 18 years and older: we are forced by the Film Classification Act of the Ontario Film Review Board to adopt a blanket 18+ audience restriction as a result of our refusal to submit films and videos for ratings in advance. Images endeavours to expand our audiences and share artist film and video with audiences of all ages, but under this draconian Act we are forced to limit our audiences to 18+. Many thanks to our government funders, corporate sponsors, community partners, members and audiences. Last but not least: congratulations to all of the artists — thanks to all who have submitted their projects to us — you keep us inspired!
Pablo de Ocampo Artistic Director firstname.lastname@example.org
We welcome your feedback, ideas and suggestions always. Bon festival!
Scott Miller Berry Executive Director email@example.com
The Canada Council for the Arts is proud to once again support The Images Festival – Canada’s largest annual event to celebrate independent and experimental film, video, installation, performance and new media. Media arts encourage dialogue around issues of race, culture, gender and sexuality. Their multiplicity challenges our definitions of art and the boundaries that separate artistic disciplines. Yet these same qualities mean that works by independent media artists are not likely to be “coming to a theatre near you.” As a result, The Images Festival plays an important role in providing access to the rich diversity of work being produced in Canada and internationally. Congratulations to everyone involved with the 22nd edition of The Images Festival – and enjoy.
Le Conseil des Arts du Canada est fier d’appuyer encore une fois l’Images Festival – le plus grand événement annuel célébrant le cinéma indépendant et expérimental, la vidéo, l’installation, la performance et les nouveaux médias au Canada. Le propre des arts médiatiques est d’encourager le dialogue sur des questions de race, de culture, de genre et de sexualité. Leurs multiples facettes, qui nous font remettre en question nos définitions de l’art et les frontières séparant les disciplines artistiques, signifient par contre qu’il est peu probable de voir les œuvres créées par les artistes des arts médiatiques indépendantes « dans un cinéma près de chez vous ». Par conséquent, l’Images Festival joue un rôle crucial dans l’accès du public à la riche diversité des œuvres produites au Canada et à l’étranger. Je félicite cordialement tous ceux et celles qui ont rendu possible cette 22e édition de l’Images Festival et souhaite beaucoup de plaisir à tous et à toutes.
Robert Sirman Director of the Canada Council for the Arts Le directeur du Conseil des Arts du Canada
Welcome to the 2009 Images Festival. Through their fascinating works, new media artists renew the arts by going beyond the boundaries of creative experimentation. The Images Festival gives independent Canadian media arts creators the opportunity to become known and to share new concepts with their peers. The Festival contributes to Canada’s artistic and cultural growth and promotes the professional advancement of artists with a promising career. On behalf of Prime Minister Stephen Harper and the Government of Canada, I thank the Images Festival for showcasing the talent of our artists. Our Government is proud to support activities that promote the vitality of this country’s arts and culture.
Bienvenue au Images Festival 2009. Par leurs œuvres fascinantes, les artistes en nouveaux médias renouvellent les arts en dépassant les frontières de l’expérimentation créative. L’Images Festival donne aux créateurs indépendants canadiens en arts médiatiques l’occasion de se faire connaître et de partager avec leurs pairs de nouveaux concepts. Le festival contribue à l’expansion artistique et culturelle au Canada et favorise l’avancement professionnel d’artistes à la carrière prometteuse. Au nom du Premier ministre Stephen Harper et du gouvernement du Canada, je remercie le Images Festival de faire découvrir le talent de nos artistes. Notre gouvernement est fier d’appuyer des activités qui encouragent le dynamisme des arts et de la culture au pays.
The Honourable / L’honorable James Moore Minister of Canadian Heritage
The Ontario Arts Council (OAC) is pleased to support the spirit of creative independence that has characterized the Images Festival for 22 years. Through its thoughtful and challenging programming the festival introduces its audiences to avant-garde media works from across the province and around the world. It inspires critical dialogue about contemporary media arts that includes the local arts community and extends beyond. The arts contribute significantly to the quality of life, the cultural identity, as well as the economic prosperity of Ontario’s communities. In 2007-2008, Ontario Arts Council funded 1,300 individual artists and 874 organizations in 252 communities across Ontario for a total of $40 million. Our congratulations to the Images Festival and continued success!
Telefilm Canada is a proud partner to the Images Festival because it offers a unique window to experience highly original Canadian films. As a federal cultural agency dedicated to developing and promoting the Canadian audiovisual industry, we are pleased to have provided support for many of the productions and talented Canadians being spotlighted at the Images Festival. Indeed, the Canadian imagination is continuing to strike a chord with international audiences. Our country’s creators have built a reputation for storytelling that, while distinctively Canadian, resonates with people of all backgrounds. We are also pleased to be associated with Images because it is a venue for the industry to come together to discuss today’s innovations and challenges, and to explore creative opportunities. Congratulations to the organizers, volunteers and community whose hard work has helped make the 2009 edition possible.
Le Conseil des arts de l’Ontario (CAO) est heureux d’appuyer l’esprit d’indépendance créative qui caractérise le festival Images depuis 22 ans. Par sa programmation judicieuse et stimulante, ce festival initie le public à des œuvres médiatiques avant-gardistes de toute la province et du monde entier. Le dialogue critique sur les arts médiatiques contemporains qu’il favorise englobe le milieu des arts local et se déploie bien au-delà. Les arts contribuent de façon significative à la qualité de vie, à l’identité culturelle et à la prospérité économique des collectivités ontariennes. En 2007-2008, le CAO a octroyé des subventions totalisant 40 millions de dollars à 1 300 artistes et 874 organismes répartis dans 252 collectivités de l’Ontario. Toutes nos félicitations au festival Images, et bonne continuation !
Martha Durdin Chair, Ontario Arts Council La présidente du Conseil des arts de l’Ontario
Téléfilm Canada est un fier partenaire d’Images qui offre une occasion unique de voir des films canadiens d’une grande originalité. En tant qu’organisme culturel voué au développement et à la promotion de l’industrie audiovisuelle du Canada, nous sommes heureux d’avoir apporté notre soutien à un grand nombre des productions et des talents canadiens à l’affiche d’Images. En effet, l’imagination créatrice des Canadiens continue de toucher des auditoires du monde entier. Nos créateurs ont acquis la réputation de savoir raconter des histoires qui, bien que distinctement canadiennes, interpellent des gens de toutes les origines. Nous sommes d’autant plus heureux d’être associés au Images qu’il constitue une tribune où les membres de l’industrie peuvent se rencontrer et discuter des innovations et des défis d’aujourd’hui tout en explorant les possibilités qui leur sont offertes sur les plans de la création. Félicitations aux organisateurs, aux bénévoles et aux membres de la communauté dont le bon travail a rendu cette édition possible.
S. Wayne Clarkson Executive Director, Telefilm Canada Directeur général, Téléfilm Canada
It is my privilege to extend greetings to the artists, organizers, staff and volunteers of the 2009 Images Festival on behalf of Toronto Arts Council.
For over two decades, the Images Festival has been a cutting-edge showcase for experimental and independent moving-image culture.
The 22nd edition of the Images Festival is sure to be marked by another year of innovative programming and engaging artist-audience dialogues. TAC salutes Images Festival’s mandate to ensure the visibility of independent and emerging artists working in film, video and the digital arts, as well in new media, multi-media and installation.
For 70 years, the National Film Board of Canada has shared your passion for innovative media, bringing groundbreaking works to all Canadians.
To its growing audiences, the Images Festival’s responsiveness to cultural forms outside of dominant media programming continues to provide a vital forum for challenging, critical engagement with contemporary media art. To artists and practitioners, Images creates space for professional development and opportunities for forging lasting international connections.
We’ve also created a new national Screening Room <NFB.ca>: an exciting new way to watch and share over 700 NFB productions online, enabling Canadians to connect with their country’s cinematic heritage as never before.
Here’s to another year of success!
Karen Tisch President Toronto Arts Council Board of Directors
To help celebrate this milestone, we’re presenting the NFB Award for the Best Canadian Film or Video Maker here at Images.
Enjoy the festival!
Depuis plus de vingt ans, le festival Images est une vitrine privilégiée pour promouvoir la culture du cinéma expérimental et indépendant. L’Office national du film du Canada nourrit lui aussi une passion pour les médias novateurs, comme en témoignent les œuvres audacieuses qu’il propose depuis 70 ans à l’ensemble de la population canadienne. Nous sommes donc heureux de rendre hommage à la créativité en décernant, dans le cadre du festival Images, le prix ONF de la meilleure réalisation canadienne – film ou vidéo. Toujours à l’avant-garde, l’ONF a d’ailleurs créé son Espace national de visionnage en ligne, <onf.ca>, lequel propose aux Canadiens et aux Canadiennes de regarder et de partager plus de 700 productions en ligne et de s’approprier ainsi le patrimoine audiovisuel de leur pays de façon nouvelle et captivante. Bon festival à tous et à toutes!
Tom Perlmutter Government Film Commissioner and Chairperson of the National Film Board of Canada Commissaire du gouvernement à la cinématographie et président de l’Office national du film du Canada
2009 www.imagesfestival.com/ifpod iFpod is an ongoing experiment in disseminating Canadian video art through mobile devices, available to view or download on any screen! iFpod History Launched in 2007 and expanding each year, the iFpod project was started to provide an opportunity for the insatiable media junkie to watch or download remarkable video art projects which subvert the ubiquitous small screen with artists’ visions. In 2007 with the assistance of Vtape Distribution, we inaugurated the iFpod with 11 projects, five of which were early video art from the 1970s, conceptually sophisticated and strangely suited for the mobile screen; the other six contemporary projects brought form and content together to challenge our trust in the human subject. In 2008 we added a few projects from our festival including works by our Canadian Spotlight artist Nelson Henricks. Most of these videos can be found on YouTube and have traveled to thousands of sites around the world. As the interest in artists’ film and video continues to explode, traditional venues such as media arts festivals like Images are expanding programs to showcase work in this platform. Screenings are now also increasingly taking place in alternative theatrical spaces, galleries, microcinemas and in a variety of new media settings, with rapidly growing audiences in each who are developing a new vibrant culture around artists’ film and video. The iFpod download distribution of artists’ projects will work with these new forms of exhibition to rapidly develop this vibrant arm of alternative media art culture.
NEW For 2009! The Images Festival has partnered with Trinity Square Video and Bleecker Street Coop to run a series of free youth workshops to produce a new series of short videos for iFpod. Funded by the Canadian Art Foundation Youth Bursary and facilitated by Dara Gellman and Leslie Peters, the workshops aim to increase accessibility to video techniques and technologies while fostering a new generation of video artists. Participants learn about the process of video art making through the creation, exhibition and distribution of their own artworks. They develop their talents and learn new technical, conceptual and critical skills, while investigating the history of video art, its practitioners and its various manifestations as a contemporary art form. The resulting projects will be added to the iFpod player, offering the participants a unique opportunity to display their work. Please visit imagesfestival.com/ifpod to view and/or download these exciting new projects! Special thanks to the Canadian Art Foundation, Trinity Square Video, Dara Gellman and Leslie Peters, twig design and to Telefilm Canada for startup support.
Free Artist Talks FREE ARTIST TALKS (with the exception of the George Kuchar panel and screening) Talk to the Pie 1: Notes on Composing Friday April 3, 5 PM Harbourfront Centre, 235 Queens Quay West Join the filmmakers and the composers from our opening night program for an open conversation on the process of collaborating across mediums.
Talk to the Pie 4: Louise Bourque Monday April 6, 3 PM Gladstone Hotel Art Bar, 1214 Queen Street West Join Canadian Spotlight Artist Louise Bourque for a conversation with Chris Gehman about her newest projects in relation to her ongoing film practice.
Talk to the Pie 2: And Then There Were None Saturday April 4, 4 PM InterAccess Electronic Media Arts Centre, 9 Ossington Avenue Artists Larissa Fassler and Richard Schütz will be joined by curator Stephanie Rogerson to discuss the deconstruction and reconstruction of public space in their exhibition And Then There Were None.
Talk to the Pie 5: Saving George Kuchar’s Generous Cinematic Corpus Wednesday April 8, 7 PM Joseph Workman Theatre, 1001 Queen Street West Admission: $10 general/$8 students, seniors, members Jeff Lambert (National Film Preservation Foundation) is joined by Haden Guest (Harvard Film Archive) and Andrew Lampert (Anthology Film Archives) for a panel discussion on issues related to archiving and preserving experimental cinema, along with a screening dedicated to the recently restored films of George Kuchar.
Talk to the Pie 3: In the Room Sunday April 5, 4 PM The Gladstone Hotel Art Bar, 1214 Queen Street West Artists Sung Hwan Kim and dogr (aka David Michael DiGregorio) will discuss the performative impulses in their multi-disciplinary practices. Moderated by Helena Reckitt.
Talk to the Pie 6: 43 After 66 Friday April 10, 2 PM The Gladstone Hotel Art Bar, 1214 Queen Street West Althea Thauberger and Ian White will discuss the archival and intergenerational dialogues initiated by each of their projects at the festival.
Educational Programming Images is continuing our commitment to Educational Programming with a fresh set of programs for youth and adults, co-presented by loyal local partners. All events are FREE and open to the public (unless otherwise noted).
Adult Workshops at the National Film Board of Canada
National Film Board of Canada Toronto Mediatheque (150 John Street) For the fifth consecutive year the NFB Mediatheque is pleased to expose new audiences to their rich resources and diverse collection with a series of hands-on animation workshops for adults. In partnership with the 2009 Images Festival, the NFB presents: Take Two: Animation Remix Workshop for Adults Monday March 23, 6:30 – 9 PM Ages: 18+ Find inspiration in Oscar Peterson’s soundtrack from Norman McLaren’s award-winning experimental film Begone Dull Care and create your own interpretation! Using the tools and techniques pioneered by the legendary filmmaker, create your own short film by drawing, painting and scratching directly onto 35 mm film. How will your masterpiece measure up? Animate This! Grown-up Edition Tuesday March 24, 6:30 – 9 PM Ages: 18+ Craving to crash a kids workshop? Well, here’s your chance...Get your hands dirty with modelling clay and create your own stop-motion animated film! Using professional tools bring your ideas to life with the guidance of NFB facilitators. All films will debut in the NFB Cinema alongside a screening program highlighting new and award-winning stop-motion films from the NFB, including Sainte Barbe, The Necktie, and the Norman McLaren classic, A Chairy Tale. 24 Frames per Second Monday March 30, 6:30 – 9 PM Ages: 18+ Unleash your inner Norman McLaren! Using tools and techniques pioneered by the NFB, experiment with pixilation, painting on glass, drawing and scratching on film, and stop-motion to bring your ideas to the big screen. Move from station to station as your experimental masterpiece comes to life. Watch your films in the NFB Cinema along with a collection of films highlighting each technique, including A Chairy Tale, Pas de Deux, and Le Merle. All above NFB Workshops are FREE for Images Festival guests. These workshops are designed as an introduction to various animation techniques and are not professional filmmaking workshops. Please register in advance by e-mail: firstname.lastname@example.org or by phone at 416 973 7114. For more information about the NFB Mediatheque please visit www.nfb.ca/mediatheque
Trinity Square Video (401 Richmond Street West, Suite 376) Gunilla Josephson will be teaching a Master Class in Ecstasy and Despair Saturday, April 11, 1 – 3 PM $20 TSV members / $25 non-members Contact Trinity Square Video to sign up for the class: 416 593 1332 www.trinitysquarevideo.com
The Avant-Garde Remake with Ben Russell
An all inclusive production course with LIFT’s April artist-in-residence, Ben Russell. LIFT (1137 Dupont Street) Monday April 6, 6 – 10 PM Monday April 13, 6 – 10 PM Saturday April 18, 10 AM – 6 PM Monday April 27, 6 – 10 PM LIFT artist-in-residence Ben Russell will lead participants through revisiting and remaking pieces of avant-garde cinema history. The hands-on workshops will be technically and conceptually rigorous, exploring both skills and authorship topics.The magic of cinema, remade. $340 LIFT members / $380 non-members Enrollment is limited to 10 www.lift.on.ca
A Guided Walking Tour to the Images Festival’s Off Screen Projects in 401 Richmond
Saturday April 4, 2 PM and 3 PM Led by Terence Dick and Carol-Ann Ryan Meet at the Images Festival office, 401 Richmond Street West, Suite 448
Art Gallery of York University, Wednesday April 8, 6 – 9 PM Please join us on the free performance bus to The Communism of Forms exhibition at the AGYU. Departing at 6 PM from OCAD (100 McCaul Street) and returning at 9 PM. Special performance guest on the bus!
Blackwood Gallery, Thursday April 9, 6 – 9 PM Please join us on the free bus to awashawave at Blackwood Gallery. Departing at 6 PM from the Gladstone Hotel (1214 Queen Street West) and returning at 9 PM.
Student Programming and Mentorship
Youth Videomaking Workshop NEW! For 2009, the Images Festival has partnered with Trinity Square Video and Bleecker Street Co-op to run a series of free youth workshops to produce new short videos for iFpod. Funded by the Canadian Art Foundation Youth Bursary and facilitated by Dara Gellman and Leslie Peters, the workshops aim to increase accessibility to video techniques and technologies while fostering a new generation of young video artists. www.imagesfestival.com/ifpod S is for Student The Images Festival annual student On Screen program presents films and videos from local, Canadian and international art and film schools. A three-member student jury gains valuable experience curating and organizing the program. The screening is followed by a celebratory student party and presentation of the York University Award for Best Student Film and Vtape Award for Best Student Video. For full details see page 51. Outer and Inner Space NEW! For 2009, the Images Festival has developed an Off Screen exhibition featuring local and Canadian art students. Presented at XPACE Cultural Centre. For full details see page 85. These exhibitions complement our ongoing training and mentorship programs through Year-Round and Festival Internships.
Yes! I want to become an Images Festival Member today! Fill out and return to the address below or drop off at our Advance Box Office to begin enjoying your membership benefits now! Choose one of the following: 35MM Membership – $300 Ideal for members who want to share the festival with a friend 16MM Membership – $100 ($75 for students and seniors) For those who can’t bear to miss a thing Super-8 Membership – $45 Perfect for members who just want to catch a few shows Name: _____________________________________ Address: ___________________________________ City: _______________________________________ Province: ___________________________________ Postal Code: ________________________________ Telephone: _________________________________ Email: _____________________________________
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Complete and return to: The Images Festival 401 Richmond Street West, Suite 448 Toronto, ON M5V 3A8 Or by fax to: 416 971 7412 Or visit our website: www.imagesfestival.com
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Canadian Filmmakers Distribution Centre THE CFMDC CONGRATULATES
Filmmaker Member Louise Bourque ARTIST SPOTLIGHT – IMAGES FESTIVAL 2009 For the past 42 years the CFMDC has distributed the work of 750 filmmakers to exhibitors around the world.
You make it. We’ll move it.
Subterranean Heart by Cloud Eye Control, Photo: Ken Aaron
The Presentation Theme, Jim Trainor
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Lav y b ia l o h c Melan
arch 29 Members eet West) Sunday M e Ontario undas Str u D q e 7 1 th a (3 m o of Ontari 1 PM ages/Cine Art Gallery eniors, Im tudents, S kman Hall, Jac eral/$8 S : $13 Gen n io s is m d A
lia Melancho 80 min ch is Lav Diaz ines, 2008, video, 4 any, but su p nting to m e most singular au d e b The Philip film may one of th ission-less nema of Lav Diaz, d unique figure in e ci our, interm An eight-h arable, experiential z is a formidable anthe “godfather” of th ia n, p the incom of his generation. D idely recognized as guided collaboratio ma s filmmaker ry world cinema. W h mentorship and d prolific digital cine ug ra an arathon contempo o cinema, Diaz, thro the rise of a young to and their m New Filipin ntly contributed to available on DVD extremely pleased un e ca fi . e ar lia e o w ch y, la an has signi Given his films ar p el mmercial t. st film, M movemen ate any form of co miere of Diaz’s late vi an lengths ob North American pre ancholia is e y Diaz, Mel gnature high b ed present th uc d his si o and pro ot, edited portions. Displaying ing from chiaroscur e ro written, sh Directed, oem of novelistic p , with a palette rang ffering, in which thre ta p epic tone lack-and-white videoa triptych story of su sonal despair. Albernun er b definition ancholia comprises to escape their p a a charity-seeking er in e to ash, Mel assume roles in ord n her pimp, and R by feigning alternat lia f characters ctant prostitute, Ju all-consuming grie A flip in chronology t, r lu . ftist activis s plays a re tempt to quell thei eir bourgeois lives at enato, a le th ad as the trio worlds away from ain: her husband R med dead. Diaz le th , p o existences source of Alberta’s of ideals and is presu ness. The film is b reveals the fight a bloody war s to a world of maddnapped by military to bear witnes arecidos (those ki loomy state of the has gone ap making us eg us to him, atement on the des mentation about th rk yet, it’s as poetic o st a political as much as it is a la e Diaz’s bleakest w ise rock band, The w ) b no operatives Melancholia may ic interlude by his tric guitar and fello le ec us world. Whi k, and features a m a), with Diaz on el on the “Orrizonti” ck ing as it is pun amed after Lino Bro yboards. The film w distinction honour a Brockas (n vn De la Cruz on ke nice Film Festival, f the Venice Film ha st year’s Ve As Paolo Bertolin o rapturing and director K en t. award at la (Horizons) in film form and spiri ves once again the captures you from at ro innovation es: “Melancholia p s cinema, a spell th film’s fluvial length, z’ at Festival st g power of Lav Dia you throughout the emotional and s in mesmeriz t frames and carrie ical dramas of great lit rs the very fi ing the viewer in po ard ic by envelop nce.” – Andréa P na lyrical reso
OPENIN G NIGHT GALA! Live Ima ges 1
Notes on C
omposin g: 5 Coll
Thursda y April 2 8 PM
ns in Film
Isabel Ba der Thea tre (93 C Admissio harles Str n: $15 g eet West) eneral/$1 2 studen ts, senio rs, Image s
Talk to th Join the e Pie 1: Notes o fi conversa lmmakers and co n Composing ti m Friday Ap on about collabo posers for an o p See p. 2 ril 3, 5 PM at Harbrating across me en diums. 4 for deta ourfront ils. Centre
EAR WAT ER
: Notes fro m the Sca
In partne rs Canadian hip with Continu u Making its filmmakers to cre m Contemporary 2 Camer as @ Sea the proje world premiere th ate new works, e Music, Images h c a a Images F t’s North Americ is fall at the prestig ch scored in colla s commissioned an premie estival. fi io re is set us Muziekgebou boration with a c ve to kick o o ff the 22n w aan ‘t IJ in Amst mposer. For this s p d edition erdam, ensemble ecial presentatio of the n solo by c of flute, clarinet, , the films’ score o s vi of film an mposer/violinist olin, cello, piano will be performe M d d different music is realign alcolm Goldstein and percussion, live by Continuu w e w with that, orks. Most of th d in five different . In these projects ith one piece pe m’s e rf c part of all these collaborati collaborating art ollaborative proc , the essential re ormed la o is e as far ap the parties involve ns represented s ts had never me sses resulting in tionship d a t o fi method, rt as Toronto and . The result of this mething of a lea or worked togeth ve very Behind th p in temperam er, e R e Shado ent, and otterdam, or Win ngagement—som faith, or a dare and ws on the still the in e betwee nipeg an Toronto-b d n d iv A c o id rn lla ual voice hem—re . flects dis borators Oscar v ased filmmaker a tance, a n the filmm n Dillen’s 2 Cam d poet Clive Ho ld a Island co ker’s father on h eras @ Sea focus en and Rotterd is a a e Vera Fre stal landscapes, growing up on th s on the waves: m composer fr n the focus kel’s ONCE NEAto recordings of th e Irish coast, to om reflections b fo y NEAR W on water. Collab R WATER: Notes e North Sea off th otage of Vancou o A ver away fro TER focuses on rating with percu from the Scaffold e Dutch Coast. m To s in both asp its lakeshore bo ronto’s relations sionist and comp g Archive contin ir u h u compose ation and loss. In ndary and in tro ip with its watery oser Rick Sacks es u , between r Martin Arnold Behind the Shad ble, where ubiqu surrounds; a city ONCE it d o n to occur, atural and develo ocument the ima ws, filmmaker C ous scaffolding m turned h Daïchi S time inside this th ped worlds bega gined moment w ristina Battle a arks n h a re n landscap ïto and Malcolm atened world is to shift. Looking en the delicate b d a e c Trees of imagery that the Goldstein emba aught in an end back upon an evelance le S rk working yntax, Leaves of y share in their dis on an aural and ss loop. Montréa nt yet w A lvi aging cri ith the British/Du xis. Closing the trict at the foot o sual exploration based m f o p tc all the sto e family patriarc h composer Ric rogram is a new Mount-Royal Pa f familiar rk h s disarmamps as the film un , holed up in a de hard Ayres. Glo hort by Guy Ma in fold rio dd re ents and oral grati s into an orgy of lict apartment blo us tells the story in fication fr o Continu om beyo paranoia, burstin ck. Maddin pulls f an um Con g ammo out nd the gra tempora alongsid s h ve e lls . , e works ra ckety by estab ry Music presen festivals, lis ts o Formed n tour, over the hed national and the work of eme in 1985, air waves fo rg Continuu clarinet, vi of the CB reign composers ing Canadian co m The orga olin, cello, piano, presents conce C and through re in its concert se mposers and perc nization h rt ri ussion, a s that feature th cordings and the es, at new work as been e s For more s from emerging responsible for co well as unusual in core ensemble o internet. C f m informati st on pleas anadian compos missioning and rumental combin flute, e visit co p ntinuummers in the first sta remiering more ations. th ges of sig usic.org nificant c an 100 Join us a areers. fter the s Gladston c e Hotel B reening for the O DJ Isabe p allroom, lle 1214 Qu ening Night Pa FREE wit Noël een Stre et West rty h ticket s tub or pa ss
ge Live Ima
A Prese moking:
S Make Me Rabih M
as Und ion of Ide
pril 3 Friday A 8 PM y April 4 Saturda 8 PM est) d rs s Quay W 2 PM an t Centre (235 Queen nts, seniors, membe ron 12 stude Harbourf general/$ 5 1 $ : n Admissio
it, arranging les good care ess what resemb g n ki ta , w ss t o o a n p I th rs y a ry a o ost ten ye le damage... Tod of added mem it. It is an rial for alm ssib kind ed less mate ing it from any po s only to me: a o not actually ne ason, I will h rt o w g te n d rv ti la I c se t re a lle re t o a p th c t or this re This will d th c n F n e e . a fa e iv m e h it, b o th rc g fr ve a n e lf l a e a exi ht. Ih spit f its weig erate mys ting it, ind ssess a re pace, de documen , or let’s say I po f my domestic s which I cannot lib blic I can get rid o bih Mroué e o a u d iv R p rs n h e a it rc — , rn g a e co elf. kin an austing m erase its different ntinues at by ma oking co occupies emory that is exh rchive, hoping th sn’t know how to Stop Sm and political a m e e y o d M d m te t f n a ke o a ve th in rts eatre, M rough the wars efinitions memory some pa th ntext of th ed uncover empt to destroy a in the co Lebanon, largely allenging both th mpanied by h tt it a w y e m c ti e f h o c b o c C ra c n . p a s o e ti e ry d u ra ta a g n c projects plo Mroué’s le monolo st few de f docume n and ex modes o oing investigatio r much of the pa ’s work is a simp al in their scope, tructed from g in rg e é s M g dly politic art, Mrou ous country fo ng is con roué’s on Rabih M has plagued the nd performance rks. Though broa Me Stop Smoki , videos and vari ring s a o t u h ke a d w o p a e th g o ra M d e in g . vi d ife s s to tr vi s is o s as well a ir narrative iews, ph o went m stigates ages and of theatre photographs, im ding point for the l archive of interv to the citizens wh performance inve present a n d n u ri e ’s o ri te é ro th a c u rs g f H e je o ro a p k ro s M s fi n p n , a ersonal a rtist’s ow gh the le tion of R et lamps use the p rawn out of the a m the assassina anholes and stre m the past throu o o d material rials. Jumping fr photographs of m d occurrences fr te n niversité other ma ese Civil Wars to erstand events a . a at the U n d ied dram nd videos in 1990 d u st e the Leba member and un H d . re t in 1967 , performances a na, Brussels an iru e B in how we . lo right born in his own plays an, Basel, Barce Who’s Afraid of and future g nd playw ; ill director a ng and performin nna, Tunis, Amm ool’s Joke, 2007 ome in Sir, we w r, to c a n ie Paris, V g short g, directi roué is a an April F , 2000; C Rabih M and began writin in Beirut, Cairo, Everything Was 1; Three Posters riting and directin n t Libanaise have been show ncy Wished Tha ce A/Face B, 200 5, he has been w 9 a s a His work d include: How N hraphia, 2002; F , 1997. Since 19 9 k Berlin, an tation, 2005; Bio and Extension 1 TV in Beirut. ; Represen u Outside, 1998 ntaries for Future e Wait for yofilms and docum animated
In the Room 3
Sung Hwan K im Friday, April 3 9:30 PM Saturday, Ap ril 4 9:30 PM
, dogr (aka Da
vid Michael D
d Byungjun K
Gallery TPW (5 6 Ossington Av enue) Admission: $1 0 general/$8 st udents, senior s, mem
Talk to the Pi e Artists Sung Hw 3: In the Room impulses in th an Kim and dogr discuss th eir Helena Reckitt multi-disciplinary practices e performative . . Moderated by Sunday April 5, See p. 24 for 4 PM details.
Photo: Nina Ca Incorporating nell ele weaves in and ctronic music, performance out of a dream , dr own internal rh -like state of m awing, and both live and ythm and logic. pr em vase, fills it wi Here seeming ory and imagination, oper e-recorded video, In the Ro th rustles with th ping pong balls and milk, an ly simple actions take on m ating in a world that subscr om 3 e ibes to its are simultaneo wind from a body walking d stirs until the drawing dis agical qualities: a man draw pa ap s usly projected into the center st; a man draws faces with pears; a wall of coloured tis on a glass m su of a room; he I see a girl’s pr tells a strange arker and spit as his intimat e paper ofi story: e images ask her, and as le, and from far away, it loo all around her k her, “Where’d you get that ks like she is wearing a beau he from all of her ad; and when she’s sad sh tiara?” And I realize that it is tiful pearl tiara. So I go up to eyes, making herself very we e cries from one of her eyes not a tiara, but her eyes, all her and co , and when sh t. The visual, text e’s very sad sh nnected, ua e cries between Sung l and sonic storytelling th at form and stru Hwan Kim and dogr, whos makes up In the Room 3 gr e collaborative cture. practice moves ows out of an ongoing exch ange across disciplin Korean artist Su es to create its unique over a period ng Hwan Kim is currently based in New of four years, York. Previously during which developed in tim th , he lived and worked in the was awarded e Netherlands and has been e he was fellow at the Rijks Ne th ak award Hermes e 2nd prize of the prestigiou exhibited and performed at ademie. His In the Room therlands series was STEIM and W Korea Missuls s Prix de Rom itt ang (Hermes e e fo de r co With. In ntempo Korea Prize fo r Contempora rary Dutch artists and the 2007 he dogr (aka Da ry Art). Korean vi background in d Michael DiGregorio) wa Ba dogr is a perfo roque, choral gospel and s born in Boston in 1979 an rming musician d is ele Korean Wilds and compose ctro-acoustic music, as we now based in New York. an include Établis d Villages, is due for relea r who sings layered and sp ll as experimental 16mm fi With a se lm se at 2007; De Appe ment d’en face projects, Br on Sonig Records, German ial songs. His upcoming alb making, us org or http://wwl, Amsterdam, 2007; STEIM sel, 2009; Insa Art Space, y, April 2009. Recent perfo um, In rm Se , Am w.last.fm/mus ic/dogr or http sterdam, 2006; BAK, Utre oul, 2007; Gallery 27, Uiwangances ://www.myspa cht, 2006. Mor , Korea, Byungjun Kw ce e .c at om : http://www.do /dognap on gr. albums ranging started his musical care er collections, co from alternative rock to mini in early the 90s as a singe r/s ntemporary da m on al gw ho rit us er and e. He cr have been pres nc ented in many e, theatre plays and interdis eates music for records, sohas released seven international ve ciplinary even und tracks, fa ts shion nu . Re es ce . He lives and wo nt In the Room rks in Amsterda works and performances 3 is presente m. be on view at d in conjunct io Gallery TPW from April 7 n with Sung Hwan Kim’s to May 2. Se exhibition In e page 76. the Room w hich will
ing P k l a T & ints
o Talking Pey nl Ben Coo
y April 4 t) Saturda uay Wes ueens Q Q 5 members 3 6 PM , (2 , seniors t Centre ron ents Harbourf l/$4 stud $6 genera : n io s is Adm
ho uses ia artist w new med explore aspects d n a e c n a to o, performnce confrontation Remapping the on sed vide oklyn-ba and direct audie oonley presents rPoint presentati ying ro B a is owe ress nt, C pan nley Ben Coo al modes of add tory. For this eve ybrid Media, a P Baudry. Accom deos H is ic is pedagog culture and film h ic Specificity and eory of Jean-Lou ities. Coonley’s vi avants of media : Cinematograph tualizes the film th nd internet curio onventions of the from s a c x Apparatu cts and re-conte n of short videos the canons and lture references— u e that diss will be a selectio to deconstructing umour and pop c his lectureunique approach by their use of h Gates. d ’s MFA from tivals employ a are characterize Binks at Christo s eived an r d y and rec at international fe tival, it garde an ponies to Jar Ja rs e iv n s U y t Brown ened extensively erground Film Fe ught a talking to s c ti io d Art Sem s have been scre , New York Und minar. He has ta ie d tu s y m e rk S nle rda wo Ben Coo ge in 2002. His ilm Festival Rotte bert Flaherty Film o l. F lle Bard Co the International rchive, and the R The New Schoo A d including xas, Pacific Film at Princeton an n Cinemate media productio d video an s
deo work onley’s vi rojects n about Ben Co p. 89. P e n li n e o O e informati is year, s For more n our website th o d re tu a fe
Curated by A rjo Sunday Apri l5 2 PM
r (Under Your
, Impakt Festi
val, The Neth
Joseph Workm an Theatre (100 1 Queen Street Admission: Pa West at Ossin y What You C gton) an
Fascinated by th Breathe his br e other, we want to crawl ea un which was pres th, taste his sperm, live his der his skin. To be just like him selection of wo ented as a part of the SHIFTlife. Crossing Over (Under Yo , feel like him and look lik e of new cultura rk focused more specifically Festival in Amsterdam and ur Skin) is a follow-up to Ne him. l and religious igh To on values are chan the ways in which immigr ronto earlier this year. That bours, ation, integratio ging Dutch so ciety. n and the posit ion
Your Blood is
as Red as Mine
Your Blood is Julika Rudeliuas Red as Mine The Netherlan s ds A white woman , 2004, video, 17 min where she talks spends some time in a bla ck community , and about the to people about the colou r of photos that sh they respond. e makes of th their skin, em. She asks They ask; she ; identity, the m responds, in an ea ‘white’. The ph ning of and the clichés arou investigation of oto sessions fo nd uses her phot rm the starting ‘black’ and o camera ‘regis camera to portray her mod point. Rudelius ters’ this partl els , and the film y staged, som sometimes fu etim nn rapher is crea y process, so that a portrait es uneasy, ted at the sam e time. This is of the photogcolour, and be ab fo and ideology. re long also about the perc out skin and One of the mod ep says that she els turns the iss tion of mankind se study. Photog es her, just as she sees th ue round: she em ra European men pher becomes model, as en , as an object of ta Esma Moukhta lity. —Netherlands Media voy of the white Art Institute, r
Borders test (v Thierry Geof ersion complet) fro Denmark, 2002 y Thierry Geoffro , video, 3 min y Cultural Exch indigenous Da (aka Colonel), interviews im anges ne Thierry Geof understood in s on the streets of Denmar migrants and froy his very imperfe k, making him De nmark, 2002, his projects pr self ct English. Th video, 5 min es complet), The ented here including Bord e interviews in all ers test (version Walraff Metho At t tänka tankar d, I want to loo Cultural Exchan man inte vill k like you and don’́t want to tänka (To thin social niceties ges manifest a directness ) k things you th . Joanna Ryte individuals resu The brief encounters he arra at dispenses with l ng lt in es ve be ry Sw tw fo een eden 2004, vid rthright vox po Geoffroy’s inter p ex ve It’s a journey ins eo, 24 min national televisi ntions were broadcasted changes. primetime on on. gets to know, ide a white Swedish woman fa black man. It’s lls in love with, has sex with ’s head while she The Romania a wa and ns (Live like th e ones on the ot ndering on the underworld splits with a a king) Heidrun Holz he of thoughts, feind r sid e of no ou t a journey in r political co Austria, 2002 , vid dark sides of hu our obscure thoughts thou rrectness. It’s Peter Plesa lef eo, 14 min gh m , t suppressed an anity – it’s a journey into ou neither in the Romania to Au Romania in 1990, walking d all str as a complex sublimated selves, with “s r collectively with his wife Au ia. Since 1991 he has lived the way from elf socio-historica there together relia in my gran to l construction ” understood ld in a diary form portraits two “w dfather’s hous . The storyline at e. an ell Th d int e is eg Ro ab is wo ra m ou te man’s racial anians t the ambig d” immigrants Their capitalist wi de voicing out a thoughts and desires for a uity of a white with their form sires and apolitical views th common aims. hig bla hly ck sensitive man. By er ar artist does no when they firs life in Romania and the dif e put in contrast t try to set us problem, such as racism, th t arrived in Au into a liberating rather expose e stria.—Heidrun ficulties they faced s ex ou pe rience. She Holzfeind barriers that hin r common fears and our The Walraff M co de ns r us from re tructed Gradually and Thierry Geof ethod boldly she reve aching towards each other. fro same time ab als to us that Denmark, 2002 y us we er s all and victims of , video, 4 min —Joanna Ryte our social prec are at the l onceptions. I want to look Att tän ka tankar man int e vill tänka (To Thierry Geof like you thi nk things you do fro n’́t want to) Denmark, 2002 y , video, 4 min
Prisoner, d n u o B a m ro e wing Blood F A Human Dra orphic Cat Doing the Sam an Anthropom
On Screen P
Sunday Apri 6 PM
001 Queen an Theatre, (1 Joseph Workm an y What You C Admission: Pa
Ossington Street West at
et I Deeply Regr , 2 min Karø Goldt y, 2008, video rd now. Austria/German it’s so hard now, trying ha ng strong now. tti w, Trying hard no w, won’t be long now, ge fly... no fly, Getting strong flying high now, gonna fly, Gonna fly now, eth Cleopatra’s Te nt Egypt. Mika Kiburz mm, 17 min with the famed ruler of ancie l oral ra s USA, 2008, 16 ne ion ge ss d se an n’s ob vities An oral historia e letters, dental decay, ca ument to the great lov on a, this A montage of the cavity and erecting a m 13 Common Er disease. Filling upon the excavation in 81 nd Cleopatra. “A lete.” so text will be ob
Kempinski rkness. Neïl Beloufa enveloped in da s to video, 14 min village in Mali, be all France, 2007, tu t sm a en in sc ht re at nig by fluo we have We are outside acters emerge illuminated esent? “Today ar . Or is it the pr d a few satellites soon re A series of ch tu fu e th t an abou give testimony . We will launch space ships ion about the other at a space station to have much more inform communicate with t us , how we mus that will allow her stars.” Oh stations and ot the future!
I Deeply Regre n Theme The Presentatio
tion Theme The Presenta lture r the Moche cu Jim Traino nographies of mm, 14 min a USA, 2008, 16 er from various myths and ico Theme is a visual artifact, ern n Cobbled togeth Trainor’s The Presentatio Moche lived along the north best Jim e rhaps pe e ar d of early Peru, ory that has no words. Th an rate st th centuries narrative for a tween the second and nin work, as well as their elabo e is be d gold s, ther an lar ry ho tte sc t po coast of Peru os ed m rly accomplish cording to known for their grisly myths and rituals. Ac h of what is known of the ea of and sometimes Moche language, thus muc ey left behind. The goblet a th e r, no record of th n from the visual artifacts hooded priestess. A mothe aw a civilization is dr birds. A fanged man and ing blood. Humm encounter with the father. child. A sexual
eth Cleopatra’s Te
1–9 dies erased, Mary Billyou eo, 10 min gures. Their bo t background, USA, 2008, vid y footage of convulsing fi hif es ak ur hers: ainst a m Early 20th cent ited out. A medium shot ag in the frame, uniformed ot rs covered up, wh le variation. There are othe in the trouble. litt repeating with s, police, soldiers? Trouble rlie doctors, orde Adrift s drones over a Julika Rudeliu , 2007, video, 6 min echanical room eir ds The Netherlan bal chant or the hum of a m le are asleep, or at least th e tri e with th . The peop tim in om ro ay A song like a a sw in ly g to gent le waitin d? scene of peop Together their bodies seem state or forcibly hypnotize d. is eyes are close ey been gently lulled into th sound. Have th
Sunday Apri l5 8:30 PM
st Spotlight: L
Joseph Workm an Theatre (100 1 Queen Street Admission: $1 West at Ossin 0 general/$8 st gton) udents, senior s, Images/Cin ematheque O ntario m
Just Words 1991, 16mm, 10 Fissures 1999, 16mm,
Imprint 1997, 16mm, 14
min Self Portrait Po 2002, 35mm, st Mortem 3 min Jours en fleu rs 2003, 35mm, 4 min L’éclat du m al 2005, 35mm, / The Bleeding Heart of It 8 min Going Back Ho 2000, 16mm, me 1 min
For our 22nd ed a little prayer (Hby Louise Bour ition, the Images Festival is E-L-P) twenty years, que. In her films that have br pleased to present this surv she often man ey screening of ou gh t he r int er ipulates the m however, her national recogn films pr at a little prayer premiere of he oduction is becoming incre eriality of film as a site for dia ition for the last asingly interdis r most recent ris tic 2009, 35mm, (H-E-L-P) re fl ec tio project, a little her process of ciplinary as ev n; 8 min ide pr reshaping the found image. ayer (H-E-L-P), which deplo nced by the world ys digital video into Impossible Tr ip By Michael Si s Back Home: The Film s of Louise Bo cinski urque Apart from the va rie d textures of ph or the saturate ysical de d aspect of Louis hues that result from tintin cay and worry on the filmst g or parti rip, or the e Bo ur que’s cinema, Bourque’s hous the iconic imag ally cameraless exposure, th fractured swaths of paint, e single most e to which sh space, with re es are complicated precise e return charac sp ly Bourque’s film ect to iconography of the because she places them s again and again, is the ho teristic domestic. Thes s usually involv at a juncture, or within a ble use. and tactile man e some form of e houses hove nd ipu about her work lations, so we never get “th found footage which is thenr at a dense twilight of repr ed, liminal es her childhood , and sometimes her brief en e house” as a straightforwar subjected to compositional entation. , excavating po d image. But we d credits, that processes etic resonanc es and unseen several of her key films wo know from statements rk with home This history an emotional valen mov d ces from Bour films, and it se its particulars are in no wa que’s personal ies from em y history. home would on s to me that knowing spec necessary for accessing Bo ifi keeps us on th ly serve to impoverish thes c details about the meanings urque’s work. These are no e t e The People in outside, and on that repres rich works. But more than evoked for Bourque by her esoteric th ch th psychological e House (1994) which spen entational cusp. After the ea is, that house, that façade, ildhood int always rly This is a zone erior—Bourque shuts us ouds a leisurely 22 minutes ex , rather Lynchian dramatic wh ploring the ho me as an arch work, call them forw ere we must not only acce t for the rest of her career th ar itectural and ken of individu d; we must also attend to ss our own visceral attachm us far. The “house” is now clo Bo al en gender codes longing. After all, the inside urque’s activation of a socia ts as the iconicity of the wo sed. ar (or decentered e learned and transmitted of that house is the domes l dialectic that speaks beyo rks tic (o ), nd the short circuited where desire is implanted r, hopefully, subverted), wh sphere, where historically in the individu ere power relat defined in some unfore al the later work ion se ps en s yc ar he wa e naturalized through the Fr y). Bu s never allow eudian family us inside Bour t aside from a few brief gli roman m que’s house. These are not pses of interior in 1999’s Fis ce (or Instead, the m films about “h sures, ajo ome.” (2000), Fissure rity of Bourque’s works— L’é s as a boundary, (1999), and most significant clat du mal / The Bleedin g ly personal histo both spatial and ideation, be Imprint (1997)—maintain th Heart of It (2005), Going Ba rie e ck memories of a s inevitably inform our reac tween the public and the pr exterior space of the private Home iva tio re collective child signposts, are hood, earlier re ns to Bourque’s works, ch te. The various ways in wh sidence also framed by arged as they ich our cording modes the inscription ar th , e e a wi so los th cia t th su l and e aff burb of Mortem (2002) gender. Throughout Bour historical legacies the films an promise, and other ge ective ne qu , wielded by Da we witness girls and wom e’s films, including her adm depict. Some are fairly broa rational en dd d, Fissures, for ex y. Bourque’s thicket of reph learning how to behave in irably incriminating Self Portr such as front of a cam ait Post the home mov ample, offers a perfect form otographed effects pulled era lens, parti fro cu ie’ al profilmic spac s subjects play with the cam correlative to the subtle ga m the jostled, off-track film larly one e st m era-eye. Fissu Z-axis, frameli (the domestic sphere of th res is a brief bu e of seduction and peek-a rip in e ne -b t but Bourque sp s, sprocket holes and all. amateur films) with film as riveting articulation and disar oo that sp In some respec tic elunks for signs ts Fissures reseace, its twisting movement ulation of and wonders ac mbles the wo right in her ow rk of Peter Tsch ross the n backyard. erkassky,
The windowed like “the family, façade of the Bourque fam ily ” the films them “domesticity,” “the heartla home recurs as a barrier be nd se The large hous lves. As such, it’s possible ,” and the radical specificit tween a social understand ing of ideas y to e rather tradition is both anonymous and so read certain of Bourque’s with which each viewer co nf al, family-first own specificit ideologies it m mewhat imposing, implying ies back into th ronts especially her th ay well have fo the large family e films. even rhapsodic ick, gritty manipulations of st colour, surface ered in its suburban atom it contained and the iza front of the ho plane, which could speak , an tio d n. su Bo pe ur rimpo que’s films, to us procedure in th e and, through painterly alt her background as well. A sition, operate on a dram at fi er mottled coagulais film is to overlay colour fi ation, vivifies it, turns it int lm such as L’éclat du mal ta ic, at times eld o Laura Marks’s tion of blood reds and bruis s via optical printing, and a damaged body. Bourque’skes the alt cr primary the filmmaker itical category) is a fragile ed blues are the dominant hough her palette is quite va to en re density of L’écla counts a complex, troublin velope, practically an open nes. The skin of the film (to ried, a g dr borrow wo t du mal’s corp oreal memory eam conflating Christmas timund. Bourque’s sound mix, mix. in which e and a battleg Bourque’s treat ro un d, adds to the waged both on ment of the house, the hom e respect to expe the personal (female) body space, as a site of drama, an tra Bourque’s Ac rimental film history in Canada d the social body, all place uma, and a fragmentary ad st upbringing ha ian-Québecois background . While it would be far too ea her work in a unique positionruggle s sy , removed from had an impact on her imag Bourque herself has implied to make broad claims rega with er th rd of Michael Sn e dominant threads of En y. At any rate, Bourque’s vis that the religious environm ing gli ow en style of Arthur , the wry elegance of David sh Canadian avant-garde pr ceral, embodied visions are t of her Lip qu Beckett adapta sett or the hesitant cosm Rimmer, the conversationa oduction – the cerebral conc ite ologies of Jack l editing of Ph tio ilip Hoffman, th eptualism her lips-only po n Just Words (1991), one Ch am be rs . In ca e language play litical treatise Pierre Vallière n see the fairly direct influencearly efforts, such as Bourqu paranoid s is otherwise dispa somewhat foreign to Bour (1972), but at the same tim e of Joyce Wieland’s work, e’s Samuel pa e, qu fuses formalist rate artists as Vincent Gren e. Like certain other French even Wieland’s offbeat hu rticularly m ier the better-beh investigations with explicitly , Donigan Cumming, and Canadian experimentalists or and Sy aved Concep tual lineage in dramatic gestures, a full-thr lvie Laliberté come to mind (such Canadian art, oa can seem down ted Expressionism that, pla ), Bourque If any taxonom ced against y right jarring. question—tags might prove useful for unde to those who and labels are a critic’s brea rstanding what Bourque’s fi wa lm true cinematic tch or those who produce),d and butter but frequently s do (and of course, this is a “c while retaining o-production,” Bourque ha it may pertain to Bourque’s fool’s game and seldom us an open ef its concrete co int s heritage, has nnection to th been living and teaching in ersectional identity. At pres ul either be e distance may en affected by hybridity an image of home and the cir Boston for years, and so he ent a we d cu as raw material ll have provided the nece distance. On the one hand mstances of her Acadian r work, ss -Q , one of the mos . But even more than this, he ary remove which allowed the geographical as well as uébecois Bo te t r int ur wo qu er rk es e se tin to em g tre an s at her own sp mporal “tendency” (fo d most produc less tied a trend at r in favor of expli lack of a better word) has to tive tendencies in recent ex or scene, and more indica ial history cit pe and the Struct ly theatrical effects. This do with a general renunciat rimental film and video pr tive of is ac ur ion of austerity “certain tenden alists but taken them in fu a cinematic mode that has for its own sa tice. This nd int ke Jeanne Liotta cy” in many ways, connectin amentally different directio ernalized the lessons of Br , often , David Gatten, ns ak g occasionally ev and others wh her films to those of Phil So . Bourque’s work seems to hage en operatic re o have taken sh formal proced lomon, Lewis Klahr, Jennife are this alms. ures into emot r Bourque’s film ive, evocative Reeves, , and s are exacting the basis of m in their constru ys exemplifies th tery and presence, anxious ction, but unrelenting in their is better than Imprint, in som to vibrate before you like tu willingness to argue their façade is ther ca e e ning forks for the unconscio se on to the porch, again. It hovers and tremble ways Bourque’s simplest fi and a klatch of us lm s, we see a litt clearly in its sh girls huddled le girl on the rig but also, in my opinion, he . No film in ad r negative, subje ow. Bourque loops this pa a family pose just in front ht hand side of the screen finest. The of ru ss ct this space met s it to scratches and dust age, whites it out, prints it the house, not quite dwarfe nning up , ap d the paterfamilia horically “blind,” Oedipali and scrapes the emulsion ouin negative, sandwiches po by it but ze sit But the camer s), pans up, left, and around d. The shot, handheld by th t of the house’s windows, ive and rend a , e taker of this ends with a m circles back, down and to into the trees and sky, as home movie (p ering if edium close-u th p of two indist e right, into position once trying to avert his gaze from resumably from her hat. Th m inc loop, resulting en, cut. Bourque hole-punc t children, one clearly a gir ore, again and again. The sethis space. l in a kind of m icroscopic iris hes this and other scenes and the other most likely a quence and within the scen gir e. (Freud’s rem affixes them to other pass l judging es ark about child ren as “little de of the tectives”
Going Back Ho
me Imprint Jours en fleurs
L’éclat du ma
l / The Bleeding
art of It regarding the pr Self Portrait Po record, althoug ivate world of adulthood com st Mortem seemed like whh it is only apparent in retro es to mind.) On the soundtra sp ck ite ec : th no t e th ise ch at -c fro th how, at’s m the projector structural film s.) ’s sound head what it is. (On first viewing ch-chow of a skipping , not unlike th , e materialist so this repetitive noise unds one find By the middle s in many of Imprint, Bo urque is optic sprocket holes all , and out of the bending and twisting in mucy printing the blurred imager fra y within the fram me altogether. Movemen h the same manner as Fissu of the original strip moving t within the im e. Figures and age is redoub res. Framelines slip, the im free of the and rounded sp ac e m er ge led or bla age into an indistinc only for it to re cks. Eventually, developer t set of compo halted by the filmstrip’s m goes in tu sp multitude of wa rn in numerous hand-tinted ots and thrashed yellow lea sitions in blueprint blues, ovement pu close proximity ys that a single set of imag configurations. By this point der obliterate the image co re whites es m , set of maneuve of these iterations will affec can be manipulated, reco Bourque is clearly examini pletely, nfi ng t or Owen Land rs well within the parameter the viewer’s apprehension gured, and re-presented, an the of . s of structural experiments, the image’s denotative cont d how the such as those But then, as th conducted by ents—a Ken Jacobs e “home” and “fa image is nearly broken ap ar an old record mily” are on the verge of to t by collaged fragmentatio n ta of of the image ha Enrico Caruso singing “A l disintegration, Bourque int and bulbous white areas, an Dr ro molten-alchem s become feverish and mor eam.” By this point in Impr duces a new, final elemen d the t. int e y work, as we But Imprint is ll as David Ga agitated, evoking Brakhage , Bourque’s work on the su We hear dif tte rfa Brakhage’s, giv ferent from all of these. Bo n’s environmental-distress ’s hand-painted films, Solom ce ur fi impastos and ing Imprint the raw feel of an que’s painting style is scra lmstrips such as What the on’s tc W ph “inside” it. Impr ysical accumulations are excavated artifact. Unlike Sohier and more weatherbea ater Said. perceived as ex ten than int is clearly a lomon’s cinewo of the object. And, unlike Ga rk of additive and subtract isting on the surface of the metallurgy, Bourque’s ive filmstrip, and elements that tte not somehow affect Imprint, n’s films, Bourque employs sculpture, not a wholesale ch left buried for an a period of tim d most of her other films direct images and maintains emical reconfiguration as well. (Self Po e, is an except explicitly enga control over th ge ion rtr repetition in th with the plangency of song .) Nevertheless, Imprint sh ait Post Mortem, which Bo e e ar the film’s inter viewer’s psyche, in order to , the density of recorded m es an urgency and a willin urque nal time. gnes emor attain a transpo rtive experienc y, and the unconscious gli s to tc e, an “elsewh And this, I think ere” or an outs h of ide to makers I’ve dis , sums up what is special an cu history, ground ssed above, Bourque ha d valuable about Bourque’s s moved throug ed herself in pr films as a whole way to somet hing new. Wat actices and traditions that h numerous strands of expe . Like the other filmonce seemed ching Imprint, now, with the co rimental film an inc Fis to attend to film ncrete materiality of the filmstr sures, or L’éclat du mal, we ompatible, and is now po d video int not imitation.” ’s own parameters best su ip and the film image. That is, are allowed to exist in the ing the here mmed up by But at the sam we can satisfy Er making, to en e nie the formalist inj and time, Bourqu Gehr: “film te She no longer r zones of emotive contem e’s films allow us to move awis a real thing and as a real unctions pla th insists that film she succumb s actively prev tion, metaphorical connec ay from the surface of their ing it is to tion, and yes, en split your cons the simple gratifications of t spectatorship that mov even narrative own es you to anot ciousness, togg desire. co her ling you back nventional, non-materialist and forth betw story-cinema. time or place, nor does Louise Bourqu Ins een where yo u are and wher tead, Bourque’s films Her films have e is an Acadian-Québecois e you might ha be ve been. Sundance, Ro en presented in forty coun filmmaker living in the Bost on tte London. US br rdam, Toronto, Tribeca, Sa tries in five continents. Scre area where she teaches cin enings at inter oadcasts includ n Francisco, Ke em a. national festiva Robert Flaherty e PBS and th rala, Sao Paolo ls exhibitions at Film Seminar and as part of e Sundance Channel. Bour , Hong Kong, Melbourne include Mount Saint Vi qu an th e’s work was d e 2006 Whitne nc Ontario, Toront o; and Hallwall ent University, Halifax; Mille y Biennial. She has also bepresented at the 50th nnium Film W s Contempora en featured in or ry ks so Arts Center, Bu hop, New York lo Michael Sici ffalo. ; Cinemathequ ns e film and video ki is a writer and teacher cu , which he ha rre ntly living in s a regular cont ributor numer taught at Syracuse Univers Houston, TX. His area of sp ous publicatio ity (Germany). ns including Ci , Binghamton University, an ecialty is experimental nema Scope (Canada), Cine d UC Berkeley. He is aste (USA) an Talk to the Pi d Cargo e Louise Bourqu 4 e will be joined her film practic e. See p. 24 fo by Chris Gehman for a conv Monday April r details. ersation on 6, 3 PM.
We De ts r o ff E r u O ll tion A And to Perfec
On Screen P
l6 Monday Apri Ossington) Street West at en 7 PM ue Q 1 00 Theatre (1 ph Workman Jose an y What You C Admission: Pa
O’er the Land
Nature Morte i uple of Akram Zaatar , video, 11 min g takes of a co Lebanon, 2008 imarily consisting of two lon The elder of the two, . pr rkened room e, Mohammad Abu A quiet video working in a da nc men diligently r of the Lebanese Resista video All is Well On the be a former mem appeared in Zaatari’s 1997 es, while the younger siv Hammane (who e foreground making explo edle and thread. The th Border) sits in mending his jacket with a ne th Hammane exiting wi sits behind him ent actions of the men end cumentary nor fiction, do focused and int b on his shoulder. Neither tension between two m ent of silent ilitary the house, bo captures a mom t ambiguous m Zaatari’s video en, infusing this simple, ye ict in Lebanon. m nfl of co generations sistance and e history of re action with th
O’er the Land an tm Deborah Stra m, 51 min , presents a m O’er the Land USA, 2008, 16 an’s epic new 16mm film, d national identity. Ever tm an ra s el William Deborah St vated threat e story of Colon militarism, ele meditation on scope, the film begins with th ed from his fighter plane ct its eje o, in 1959, expansive in out the Force pilot wh tes tossed ab Rankin, an Air d spent the next 45 minu finally making it back an re fo et rstorm be Stratman at 48,000 fe a fierce thunde t To Be Here, stratosphere by in her 2002 film In Order No questions through the s As se . ole. say that po to land alive n-narrative es make up the wh constructs a no a series of documents that and Revolutionary War of vil Ci and jumps to juxtaposition crash, the film , firefighter drills From Rankin’s high school football games ng to, nor harshly , ibi ts cr en an’s re-enactm Neither subs her lens, Stratm conventions. machine gun triotic NRA fervor in front of to project our view st pa pa e d th esent an criticizing ns, freedom, gaze on the pr atise on natio film focuses its future, an open-ended tre e forward into th terror and fear.
On Screen P
Siting Cinema l6 Monday Apri Ossington) Street West at en 9 PM ue Q 1 00 Theatre (1 ph Workman
1) % Black Film Film Noir (100 o Jorge Lorenz mm, 5 min, silent cks the light , 35 ue film that blo Mexico, 2007 ock is an opaq . For almost five minutes, st d un so tic 35mm magne from casting onto the screen er, in its absence on the th of the projector screen is eliminated. Or ra e e? the frame of th e frame border the audienc th screen, does Daughter) d (Descartes’ The Diamon ll ndering Emily Wardi m, 11 min embodied wa m UK, 2008, 16 escartes’ Daughter) is a dis ond protected by lasers; (D m The Diamond from a film including: a dia a homemade version in through scenes playing on a Nintendo Wii uld dress his subjects l images of a gir that Étienne-Jules Marey wo ic experiments; and log e of the costum ting Chromophotography; refracting light, the uc ystal cr a e lik gments r in when cond te Words shat up: sentence fra to jump Ready Maids. eling off of the text breaking trying gh ou th as re e voice skipping dispassionat amended, the are repeated, error. ing a programm
Jose an y What You C Admission: Pa
om. But the outside the ro nce takes place n.” This quote from Robert rta po im y an nditio cing at’s of tions of our co Andrew V. Uroskie, introdu of “Everything th us of the limita n room reminds s the essay Siting Cinema by the contemporary exhibitio r t only Smithson open ct of locating a context fo g, with forms of cinema no lude oje the author’s pr Here, siting implies a doublin through strategies that inc ed . film and video cinematic experience quot and written word. e en located, but th toriography and the spok , his choreography
12 x 26 Mount Shasta
The Pitch gler make this Isabell Spen , video, 17 min ing to try and Germany, 2007 , thanks for coming. I’m go ve much time. Um, ha t um n’ ow you do ll you the “Okay, well, t because I kn d um, let me te short and swee e got this idea for a film an put any money on it...” to I’v , nt so but, yeah you can decide if you wa story and then “Narrative of elanie Klein’s gement of M rid Ab An : is Boy/Analys is” a Child Analys Steve Reinke video, 6 min Child Narrative of a , Canada, 2008 t of Melanie Klein’s seminal y-three sessions et en nin m l An abridge The origina colour plates. min Britten. Analysis with Music by Benja . en te six to winnowed
it—is ending as we know e universe— th ) en re sc e th (Just beyond Latimer cy pse looming Christine Lu video, 4 min digital apocaly , Canada, 2008 eo hybrid depicts a rainbow y. wa This film and vida floating cinema entrancedirectly outside Mount Shasta t a part of a scrip Oliver Husain 16mm, 8 min isualisation of ne of the scenario , ev 08 pr 20 a , is da re na he yli Ca ow presented e pitch the stor “The puppet sh at the moment. First, let m on ing rk wo I’m to you...” 12 x 26 terson Andrew J. Pa video, 6 min ated between , mber 26. Situ s 08 20 , da na Ca involving the nu s of Paterson’s word poem all s ion ct se A project in 12 sing title sequences, a serie sequences of 26 images. e opening and clo 26 letter alphabet. 26 fram its the forms of structural e vis run through th 12 parts. A project that re eo. in A soundtrack nology of contemporary vid film via the tech
the (Just Beyond
screen) the un
din know it—is en
On Screen P
The Limits of
What We Kno
Tuesday Apri l7 7 PM
Joseph Workm an Theatre (100 1 Queen Street Admission: Pa West at Ossin y What You C gton) an
The Limits of Amy Bodman What We Know Canada, 2008 , video, 94 min In 1993, Amy Bo to it. Over the dman took a small crew to co Zim 18 hours of 16 urse of nearly two months, babwe to make a film ab ou m returning to Ca m film and conducting int the four-person crew trave t the land and its people’s re erviews and fi led throughout lationship nada, Bodman eld the worked on the re film on and of cordings amounting to 40 country, shooting The end result ho f over the cour is se of the next urs of sound. Upon Drought and Th constructed around a serie 15 years. s of the country e Language of Trees—each of chapters—The Great Zim , th ba trees, or the he e making of clay pots, the of which explores issues bo bwe Monument, The Com posit th construction of than the accu arts of giraffes. The entire fi dams, as well concrete and ephemeral: th ion of lm m the natural an ulation of the whole. Throug , however, is less about th as the communication syst e history e d ems of environmenta the man made—The Limits h juxtapostion of all these ele particulars of each of these l critique. chapters of What We Kn ments—the tra ow is at once dit a documentary, ional and the modern, Though perhap a travelogue an d an period betwee s circumstantial by design, m n direction and ov her shooting in 1993 and uch of the power of Bodm its an er ’s film is develop completion in all resonance of from four year 2008, which ed through the work. Bo s state of relative of terrible drought and was dman visited Zimbabwe at has had a huge impact on the interim the shape, bo a pe time when the th in a period the land and th ace. As such, the Zimba bwe of the film of environmental and clim country was emerging is now framed e foliage alive and fertile, th ac ap tic pears, both rebirth as e people activ by the last de e and engage literally and metaphorically, well as in a ca strife fueled by d in their daylike sp conflicts in race de in the country’s history, to -d wh ay and battles ov ich has seen a lives. Yet this ring: er land owners ne w er a of Bodman’s sim ec hip. onomic and po footage ple litical and David Mac yet lyrical film is reminisc en Do t of ethnogra ugall, creatin conversation framing a shar g a filmic document that phic filmmakers such as Ro is both humble p and univers bert Gardner We Know stan al or an d specifics of th as documents: quiet portr analysis. The scenes and ch d generous to its subjects, Judith is time and pla aits of a peop ap with the te rs that make up le and their en ce as it is abou upon which th The Limits of vironment. It is ey subsist. It is t What guide. a film as much a film that loo a broader disconnect betw ks at tradition een civilization about the as a model fo r future develops and the ecosystems Amy Bodman ment, and his tory as a Institute, and was born in Detroit and mov in 1986 her firs ed City, the Montre t film, Tree Tale, to Toronto in 1980. She st of Life and Ot al Film Festival, the Videotro screened at the Independe udied film at Ryerson Polyt he n ec nt Fair of Young Fil r Tales from the Grimms sc Youth Festival and Cinemathe Film and Video Alliance in hnical re Qu Festival in Toro mmakers in Spain, the Hallw ened at the Vancouver Int que Ontario. Her next film Th ebec er alls Contempo nt rary Arts Centre national Film Festival, the Int e Duration the Athens Fil o, the Yorkton Short Film Fe m The Duration Festival in Ohio, the Emerso stival in Saskatchewan, th in Buffalo, the International ernational e St of of Colorado. Bo Life and Other Tales from th n Umbrella for the Arts, an Canadian Film Celebration orytellers’ d in Toronto. The Limth of these films are availab e Grimms was also on Stan the Gaslight Theatre in Mas Calgary, sachusetts. le th Br its of What W e Know is Am rough the Canadian Filmm akhage’s curriculum at the y Bodman’s fi University rst feature-len akers’ Distribution Centre (CFMDC), gth documen tary.
On Screen P
Various Small Tuesday Apri l7 9 PM
Fires and Ice
Joseph Workm an Theatre (100 1 Queen Street Admission: Pa West at Ossin y What You C gton) an The formal div isi temporality of ons between film and phot th og of Peter Wollen ese films and videos, com raphy dissolve in the ing to light in th serialized imag ’s essay Fire and Ice. Here, e shadow th e, in the cinema. occupying a context depe e temporal image is a As Wollen note ndent upon its functions in tim s, this is just on appearance circulation of th e. The other occurs on this e way that an image page, in the cu e republished rrency and image.
Bernadette Duncan Cam pbell UK, 2008, vid eo When the North , 37 min Devlin was pr ern Irish Republican politica oh l Sunday, she pu ibited from speaking in parlia activist Bernadette regretted she nched the home secretary ment after Bloody “didn’t get him and proclaimed obviously hard by the throat”. she only here fully reco to historically pin down, a fa The firebrand Devlin is gn ct with mediated ises in his celebration of he that Duncan Campbell im r footage with an ages of her, he mixes fact political spirit. Working an portrait of a co imation and scripted voiceov d fiction, documentary mmitted indivi er to create an dual. intriguing On the Logic of Dubious Hi Peter Miller storical Acco an unts, 1969-1 USA/German d Alexander Stewart 972 y, Between 1969 2008, 16mm (18fps), 5 min, an silent d 1972 NASA film bodies on astronauts th way to cut do e moon, bringing only the left 12 Hasselblad 500C wn fi sort of thing. – on unnecessary excess welm back with them as a Alexander Stew ight; if you be lieve that art and Peter Miller
ractor Retrato Ofici al Francisca Du (Official Portrait) ra Canada, 2009 n , Retrato Oficia video, 5 min l animates the desimulation an great liberator of Bernardo O’Hi Chile, nineteenth century d reconstruction of the ggins, and the re historical reach volutionary and republican dictator Augu st Raul Ruiz’s es o Pinochet. Based in part onof the late twentieth century sa Patricio Guzm y “Images of Images” and a conceit borrowed from an on Septem or ber 11, 1973, iginal footage shot by exploration of th th of video and st e mediated image and the e short video is an mne ill image techno logies. —Fran monic possibilities cisca Duran The Inversio n, Stephanie Ba Transcription, Evening Tr rb ack and Attra USA, 2008, vid er ctor A mechanized eo, 13 min voice relays ap proximately 25 over a series of sta photographs collages constructed by Ba tements about photograph of well known y artists (Uta Ba rber that recreate the Candida Hofe rth r, subtle superim Deborah Willis), each imag , Kohei Yoshiyuki, e ac position of the original photog companied by the raph.
On the Logic
of Dubious His
l (Official Portra
ccess: A d n a orpus n C o i t c ie 5 i a t P v a e r h m e T s e Talk to us Cin ilm Pre o F r e e n d r e a G G Avant- eorge Kuchar’s Saving G il 8 ) embers ssington day Apr Ontario m West at O t e e Wednes u e q tr e S th 1 Queen s/Cinema 7 PM atre (100 rs, Image man The ts, senio ork 8 studen Joseph W general/$ 0 1 $ : n Admissio
I, An Act
VD n’s two-D oundatio classics of F n o ti a Preserv eo debut of 26 I, A id tional Film st avantof the Na 7-1986, a home-v merica’s foremo lm. e s a le re 4 d fA l fi 9 e o ta it 1 n a , rk e o w m ilm w -a ri F e e t the long an Avant-Garde cases th on needs of exp h brough ti ric s IV show This Marc easures IV: Ame aking. Treasure special preserva me of the or m e Tr s offer so F box set, experimental film ws attention to th arde film their own work. g tn va a , g American archives and dra onditions d with preservin hly flammable film c r o o p r e ig le de garde film tored un lmmakers concern nitrate film, the h te’s nonflammab nt d often s string an to archives and fi ost exclusively on shown that nitrasession will prese e o h s a Made on sing challenges oncentrated alm ssing years have problems. This t years. a n s c n most pre preservationists fortunately, the p rious deterioratio s evolved in rece n a , ental decades d before 1950. U , has its own se rvation agenda h n instrum lm e e have bee reservation o h w ls stock us , acetate safety fi ate how the pres a individu r, National Film P irector, ith three to substitute es and demonstr t (D u cussion w rt (Assistant Direc and Haden Gues from Kuchar’s is d d n a these iss e s s); talk mb lm e a fi a iv L h d e ff e b rc e rv J A ill prese films: y Film gram w Antholog g of three e Kuchar’s g the pro Beginnin rvation of Georg ert (Film Archivist, will be a screenin se lk p funded in the pre n); Andrew Lam mpanying the ta . program o o s Masters e rd a Foundati ilm Archive). Acc 60s, 70s and 80 G tn n. F h the Ava ation Foundatio Harvard ork spanning the rv d throug nd preserve tional Film Prese re e w body of w Archive a b f the Bom istered by the Na arvard Film o H t h h it ig w N n admin pri and operatio Motel Ca Foundation and hive in co c Film Arc ifi c a P by the Film e d by th preserve ess was I, An Actr uchar. George K mnation. a soul da apri Motel C 6, 16mm, 18 min murder to spare s 8 stitute. USA, 19 Superior commit co Art In r n Francis as set up the a S e A Mothe th t run ent w mine a dents of the heavy equipm es ten minutes to tress r five stu I, An Ac 7, 16mm, 9 min utes with four o s. By the time all 00 feet of film tak out. in s s 7 USA, 19 as shot in ten m r a girl in the cla minutes. Since 4 n’t stop till it run o w n fo This film e a screen-test ll we had was te ust start it and d b J a It was to just about over; was the answer: s t class wa e camera ... tha ages. th le for the through tionary ta u a c a te b rea bine to c the Bom Night of 3, 16mm, 18 min delinquence com b the Bom 6 d of 9 e 1 g ht , n ig N USA dera lust and Teenage obyl of Comedy. rn e h C The ar) rge Kuch s by Geo te o n lm fi (all n Actress
t n e d u t S r o f S is
April 8 Wednesday Street West) 9 PM (1001 Queen tre ea Th an ph Workm Jose an y What You C Admission: Pa
eppard to), Owen Sh n ro o T f o y n) it of Art & Desig Choi (Univers e o g o J e n ll u o y C H o a ri iy son (Onta Curated by L tthew William a M d n a ), y it rt Annual Repo (York Univers
Morning Will Co
Nu hander de
t The Red Carpe
a Cristina Brag rtugal University of Po video, 5 min , fixed to their Portugal, 2008 ic gorillas with numbers af tailed and st de is pla y Th ? an ar m ye w is Ho the daily nced for you th asses have da otion almanac counts down -m op st l fu ht lig de goings-on.
ll Never Catch
t igen (They Wi
et The Red Carp er Joerg Homm Berlin ts University of Ar , video, 5 min ariot, and let Germany, 2008ed, step down from your ch ants, let there rv “Now my belov y lord, touch the Earth. Se ed to see, m ct not your foot, re the house he never expe Agamemnon .” be spread befo ds him in, a crimson path lea where Justice by Aeschylus tch Us) Will Never Ca t igen (They Nu hander de rg and Gabriel Watson Frank Aschbe in em Diagonal Akad video, 5 min , of slow motion Sweden, 2008 re! Perhaps the best use wa Gentlemen be her year. in this or any ot
In Between kauf ne Mischa Lein edia Arts Colog M of y em ad Ac in m 9 , eo vid , journey is the Germany, 2008 r tests the old adage “the ca nd ha ay al! ilw sic ra hy A t’s get (meta)p destination.” Le when I cry It only hurts e yr nt cI M el ni Da by. York University 16mm/video, 6 min , e goes slowly Canada, 2008 ly even think of him, as tim when I cry... rd rts ...You see I ha nothing’s wrong; it only hu if I just go on as Spinners Fern Silva the Bard College mm, 7 min s of the past at USA, 2008, 16 16mm film revisits passion l This old-schoo k. roller-skating rin
ry Verbal Burgla i Mani Mazinan of Art and Design Ontario College video, 4 min Wu-Tang , Canada, 2008 tionary get put through the ree of video Pages of the dicd come out as a smooth pu Clan blender an mayhem. Insides Those Crazy Ben Wheele nt University Nottingham Tre , 7 min h animated eo UK, 2008, vid oscope were this sexy... lusvegetarian. icr a If only a real m yet another reason to be textures provide uis I Love (St.) Lo yk Joe Lachajcz wa University of Io m, 6 min e m th an overactiv USA, 2008, 16 t naïve and ambitious, wi o trouble. ha int ew elf Lucy is som getting hers th a cartoon d a knack for imagination an er, she and Ricky co-star wi ev ch. as Charming e Gateway Ar ips through th shark doing fl r the Student e screening fo Join us after th 92 Queen Street West The Beaver, 11 FREE
Child Altan Yücel iversity Istanbul Bilgi Un eo, 1 min e. vid d enjoy the rid Turkey, 2008, eath, relax, an Take a deep br Come Morning Will adeh Dezfoulian riz Pouyan Jafa tween York University video, 17 min , nal tensions be Canada, 2008 offer a glimpse of generatio the screen and drift es ss Haunting imag e for freedom. Swim acro a vase can contain sir tradition and de of lovers and rivers; see how s through dream the ocean.
On Screen P
43 After 66 ril 9
Thursday Ap 7 PM
Street West at (1087 Queen Theatre Centre an y What You C Admission: Pa
Monk itself.” — Philip Warhol are ’s return upon lm fi in s ge an ad and Andy “Something ch s by Tony Conr ip. For his performance lm fi of rn tu re sh ructural contemporary but by way of dual-author of these two st o projects, the e, With these tw ugh the appropriated imag rger retain the frameworks absent from the originals. e be ro framed not th Ian White and Althea Thau rms for subjectivities that ar , y them as platfo -signed. and for her film ing so redeplo co films, and in do Chelsea Girls; signed and d The Flicker an
Chelsea Girls g Ibiza: a readin
for “The Flicke
Flicker” ing for “The Flicker are Ibiza: a read 1966 film The Ian White min Tony Conrad’s n about the real: an asserof 40 , s ce en an og rm cin rfo llu iza is a questio ergy, a response to a UK, 2008, Pe ory and the image-less ha en in a face-off. Ib st A real life true aneously, like parallel lines with nonetheless some good e. Not Ibiza, but the room ult s ac es sim sp d sn ry te les ina en pe ag es ho im pr e or a kind of al history and tion of differenc d a specific time, a person an ce pla c ifi ec sp White we’re in. – Ian 66 Andy Chelsea Girls rger ct takes the 19 berger’s proje oduce a portrait of a Althea Thaube2 x 16mm, 64 min au Th ia, or ct Vi r , pr Canada, 2008 by the Art Gallery of Greate parture to collaboratively ents. Living on site for de Commissioned e same name as a point of tical issues affecting the residand visual recordings that th Warhol film of complex and the socio-poli th the inhabitants, the audio ion format as Warhol’s ct wi Victoria housing der to work collaboratively side in the same dual-proje or two months in uced are presented side byrallel lives. od Thauberger pr the plural experiences of pa g film, suggestin
On Screen P
the Lo in d in M r u o Y e with
I Want to Wre ril 9
Thursday Ap 9 PM
Street West at (1087 Queen Theatre Centre an y What You C Admission: Pa
How to Lose
s Commercial services such Erica Eyres video, 7 min products and , Canada, 2007 k advertisements for various ncement tapes and the ha A series of moc s, Uplift self-confidence en an as Psychic Je ll. fake pet Fur Ba Women Men Seeking ne La y nn “men seeking Pe eo, 5 min ents a series of USA, 2007, vid erated “average male” pres morous, and at times hu en , A computer-g und on Craigslist. An ironic women” ads fo ent on the “personal” ad. m disturbing com ter Close Encoun t Zak Tatham video, 7 min y work withou , does not reall Canada, 2008 and give advice to yourself ’s not just physical. at h Trying to touc angle or a good workout th an edgy love tri
! Holy Smokes an ous Loren Hartm eo, 12 min -paced, humor USA, 2007, vid Gilles Deleuze in this fast r tongue. A vitriolic ts he Rip Taylor mee of masculinity and the mot ultiple personae m deconstruction Loren Hartman) presents donment of language a Larry Pirata (ak and pratfall toward an aban and queer politics, r er that rant, swea as the location of transgend movement and and biography tead the nebulous space of investigating ins es a talking horse! lud utterance. Inc Consciousnes How to Lose ently Gary Kibbins video, 17 min g incisive, frequ , Canada, 2008 th language and text, craftinical language games wi Kibbins plays s akin to poetry or philosoph ious belief, torture and lig humorous gem mptive constellation of re de in this “non-re .” rm meaningless fo dino r Made Judith van de , 2008, 16mm, 30 sec ration of ds a surreal illust The Netherlan -motion aesthetics, dino is conversation. Sorry, m op wanders fro Using lo-fi st when your mind that moment st say?! ju u what did yo
’s Girlfriend Someone Elserald Craig ppella James Fritzge video, 2 min ulti-voice, a ca , Canada, 2008 r 8 footage and a found, m portrait of an unknown pe ul Using found Su gerald Craig creates a wistf title, combined with the itz ’s soundtrack, Fr out into the ocean. The film lnerability of the human voice g woman wadin footage and the haunting vu real and metaphorical. th rry degraded, blu s gone by—bo ies of summer evokes memor Before ys I’ve Loved To All the Bo Ariel Smith the phone to , video, 4 min s, waiting for Canada, 2008 her gothic fairytale confine lover’s phone call. e in siv on the elu A girl sits with humorous take ring... A darkly
To All the Boys
I‘ve Loved Be
dino Women Men Seeking
Super 8 Late
Curated by C
Thursday Ap ril 9 11 PM
Theatre Centre (1087 Queen Street West) Admission: Pa y What You C an Aufhebung François Boué Germany/USA, 20
07, Super 8, 8 min 1997A (Arrival ) Steve Polta USA, 1997, Su per 8, 10 min Mylar Balloon Jason Halprin Rip Off USA, 2007, Su per 8, 3 min Light Speed Karen Johann USA, 2007, Su esen per 8, 6 min
A House Full of Dust Steve Polta USA, 2007, Su per 8, 10 min Some Days Ag Takehiro Naka o (Kajitu) Japan, 2008, mura Super 8, 5 min Des nuages au Philippe Cote x fêlures de la terre France, 2007, Super 8, 18 m in
Mylar Balloon On a descriptiv Rip Off station, momene level these films are unam big ts uo in us an apartment. resonate throug To stop there, —documents of movers, a however, is to train entering format of Supe h each of these films. It is an underg ignore th ap r 8, transform unassuming th ing the smalles propriate that these films ex e expressive undercurrents round at its obituary t of frames int that ist so lely and singu creates beautifu o the richest of has long ago lar ly on the intim been written, experiences. Th l clouds. ate but these six is is a form filmmakers sh ow that even at so Most of these evaporation filmmakers star home-movie fo t from the com through her bli rmat. In Light Speed, Karen monplace, the everyday, re co nds and the pa Jo of a passagew rallel patterns hannesen creates an extre gnizing the medium’s histo ay ry Full of Dust find and the chain-link fence she finds in her immediate mely kinetic film from the lig as a vic of ht coming dust and light s him capturing the detaile her yard. Steve Polta’s ap inity—her fire escape, the pr d , while 1997A br (Arrival) succinc moments of a home, foregr oach is more contemplativ ick wall Takehiro Naka e. m ou glass apple, th ura also abstracts his surro tly draws out a beautiful ab nding the passage of shad A House straction from e kind that inn undings in So ows, his apocalyptical m ocuously sits nightmare. on a family co e Days Ago (Kajitu) by shoo morning commute. ffee table, disto ting through a rting his neigh Philippe Cote borhood into crystal ’s an roughly translat film is anything but common Mount Blanc. es as the clouds in the fissur place, harnessing instead th Through beau tifully graphic es of the earth, and it finds e energies of high altitudes. furious cloud co pa him traveling up Its Mylar Balloon tterns that circulate around mpositions and a stunning the French Al title Ri us the irony of his p Off watches more sedate the glaciers and peaks of th e of time lapse, he reveals ps to em th title and of his air currents, th muse. is time man-m ountain range. Jason Halpr e ade, in a subt in’s François Boué le fi lm th at belies both ’s Aufhebung, wh document of New York m ov philosophical ich is another clue to the te ers lifting large crates up a cir ns st carrying forth cles it also translates into su ion in these films. The title airwell is given the German a lite so precariously tradition. Perhaps this is th blation—superseding, putti rally means up-lifting, but title e ng an end to, in but simultaneo preserves a fu balanced—each projection process at work in these fi ne ture. us is a small act of destruction ly wrought films, made in a ly , but also an ac m t that brings fo edium rth and
Art Since 196 0
Friday April 1 0 7 PM
s & Cory Arca
Theatre Centre (1087 Queen Street West at Admission: $1 Dovercourt) 0 general/$8 st udents, senior s, members
How is the int er participation, net changing our perceptio th n self-regulating e internet presents an idios of art? In its indiscriminate yn ca m reinterpretation echanisms of the internet cratic account of art since taloguing and non-hegem make artworks onic 19 by its users. and art world 60. The democratic and information ea Hosted by Plea sily accessible for informal multim sure Dome and the Images Festival, Art Si edia lecture pr discourse on es nc en e 1960 (Acc ted by Hann co normally gove ntemporary art that is unfo e Mugaas and Cory Arcangording to the Internet) is an rn ldi users,” states the systematization of art ng on the world wide web. el that examines the alterna ar te M museum is re ugaas. The academic discip e dismantled by the search “The control systems that jec are overwhelm ted by internet users post line of art history is bypass algorithms and whims of ho ing on art. Ce ed rtainly institutioned and the curatorial rigour me results when th by the sheer quantity of of po s irrelevant and is level of discourse is lost? sts by users who ignore th have their websites, but th the elitist notions? eir ey Are the long es tablished theo methodologies. What are th ries of art mer Gathering toge ely fusty conc e eits; th and how they er art images, video and au ar ideas has resu e contextualized by its user dio, Mugaas and Arcangel surv lted in a variety s. of contiguities, They offer their view on ho ey the internet’s art collect w this open so ion conflations an Cory Arcang urcing of art an s d co llisions. el d Check out an is an internationally renown d try out his re programming ed digital hacker known fo r his works at www. beigerecords.c conceptual art projects. Hanne Mugaa om/cory/tags /artwork/. View her colle s is a curator of art ephem er ction of audio visual posting a as well as a thought prov s at http://hann oking art and culture pundit. e-mugaas.com /artblog/.
ch for n u a l d n ening a e
by Brett Curated
al INC the journ
t West) pril 10 en Stree e u Q Friday A 2 5 structure ell Art (9 ss pose and Canadian s to com er Three, Ben Ru k-out ry n a ra e 9 PM o m p a usic as tive frea s Numb Contem of n Museum t You Ca Pay Wha : n io s is Adm
t of e Trypp mploy m ’s collec Others e Black and Whit a rock audience yers it to the poin e In g . h in in th s it la d rm m e S fo p s llp image n e a a B Tr elly’s n’s time, tr ichael distends ce ritual, while M daptation of R. K sman Richardso Ta s a n into a tra sure in his dense what you see in ys 80s icons in it nt. o e lo visual era hat you hear is als oncrète that dep military recruitm d Closet. W , a video-audio c mote warfare an rming footage e of fo re The Gam of video games, ilar terrain, trans seething morass d n mash-up urata explores simFirst Blood into a h Xander Marro a ,” d : Takeshi M 982 film Rambo program ends wit e/whiplash “rewin 1 from the abstraction. The gle-frame barrag ll. a in electronic man’s 01/06, a s t, improvised squ k Mat Brin artists’ discordan g Thing) tty Youn set to the PYT (Pre ik te ng Lot Tara Ma 4, video, 4 min etal Parki 00 2 Heavy M , A ed S at U m The Ani y’s f R. Kell every rs 1-12 o loset Synced at occurs s for te th p a n o h n C e C in the sly l phenom h the time it take Trapped ed Simultaneou it it strologica rn is an a life; coinciding w s” to the degree hold lay tu P e R d h n it rn a s rn tu m t “retu erson’s Bell-S The Sa jor thre ing the plane ver a ma ars in a p Michael 5, video, 4 min 27-30 ye orbit the sun. As birth, we cross o currently undergo 00 2 , A S r U is re u to , n hind e of o Saturn neratio youth be at the tim e. My ge e occupied e next stage of lif me when we leaveture. ti th 01/06 The Gam ichardson fu e e to and in min Return, tholidify plans for th an R m rn d s n tu a a a T ri S t ta s , video, 4 its firs ces via A ntities ast, and da, 2007 n p a e n e ri a e th C p x te e ide al evalua ared virtu ces. We changed concept t) s, we sh (Pink Do in the 80 ones and post offi bcultures, a novel TV p u Untitled urata g in h d n su yp a Grow a d M , p n i s a h e g imag styles d usin Takes , 5 min networke ing in and out of rned sounds into Rs put recording 07, video p C USA, 20 often, slip e. Music videos tu Mix-tapes and V , and sampling . ic ls at the tim r social exchange ands of individua abling new mus ander n u 01/06 n and X framed o osition into the h duction further, e Brinkma t a p M ro . ta d x -p e ju of re ook and the overl d the field Marro 6, 16mm, 13 min logical expande from the old and 0 . Techno s and e d e USA, 20 fa rg e to m n e to e Three ons bega traded in our tap m the ti Number lia ps ffi yp a l Tr t fro cen We d White erimenta hanges. s, adoles guidance ntiBlack an al of Exp tics is a rn u o In the 90 lleled personal c lue in rigor and ging form and a art J ! E l e n esth va ra e INCIT avy Meta shifts pa Ds. Some found s pursuit of challe and embrace th . to the Radical A ated He d Media & ation dedicated munity The Anim ot bought C e, especially in it ct popular culture ntemporary worl lic m b o u c p L and rd o new Parking pnet avant-ga st stance. To reje treat from the c the bomb. and e, culture u ri re re discours ental film, video ade Leslie S 8, video, 2 min consume and 70s was to nd noise rock we m ri e p x handm d e 0 l g f 0 s a a o 2 in 0 n , 6 rg A lm tio e e fi S l ra M U u of th ybri ia. tura nce for d avelength ile, struc new med platforms, this h f our patie e Trypps For a wh e’ve lost Snow re-made W in radical d online sses the lack o nd nd Whit w n a , a k m c iu la n l n B ille red hae lm a ddre Three e new m has ushe over Even Mic journal a ention afforded fi Number sell Now, in th and jam bands. e time. YouTube n’t trust anyone in y. tt a a m d l 1 a to 1 c g o s criti Ben Rus 7, 35mm/16mm, ts workin aesthetic who don’t have th utes (the new “D al, and portable. s. 0 edia artis nline.net 0 ic in m 2 ve e rt , o s m A o m ve 0 S , th 1 w e U r r ne fo ite-o be concis ome othing ove y are the www.inc ning: H brevity: n ant our media to and simultaneit instream and bec ic ed Liste n w s rm a o e u o ti m a rf W m s e . , e n n e ”) P e o tr d g n 30 lson sion, con s and ce res have Marisa O7, video, 7min Compres e time, subcultu eeting of margin abulary of shared 00 m m c 2 a , is s vo A e th e S th d U In a t . A a readym rms, tags search te sageway, offering motional cues. e The s e s a d p n a e h Messag ric th rt and mas o is h histories and La ce and s d r n n e e u v ri li ro e O , 2 min p rg d x e e 07, video the soun both und USA, 20 tion from reening sublimate ression. Leslie a ir p s in g p c On Absorbin e works in this s transcendent ex Lot illustrates her All Shine h And We Robinson culture, th e music to reac vy Metal Parking lassic, remaining g: l e a in c th Micha 6, 16mm, 7 min visualize The Animated He 86 documentary Performed Listen 00 Supnet’s enes from the 19 . Marisa Olson’s ik’s PYT re-vision ing, USA, 2 le c g Happy favorite s its no-budget sty he, and Tara Mate rnalizing, rearran We orry Be te Don’t W l mix) faithful to aric’s Message T e 70s and 80s, in l Robinson’s And ile, fu L h s e H, Oliver tial songs from th ve lyrics. Micha e Happy, meanw ive (stres Ciocci n ti ss quintesse out their respec ci’s Don’t Worry B singles for expre ing Jacob 005, video, 3 min g it c s USA, 2 and actin n and Jacob Cio a pair of familiar h r his NJS Map, u w O e All Shine iguous signifiers to silent treatment fo velopment of “N p e NJS Ma e weld amb th Price prefers a e the historical d . c in in Seth Pri 1-02, video, 2 m affect. Se diagrams to outl t influential genre 0 u USA, 20 animated g,” a forgotten b in Jack Sw
Bryant / Migo Friday April 1 0 11 PM
ne / Parant /
Theatre Centre (1087 Queen Street West at Admission: $1 Dovercourt) 0 general/$8 st udents, senior s, members
A double bill of Lemieux. Russ cinema beyond the screen fe ell Gods, which re (who is currently the Visit aturing 16mm projection pe ing performance visits a clip from his own film Artist in Residence at LIF rformances by Ben Russell ble T) an various physica nds the loops from the film Daumë as the basis for a do will present The Black and d Karl W abstracted field l interventions between len with a soundtrack compose uble-projection performance hite s and screen of bodily expe to “interrogate d with hand-built synths as . The rience.” the possibility we of representatio ll as Over the past se n via the performances veral years Montréal-base d th or four project at redefine the classical av Lemieux has been creating ion an ranging from old s at a time Lemieux build t-garde tropes of hand-m a body of multi-projector 16 s an m drawing on, sc westerns to educational fi loops from a library of foun ipulated film. Often working m film d lm ra burn and disint tching, and cutting into th s. Lemieux pushes these footage, stitching together with three cellu e em imagery egrate in the lig collaborating ht. Memory Da ulsion as he slows the loo loid loops to their physica wi loops and ele th Christof Migone, Jonath ta Register is a new perfo ps into trance-like flickers l limits: ctronics. an Parant and that rmance in wh ich David Bryant who will be pla Lemieux will be ying reel to re Ben Russell el tape is screened in sp an itinerant photographer, cu ac Company build es ranging from 14th cent rator and experimental film ur /v storefronts an ings, police station basemen y Belgian monasteries to 17 ideomaker whose works ha d the Sundan ce Film Festiva ts to outdoor punk squats th century East Indian Trad ve , l to the Museu Japanese cinem ing m of Modern Karl Lemieux atheques to Pa Art. risian (1998), KI (200 studied cinema at Concordia 1), Motion of Lig University and (2008). He is ha ht s (2 cr 00 ea 4) te , W d a se and screening co-founder of Double Nega estern Sunburn (2007), Tras veral short films including tive, a film colle h Th of experimenta ctive based in and no star! (2008) and Pa e Bridge l film. ss Montréal focu David Bryant sed on the prod age is uction You! Black Em a founding member and a pe atmosphere, so ror and Set Fire To Flames driving creative force behin d . studio in Griffi und landscapes and unorth It was in the latter group th Montréal musical collective odox recording ntown, Montre s at al. techniques. Cu Bryant developed his obse Godspeed rrently, Bryant ss Christof Mig runs The Pines ion with one is a multidi recording bodies, perform sciplinary artis t retrospective ance, intimacy, complicity and writer. His work and re on his work ac an se companied by d endurance. In 2006, the arch delves into language, Ga a catalogue an vo Jonathan Pa d a DVD entitled lerie de l’UQAM presented ice, rant has work a Christof Migo ed with Montré Flames (Alien8 ne Tro u. al the collective recordings) and Feux Thérès music collective Fly Pan Am Just’Au Crane e (Constellation (Constellation with Montréal (w musical collect ith Alexandre St-Onge) an records). He also works as records), Set Fire to d ives Kantnaga no and Meurtr Pac Pac (with Simon Brow a radical performer with n). He is now e. working
Saturday Ap ril 11 1:30 PM
Joseph Workm an Theatre (100 1 Queen Street Admission: Pa West at Ossin y What You C gton) an In 2008, The Im year-long resid ages Festival and Charles St en were submitted cies to five mid-career an reet Video teamed up to of d fe the awards ce in the spring of 2008 and established artists. Propos r wi als re “curse”, the wi mony of the 2008 Images nners were announced at Fest nning artists we this in any wa re left to prod ival. Given the theme of y results, which they saw fit. One year on, weuce a work that interpreted range from Ar gentinean altar are presented with the s to Greek myth ology.
Altars Guillermina Bu Canada, 2009 zio , In Argentina it video, 6 min is devoted to pe not unusual to come acro ss op accidents or so le who have tragically died popular altars roads you will cial injustices. If you travel because of alo en streets of Buen counter a Gauchito Gil alt ng Argentinean ar, others. Consta os Aires is an altar from Crog and in the nt interventions int ly in flux, these altars act magnon, among as ephemeral o public spac e. Curse Cures Lesley Loksi Ch Canada, 2009 an , The arrival of video, 10 min a factory. This st new worker causes change s in ory is a reflectio n on labour an a blue jeans d transparenc y. The Professo r and the Blin Penny McCan d Girl Canada, 2009 n , video, 7 min A young soldi er War I finds him newly returned from the ba ttl self adrift and and unable to alone, traumat efields of World sp ized by the wa Professor and eak. A chance encounter r wi his his power of sp companion, a young Blind th a strange eech and with Girl, restores it, his hope fo r the future.
Believing Mak Steev Morga es it So n Canada, 2009 , Do you feel cu video, 2 min rs Aside from the ed? Research indicates yo u and co-worke day-to-day curses of your sp probably are. rs fatwas, papal there are the institutional cu ouse, neighbors bu Apocalypse. BA lls and of course the bigge rses, such as st of curses using NISHIT! provides instant re one of all, the lie technology. Ge a unique blend of ancient an f from all manner t yours now! d post-moder n Ariadne’s Th re Sarah Sham ad as Canada, 2009 h , This experimen video, 12 min myth wherein tal short film takes its name Ar fro to kill the Mino iadne falls in love with Thes m the Greek ta eus who seek gives Theseus ur in Daedalus’ labyrinth. s Cl a way out of the ball of red thread so that ever Ariadne he may find his labyrinth after the artist/filmm killing the Mino ak is each person er is as convoluted as the taur. The path of ’s life trajectory. lab to another, the From one arch yrinth itself, as itectural maz weaves in and red thread leads the viewer on a journey th e ou intrusive presen t of a dream like state an d an occasiona at t reality. lly
On Screen P
Saturday Ap ril 11 3 PM
Joseph Workm an Theatre (100 1 Queen Street Admission: Pa West at Ossin y What You C gton) an
Hotel Diaries John Smith United Kingdo m, 20
01-2007, video , 82 min Made over six years in the ho connect Smith tels of six diffe ’s re upon elements personal experience to th nt countries, Hotel Diaries e is architecture, fu of chance and coincidence, ongoing conflicts in the Midd a series of video recording rn s linked to majo ishing and decoration becothe hotel room is employed le East. In these works, wh that r world events as ich me the means . by which the a “found” film set, where th play filmmaker’s sm e Comprised of all adventures se are which Smith lau ven short chapters, each wo In these extem nches into a sharp and witty rk is a single take lasting be poraneous ad tw monologue m observations dr eandering thro een five and fifteen minute es se s, Smith in which leads to the most critical of situatio finds a way to make the m ugh a series of free associa s, during ns un rier wall that lur the border crossing in Gaza : a triangular-shaped choc dane significant and forms tions. olate ; in ob ks just outside his window an a hotel room in Bethlehem bar leads to the pyramids lique , his gaze is div d the mysterio in Egypt, Smith’s videos us ide ris d be e and fall of th ar e ceiling tiles in tween the barthat unpacks an e the most subtle of works, his room. ne stake out a po issue from the side or botto ver approaching an idea dir sit m time of war. Ini ion for the viewer at the bo , rather than the top. Throug ectly, but instead developing rd tia an Blair and Bush ted in 2001 and completed er of the conflicts in Palestin h his comedic strategies, Sm analysis e, Ira in regimes, captur ith ing snippets of 2007, Hotel Diaries stands as q and the general global cli ’s works m news and even a John Smith wa ts through Sm record of the War on Terro ate at a r and the ith’s insightful ga he became inv s born in London in 1952 ze . an olved in the ac Materialist ide tivities of the Lod studied film at the Royal as College of Art. power of narra that dominated British artis ndon Filmmakers’ Co-op. Af tiv Strongly influe ter graduating in 1977 reality, playfully e and the spoken word, he ts’ filmmaking at that time, nced by the St bu ructural ex ha t plo als s de o ring and expo film, video and sing the langu veloped a body of work wh fascinated by the immersiv age of cinema. e ich reworks an the world and installation works that have Since 19 d transfo be aw He teaches pa arded major prizes at man en shown in cinemas, art 72 John Smith has made ov rms ga rt-time at the y er lle int fo rie er rty s and on national fi University of Ea st London wh lm festivals. John Smith livestelevision throughout ere he is Profes sor of Fine Art. and works in London.
On Screen P
emory M e v ti c e ll o C e as a
p The Landsca ril 11
Saturday Ap 6 PM
on est at Ossingt ueen Street W
1Q an Theatre (100 Joseph Workm an y What You C Admission: Pa
(is not well do
Quiero Ver Adele Horne eo, 6 min ve Desert on in the Moja USA, 2008, vid le gather near Lopez Cany of cameras towards es op inting all typ ages they Crowds of pe each month, po ations in the im th the on the 13th of pare the abstract light form s bo re plo ex t en m the sun to co Horne’s document of the ev c rituals and spiritual bli . have captured ological means of these pu material and ide s. transformation Revival es in Heidi Phillips 16mm, 8 min rious thrift stor , Canada, 2009 per 8 originals found in va ces of barren en Su Composed of s’ film brings together sequ g helicopters to rin Montréal, Philliptstretched hands and hove d rescue. an landscapes, ou e a sense of isolation, risk hauntingly evok
ver Nothing Nothing is O hwartz Sc an ere he Jonath and others wh mm, 17 min USA, 2008, 16 r places where the lord fell, ks...we found...was he ar ot dm re lan d that There we curious ed and scarre e of the most rested; but on built into a house...so seem e human face. One th e to on e st nc mbla es did a certain grotesque rese e that the ston it bore a sort of id, “But there is no evidenc said calmly, “This is sa He s . im ne gr re , The of the pil rfectly se t.” – Mark Twain guide was pe cry out.” The es that would have cried ou on st e th one of ad Innocents Abro mented) not well docu mechanics (is of ty si ro ne the ge ahl t. The Troy Gronsd video, 1 min wheel alignmen , Canada, 2008 was in desperate need of a thing shook like crazy. n “That old truck was jittery; in fact, the dam e vehicle inspected. l t to have th en m steering whee t on this int po ap led an cumented, bu Harold schedu of mechanics is not well do wheel alignment was a y termined that termined that Harold’s The generosit sion, it was de de e tremors particular occa Upon further inquiry it was e shoulder. Th not necessary. e when he raised it above th ry.” arm would shak rold continued to wash cutle had started; Ha v = d/t n Christie een Amanda Daw 16mm, 8 min distances betw , 08 20 , da of measuring d y ise ilit Cana pr ib m ss co po is e es th dtrack This film explor ugh time zones. The soun ail when individuals ro t on voicem lef ple and s loved ones th ge sa es m ts present sim one of personal ph ect, while the visual elemen s. could not conn ages of antique telephone im contemplative
Kalendar Naomi Uman mm, 10 min an made while USA, 2008, 16 of six recent works by Um recent years. e in on ral Ukraine Kalendar is village in cent h the months living in a small itative her film cycles throug of the seasons ls ed Silent and m menting the timeless ritua early 20th e of a year, docu e Uman’s family lived in th er in the area wh fleeing to the west. century before
Path an in Elvira Finnig video, 3 min e, constructed , Canada, 2007 Hampton Court Palace maz maze in the world, ing e th ist of ex s e ou ag fam Foot itoba’s aps the most found in Man d to limit 1689 and perh th Anishinabe petroforms ne sig de e es ar wi is contrasted . The structure of the hedg nged in patterns of ra Whiteshell area of the Canadian Shield, ar to inspire teaching s sight; the rock and humans, were created wisdom of colonizing e turtles, snakes re, Finnigan interrogates th and healing. Hed culture. versus colonize
Buried Traces ith ive of Michelle Sm video, 8 min , s upon an arch Canada, 2008 four chapters, Smith draw plore the cultural ex In this video in photographed images to ich the history of d both found an is identity and the way in wh subsumed within ét d, hybridity of M main hidden or uncovere re its people still tionality in Canada. narratives of na
CLOSING NIG HT GALA! Live Images 7
Cloud Eye Co
Saturday Ap ril 11 9 PM
ntrol and Amm
Theatre Centre (1087 Queen Street West at Admission: $1 Dovercourt) 5 general/$12 students, seni ors, members
Lucid Living. Ph This year’s Im oto courtesy of Holly Andres ag Angeles-based es Closing Night Extravaga nz co a lle fe ct at ive Cloud Eye ures a double both of these Contro bill with groups repres ent a fresh, ne l. Combining pop music, liv Toronto’s Ammo Factory an e w take on mult Opening the sh imedia perform performance and video projed the Los ance. ctions, Smith and writt ow is Ammo Factory’s new work The Voice on reality as hisen by Liz Peterson, the pie Ov er . Starring ce along his rout life begins to echo the even tells the story of a strugglin Alex Lukashevsky, directe ine paths until d he becomes trats of a film that he is hired to g musician who starts to los by Matt e nsfixed with a ov The Voice Over singing strang er-dub. He walks through his grip er. the city and Miwa Mat will be followed by two wo rk re themes of tech yek’s solo piece Dreaming s from Cloud Eye Control (F of Lu ina nology, time, sp scientific exca ace and the hu cid Living. These interdis l Space and Subterranean va aerobics work tion and futuristic dream su man body through fantas ciplinary performances each Heart) out dance party tical cking machines ex ! . Come for the tales of interstellar advent plore ure, performances, stay for the int eractive Ammo Factor y work that chall is an experimental theatre en collective base pieces to explo ges the boundaries and th d in Toronto. Si e voices that th re issues of censorship in ar cultural placement of theatre nce 2004 they have been reaten capitali t, th e cr im inalization of se . Using both narrative and creating st power struct performances, nonxuali ur melodrama ins from a biographical work on es, Ammo Factory has prov ty, and the disenfranchisem narrative pired by recent ent of en to create tru 1920s lesbian collective has pla re ly se un yw ar iqu rig ch ht Mercedes de e multi-media on String Theo begun to bridg ry. Often pres Ac e its own relat os ta to a scien entin ionship betwee n the media ar g performances in gallerie tific Cloud Eye Co ts and theatre s, nt communities in the Anna Oxyge rol is a Los Angeles-based n Toronto. m their work fuse and Chi-wang Yang. Integ ulti-disciplinary performance s ra been presente screen and stage to create ting animation, experimen collective comprised of Miw d ta a Platform Inter both nationally and internatio inventive hybrids of animat l theatre, pop music and pu Matreyek, national Anim ion and perform ppetry, nally. Recent sh ation Festival an ow ce ing . Th s inc eir wo lud and the TBA Fe stival at the Po e the REDCAT NOW Festiva rk has l, 2007 rtland Institute for Contempo rary Art. Stick around af te r the perform Ceremony an d Closing Ni ance for the Awards ght Party!
Sung Hwan Kim, Installation View, Photo: Mieke van de Voort
Projects Red Bull 381 ite 200 reet West, Su 381 Queen St 14 April 9 – May 6 – 9 PM sday, April 9, ur Th ng ni Ope ects.com redbull381proj
(AGYU) York University Art Gallery of st Building et, Accolade Ea re St le ee K 4700 416 736 5169 yorku.ca/agyu There.org theAGYUisOut
14 9 PM April 8 – June ay April 8, 6 – tion: Wednesd ep ec PM R 6 ng 8, ni ril pe O nesday Ap Bus Tour: Wed ce an rm rfo Pe nday 12 – 5 PM AM – 8 PM, Su 10 ay sd ne PM, Wed ay 10 AM – 4 Monday – Frid ed Saturday clos
Daniel Borins Elodie Pong
os d of Music Vide ism of Forms Oliva (Brazil) an The Commun e + Time – The Strategy ada), Fernando an (C r ille M ag rl anada), Ea Sound + Im n e Chhangur (C
eli Group Exhibitio olas Brown (Canada), Em n whose ch olving exhibitio Curated by Ni e (Brazil) os is a fluid, ev ect a Toronto context. de Vi ic us nd M ze fl of re Marcelo Re issioned for – The Strategy nsidered and updated to co Image + Time ecifically comm rms: Sound + o Paulo, 2006) has been re added, and new pieces sp York University (AGYU) Fo of ism un elho, Sã t, others Gallery of The Comm ation n (Galeria Verm rks dropped ou nues—the Art the transform first presentatio been edited, with some wo en divided between two ve es Festival. In considering iginal spirit but also s ag or be ha s Im n’s of n itself ha exhibitio this year’s The playlist r “communism of evoking the n. The exhibitio ated itself into this presentatio 1 Projects—and has insinu e curators were conscious emselves—to create anothe After Party, and a th e, th 38 r, s ub ll he rk yT of the wo play II, M ce to anot and Red Bu in artists’ the strategies n from one pla Replay I and Re rious themes of the exhibitio gies for presentation akin to s—Black Album, Flipside, nctions as an archive of va the genre to form new m te fu to ra ra e s— st seven prog es with of finding astro focu ific referenc YU, a series of ic collective assume vivid ns that diverge from spec d within the venues continu an with forms.” At AG Germ tallatio nomad een an e rn ins th tw ea es be (L by ur nt rk at up fe hKa wo s n as ct 1 Proje e. The m it Petra Vo program of rpoint ile Red Bull 38 image and tim a filmic counte rne Deutsch m music video, wh e interplay between sound, Festival of Ming Wong’s Le AGYU, not only provides the viewers’ to n sio at th n en es of ag itio e exhib by the Im reiterations s another dim een visual artist Patrick the centre of th programmed t also provide betw an intervention ). Wong’s installation, now in the music video genre, bu collaboration ed ion iss in nt m m Ka ing co rk y wo wl ts ne tis a Petra Von ar es by ition includ taken up to the themes e exhibition itself. The exhib asy) for the AGYU Vitrines. hibition that th nt prehensive ex experience of ician Owen Pallett (Final Fa deos is a com . By centreing on an Vi ic us M us m of d Borjal an – The Strategy parameters of music video video’s privileged position, Image + Time e ic rms: Sound + , critiquing or expanding th e exhibition considers mus to addressing Fo of ism un m ing s. In addition t with memory, , th nc ts re en fe es The Com re , pr by at umer societie rm ed ac ns fo nc nt co ue eo co nt o infl vid t rre int ic ar cu us r the m m of ou nts: on coming considers the possibilities hyper-capitalis ses how music videos, up eir three primary compone r in investigation of er and consequence of the the viewe through th rms addres g g Fo gin nin of ga ea uc m en ism od d by pr un ings at once w form an e Comm es multiple read , take on a ne tical milieu, Th the socio-poli ectators’ emotional states “communism of forms” evinc sp is d th . , an es eo usic vid nostalgia ible scen of such art, and time. In m ndry stories behind the vis national survey sound, image rough an inter ven programs at AGYU — ic tructing su th ns eo co re vid of ic s us a proces ally analyzes m Who Misses Much. The se reflecting not only the mus rms pluralistic s munism of Fo 1986 piece, I’m Not the Girl cover a range of tendencie background of the artists m Co e Th ly, l s— ina and According otti Rist’s sem ns at Red Bull 381 Project also the diverse approach pil Pi th wi g llatio beginnin gs but by related insta ls and meanin expanded upon’s bricolage of variant visua m dig ra video pa
its ideological n apitalism and ties to hyper-c tion. Laura Belém’s and Iai ’s eo vid ic us m -fire func gantes, critique music video’s consumerist ng down traditionally rapid Ele r pe Su s nd as Lo and slowi e works, such of content beyoeo formats by, for instance, e simultaneous narcissism edium. included. Som ile others provide a range music vid uence of th the video m ed in infl e sh wh ely th bli s, siv ta rs ct es clu ide du s cons alter by-pro ilton’s d not ex Pollard’s work David Blandy’s, tion-based an ile Anitra Ham Forsyth & Jane iting. Recent work, such as ojects, the work is installa the music video genre wh functions, such as Pr ’s of 1 ed eo ts 38 eo en vid ll m ic vid Bu Red music of mus rmal ele e-inspired of YouTube. At ludes some fo es. Some shared aspects Weekend Leisure’s karaok ship egalitarianism ike Hansen’s new work inc ag on as im ati rel ch t no su ac th , M other models rk offers an abstr l audio track wi Toronto artist only a musica ate its visual language with mages. Consequently, this wo d to raise open-ended s ide ov pr rk de nfl ho eo rs co new wo , which is inten at a music vid ng, while othe to music video erning how one defines wh ction and when illustrating a so fun questions conc ated from its consumerist culture to the r er is when it is lib paradigm has permeated ou ar. cle the music video undaries may indeed be un point that its bo
, Bad Beuys List of Artists vivid astro focus, Bani Abidi vid Blandy, Da e AGYU: assum Márcio Banfi, Laura Belém, os Super (L Entertainment, ll.Miletic, Miguel Calderón Marcelle, Bu Daniel Borins, on, Marilá Dardot & Cinthia rsyth & Jane co a Ferro, Iain Fo Graham, Elegantes), Co bio Faria, Chelp dney Dennis Day, Fa que Gonzalez-Foerster, Ro Kaoru Katayama, Pollard, Domini ike Hansen, The Histrionics, Peaches, Elodie , Maki Guerzi, M Laibach, Rodrigo Matheus chardson, a, Ri i, Yuki Kawamur und, Sara Ramo, Tasman yo, Corine Stüb Pong, Stuart Poorgio Ronna & Matias Agua Gi Pipilotti Rist, van der Werve Tetine, Guido + Owen Pallett Patrick Borjal AGYU Vitrines: ong ntion: Ming W AGYU Interve ng Wo ng Mi heus, , Rodrigo Mat n, Mike Hansen ilto m Ha a itr An ady Cranfield, . ifer Marman, Br Borins & Jenn Soares, Weekend Leisure l nie Da s: ct Toronto. ka Proje tor residing in Red Bull 381 s, Andrew J. Paterson, Vales ependent cura ind ale d or an M , r ne itic cr ag d artist. a W dent curator an ll 381 Projects, ity, an indepen rs rator of Red Bu cu ive e Un th rk is Yo n e Art Gallery of Nicholas Brow /Curator of Th sistant Director As e th is ur ng ing in Toronto. Emelie Chha arts writer resid nt curator and de en ep ind Paulo. an Image in São Earl Miller is of Sound and m eu us M e th at a is a curator São Paulo. Fernando Oliv tor residing in ependent cura ind an is e nd Marcelo Reze Von Kant)
n Kant (Learn
Vo ch mit Petra Lerne Deuts Ming Wong
mmer Berlin in the su iner r his move to Ra fo by ion at 2) ar 97 (1 ep pr nt 07 in Singapore, 20 sion exercise of Petra von Ka rstensen goes through cultural immer rman film, The Bitter Tears tress Margit Ca t only is educating rk as a sort of Ge ac wo ite an is ur th rm vo d Ge fa te ea ich his Ming Wong cr himself in the title role of s the climactic scene in wh German dialogue, Wong noneed to articulate his e ing of 2007. Cast der, Wong carefully re-enact n. In learning and acting th self for the words he may tio him Werner Fassbin erate emotional disintegra , but potentially preparing re sp a hysterical de rnerstone of German cultu single, gay ethnic minority. and , co s of language himself with a oving to Berlin as an aging rmative veneer ien in Berlin, The rfo pe e th s m re an own emotions s practice explo rie and Künstlerhaus Beth ll be representing Singapore. Hi wi s in Berlin and exhibited his work at MKgale Media among others. He rk wo d an es & Ming Wong liv the moving image. He has le and ZKM Center for Art h na identity throug London, the Jakarta Bien of Ontario in ennale. , the Province British Library cil for the Arts 53rd Venice Bi e un th Co at da ar na ye iversity, The Ca nto Arts Council. Singapore this ro ted by York Un rsity is suppor ty of Toronto through the To ive Un rk Yo of Ci The Art Gallery tario Arts Council, and the through the On s unism of Form to The Comm Bus Performance the free performance bus Wednesday April 8 from on on Please join us AGYU. Departing at 6 PM e exhibition at th rning at 9 PM. tu OCAD and re
A Space Galle ry 401 Richmon d Street West, Suite 110 416 979 9633 aspacegallery .org
March 20 – A pril 18 Off Screen La unch: Saturday April 4, 2 – 5 PM Tuesday – Frid ay 11 AM – 6 PM, Saturday Sunday April 5, 12 – 5 PM 12 — 5 PM
homas and K
Khiam 2000 – — 2008 2007 Joana Hadjith om generation that as and Khalil Joreige have and archives an grew up in Lebanon during been working as filmmaker s th brings together d the traumatic and destru e civil wars of 1975 to 19 and photographers since th 90 ctive elements e four video-bas of recent Leba , their work is rooted in an 90s. As part of the ed works repr inv ne esenting their The centrepiece diverse approa se history. This exhibition, estigation of images their first in Ca ch to image m camp of the sa of the exhibition is their newe nada, aking. me name oper st video Khiam minute video at 20 ed 00 by – 2007 (2008) the South Leba from 2000 alo , which focuse non Army. This ngside a “rem go back to int s on the doub ak er off limits and no view the same six former pr e” of the work shot in 2007 le channel installation situa notorious detention (fo iso tes their or pic llo ne wi tu rs ng the July W res existed of of th e museum by He ca m p. ar it. Followi At the tim of 2006) in wh iginal 52zb ich the artists the impossibility ollah and then destroyed ng the Israeli withdrawal, th e of the original video, th e cam again e ca of representatio n, interviewing in the war in 2006. Through mp was dismantled and m p was completely em th th es or es ial e former priso e Accompanying ners about their recordings, Khiam 2000 – ized as a 2007 conside history with th With You (200 this piece are three addition rs e former instit 1 – 2008). Dist al video works, ution. on five different racted Bullets Distracted Bu is lle oc a ts ca sin (2 sio gle 005), Lasting ns (from the Fe channel video ablaze with th Images ast of that e Joreige’s uncle explosion of fireworks and the Cross to the re-electio presents five panoramic vie (2003) and Always n of Emile Laho gun shots. La ws , who was kid sting oped was noth na ud), the video of Beirut. Shot ing more than pped during the civil war. Th Images consists of a sin shows the nig oddly sentimen gle ht sky fogged white e Su fi lm pe was unpr r 8 reel im tal slogans us ed in the post ages, from which little can ocessed for 15 years, an shot in the 80s by d er campaign lea be wh dis en ce fi nally de rned. La Born in Beirut ding up to Be in irut’s parliamen stly, Always With You depicvelfiction films, do 1969, Joana Hadjithom tary elections ts the as and Khalil cumentaries an in 20 00 . Joreige are ar kept secret— and also on th d photographic installatio tis ts an d filmmakers wo ns. Their work eir status in th at a large num rking co e fo be Ramad (Ashes r of film festivals as well as area of the world to which cuses on latency and the an llaboratively on th ) was selected ecdotal—i.e., ey in nu be m lon er g. Their docum ous art centre Festival artist the thing fo r th e Cé s and internatio en sar Awards in Ra nal museums. taries have been shown France. Their Hadjithomas an bih Mroué and Catherine most recent fe In 2005 their fi Deneuve) scre d Joreige live atur ction ened at the To in Paris and Be ronto Internatio e Je Veux Voir (starring Imag film irut. nal Film Festiva es l in 2008.
allery Blackwood G ississauga Road North, M ga au ss si is M 3359 905 828 3789 lery.ca blackwoodgal
31 April 8 – May April 9, 6 – 9 PM tion: Thursday ep PM, ec R ng ni Ope , Sunday 1 – 4 11 AM – 5 PM ay id Fr – y da Mon ed Saturday clos
ld Sup Kim, Arno awashawave Antonia Hirsch, Young- ood r, W ie ly rt el ow, K Louis Fo , Michael Sn Diane Landry ristof Migone Ch by Curated that can be
s ve Blackwood Bu the free bus to awashawa on PM on 6 at ng Please join us rti pa Gallery. De at Blackwood from the Gladstone Hotel 9 Thursday April 9 PM. at and returning
being our desire is a Alas! it is the extension . at the object of We imagine th us, enclosed within a body e that it has occupied re tim laid down befo all the points of space and pretations of and literal inter of that being to . —Marcel Proust ating figurative study on Proust, Beckett tig es inv py n cu itio oc hib and will t is active, but gst many. In his , is a group ex le that slips by d shifts of being one amon e spirit, a descent. The artis is exhibition tit e tiv ra ite all ions an ion of th with the eddy.” Th awashawave, the resulting perceptual tens tory, immersive, a contract awn in to the core of the wave will epitomize dr va d ha inundation an only fertile research is exca cumferential phenomena, inherent in the eddy. awas from the fixed to cir e ity s, stated that “th king from the nullity of extra t to pay attention to the fluid e single image to the serie being flooded, th ncept of co e th negatively, shrin tegorical declaration and op n, examining the shift from of ts ce scope (Landry), rious fa ca into a praxino eaker wire and will resist such llow in the mud of perceptio dense mass. Examining va achine turned sp m ite a ing wa wh sh to d of wa t int an a r, ou able po made the blu s: from logy and from a discern ramic objects series of work digital techno the unmoored, ll present a heterogeneous nals (Snow), to delicate ce anner-camera that fuses “sonic” images ite wh sc sig wi d ilt an ve bu dio era ck wa m e a ho twav nse bla portraits awasha of abject selfrk utilizing shor es produced by nverted into de to an audio wo of washing (Kim), to imag hegyi), to audio tracks co stadium (Hirsch), to a series os ds y diffusing soun otographic techniques (Kor ing the “wave” in an empt do 19th century ph eo projection of someone ec, namely at roughout Québ (Wood), to a vid (Fortier). p exhibitions th ou x gr wa d in an lo ed render a number of so d l’Œil de Poisson. an participated in hibitions in s Fortier has eNéo7, la chambre blanche ui Lo t tis ar al t erous group ex Ax k, Montré ar Cl d, Su cipated in num ris, and at the Vancouver Ar rti ein Pl pa s 2, ha 31 d Ban ie , Pa da de na Galer le Ca vil la ss ro de ns ac erne d solo exhibitio ns at the Musée d’Art Mod h has presente tina Antonia Hirs and Asia, including exhibitio Professor Chris da r. K Saar under HB Europe, Cana es and works in Vancouve e th at ion sit liv n and compo Gallery. Hirsh und installatio and Kim studied so X Seoul. p Su gun Yo across Canada d SF artist has exhibited He Seoul-based rticipated in Sonambiente an n. tio lla ta d ins print media an medium. Kubisch. He pa photography, res egyi works in y different traditions of the sh ro Ko ld , audio sculptu Arno man th automation extensively in wi Toronto artist otographic work explores ns tio lla ta ins ed ph performances, has exhibited and perform the USA. His signs original e ane Landry de ly based in Québec City, sh Di t, tis ar ry iplina rrent , As a multidisc alifies as “mouvelles”. Cu nt living artists e qu ralia. ’s most importa st da and works sh Au na d Ca an of pe e on Euro tor. hael Snow is Canada, USA, filmmaker, Mic t, composer, writer and sculp phy. experimental tis an ar l as ua ed vis , im rary Photogra an ici accla m of Contempo Internationally a highly accomplished mus eu us M n dia as and the Cana rio. distinguished llery of Ontario Onta rk at The Art Galives and works in London, wo r he n ow sh ly s nt ha rre d cu oo d W an 62 Kelly in Toronto in 19 She was born
rary Diaz Contempo et re St 100 Niagara 416 361 2972 rary.ca diazcontempo
The Hunting andes Brendan Fern
9 April 2 – May ril 4, 2 – 5 PM ch: Saturday Ap un La en Off Scre – 6 PM turday 11 AM Tuesday – Sa PM 4 12 — Sunday April 5,
A looped video y The Hunting. or his installation sibling’s monarchy. The st ts en es pr s l their own to dan Fernande attempt to take over her kil en s Br re tu ry, ra ea cr po ld ese wi a sister’s az Contem a monarch—th the narrative of exhibition at Di For his debut eously on two screens tells e dictatorship is governed by er an ult wh cieties, played sim a lone masked from hyena so l at night and about. Clues takes inspiration power in their packs. eating their kil is y as or en st hy is in th th ga wi at d pe wh obtain an snowy landsca tigates a questioning into inevitably, to the destruction d an k ar st a yal and, ty, and ins footage of posing video the work suggests a hybridi for power, leading to a betra Through juxta desire ’s” isolation, ne in “o ing of er le nd ta o tells a figure wa stools, a narrator, wh of three prayer are provided by . emorial made mixed with the delicate /m ar alt ity an un th m s us of a com in the space wi light of the TV hyenas direct further created code. The white pulsating thartic and sinister calls of is atic setting is se of awareness ” ca or igm e ge M th en sa in d es nd S an m ou l Oe gr na Ser fi ck a. An aust itors that pulse emergency call. In the ba act and treat their own. A ey now. Tha endin is near on m TV d an animals s out an candles in yer we e candles send ys in which these “primitive” of Pidgin English, reads “F flickering of th em to fuel in a form d the wa an en itt eo wr , vid xt e namics that se te th al back to d the power dy to act in ways that are the nonsensic an y ll— on wa m a ge on he d d us tion inscribe times to ques s of human nature that lea nt ge in uncertain s out a messa . It alludes to the undercurre nd se ing nt rife The Hu rld’s societal st as. nt much of the wo t so different to wild hyen the Independe no d an e He completed ity of Western inhuman in the 1990s. rs da ive na Un Ca e to Th m des immigrated earned his MFA (2005) fro Council and endan Fernan and e Ontario Arts ian heritage, Br m of American Art (2007) grants from th s exhibited internationally, e Ind lud of a inc ny es Ke lad Museu . He ha York . Acco Born in of the Whitney ad and Tobago Western New rsity in Canada Study Program BFA (2002) from York Unive national Residency in Trinid hou, China (2008) and the Lower Manhattan er gz e Int an his Th e d Gu in th an l, er Triennia Ontario including rticipated at Aljira: A Cent cil for the Arts ird Guangzhou (2007). Fernandes has pa s, Emerge 10 m te ra ua og Canada Coun ns to participate in The Th NY ad pr gr lo, 9) e ffa 00 th NY, in ry in Bu ency (2 tio including invita The Albright-Knox Art Galle 8) and Swing Space Resid at The School of Visual Arts, and The New Work h 00 Biennial throug ’s Work Space Residency (2 d was an Artist in Residence ogram at the Bronx Museum cil Cultural Coun ry Art, Newark, NJ (2008), an will participate in the AIM Pr rk. Yo he ra for Contempo puter arts (2008). In 2009 ronto and New is based in To m program for co rvestwork, NY. Currently he Residency at Ha
Gallery 44 401 Richmon d Street West, Suite 120 416 979 3941 gallery44.org
Finder Jan Peacock
March 6 – Apr il 11 Opening Recep tion: Friday M arch 6, 6 – 9 PM Off Screen La unch: Saturday Ap ril 4, 2 – 5 PM Tuesday – Sa turday 11 AM – 5 PM
One may claim demand acco to seek out a terrorist, only to un There are fore tability from vastly subsidize conspire against a dictator wh sts and there ar d e trees and wh corporations, while scrutinizin o operates in plain view; on e may purport ere light is shon g to e, the view may meagerly funded arts and social organizat be compromise For this exhib ions. d. — Ja n Pe ition at Gallery acock 44 performs a pa rticular form of , Jan Peacock presents th and often cont ree new work scrutiny, steppin s: ra into the archite dictory aims and methods g away from immediate ev Finder, there there and Ac coun cture of the sp of the “authoriz ents in order to staged or foun ace preempt an ed tease out the t. Each work se ar ch .” Pr d video mater oje sometimes ob d re ct pla ion ce s alo wh ng ial rendered absu rd by an unsp . These works are rejoinder at is most immediate and loc side small LCD screens em tuse oken—and of for the search s to a culture bedded al in th e ga lle te of are slippery. ry, n unconscious —attitude of se forensic obsession and optic overlaying it with lec al pr tiv ec e ac isi on co The raw video , untability. The objects of and both m in the building aterial in Account is captur motives tra ed using a fibr While the acce des, to supply a physical eaccounting of optic videoscope, of the typ ss is both auth subject rather th than explaining orized and thorough, the ac e work stations and person e usually employed by inspe count is anyth nel in the galle it. ctors ing but author itative, the extrery’s office space. Finder is a large me detail inven rubric of the de -scale projected work whos ting its of found and voted search, what is unco e mode of scrutiny is to exca staged actions ve called The Co red is variously convincing vate behind and beyond a . Peacock supp ph mpetence Arch there there, als ive. lies material fro ysical surface. In the o m her ongoing mapping a wa a projection work, is a co library ntinu lk from the Righ t Bank to Île St ous fingertip tracing of the . Louis. stone balustra Jan Peacock de on the Pont is Marie in Paris North America an interdisciplinary artist wo , , Gallery of Cana Europe and in Japan. Her rking with video, sculpture wo , pe da rk is found in rfo , the Museum rm an ce at internationa an inter d te of Modern Art l festivals. Peac in New York, an national public and private xt. She has exhibited acro to the field of oc ss collection d the Lu video. She lives k is a recipient of the Bell Canada Award dwig Museum in Cologne. s, including the National and Design. in Halifax, Cana She has receive and the Canada da, where she d Co aw is a professor in Intermedia uncil Medal for her contribut ards at the Nova Sc ion otia College of Art Jan Peacock: Join the artist a Retrospective fo celebrate the r an informal talk and scre ening to re Saturday April lease of her new DVD. 11, 4 PM
Gallery TPW 56 Ossington Avenue 416 645 1066 gallerytpw.ca
April 7 – May 2 Special Openi ng Performan ces Friday and April 3 and 4, Saturday 9:30 PM Tuesday – Sa turday 12 – 5 PM
In the Room Sung Hwan Ki Korea/USA, 20 m 06–2009 A prominent th read of the 20 performance 09 Images Fe ar st each form. W t and how these interdiscip ival is the blurring of bounda ithin this framew linary practices rie There, looking manifest them s between the worlds of m or k, Images is at the relation ship between partnering with Gallery TP selves in the different exhib edia, visual, and Room, manife W itio liv st as an exhibitio ing first as a live performan eness and images. Togeth and their year-long event se n spaces that border er we are thrill ce n developed ou ed to present ries, You Had to Be t of the visual in collaboration with David Su and narrative Created while components of Michael DiGregorio and By ng Hwan Kim’s In the ungjun Kwon, in the performan series is rooted residence in Amsterdam an and then ce. performances. in a multi-disciplinary proc d produced in part for his pa es In s rti we ad cip dit aving together ation in the Pr ion to a series performance, ix de Rom video, m of wall th (2007). The vid e exhibition installation feat drawings, paper sculpture usic, drawing, as well as liv e, Kim’s In the Room s and staging e and pre-reco ures two video eos mimic man ele performance rded y wo m of en rk th s: ts that we e proces Dog Vi wh feed of his bo ich employs a video camer ses present in the live presen deo (2006) and From the Co re created for the dy with the typ tation including a behind a ple m m an ding Heights... e of “live anim the minutiae of xiglass screen Kim’s unique fo at . elliptical narra day-to-day life (which may ion” often associated with This lo-tech setup allows Ki rm of projection tives presente the use of an or may not be m to lay er vid ov d in this work operate at the anchored in Kim’s own expe erhead projector. Drawn froeo borderline of th riences), the fa Korean artist Su m e nt ng im as ag tic Hw ined and the ac stories and an Kim is curre period of four tual. ntly based in Ne years, during w York. Previou which time he and performed sly wa contemporary at STEIM and Witte de With s fellow at the Rijksakadem , he lived and worked in th e Ne Dutch artists an . In 2007 he wa ie. d the Korean s awarded the His series In the Room ha therlands over a award Hermes s been exhibite 2n d Korea Missuls d prize of the prestigious Prix de ang (Hermes Ko re a Prize for Cont Rome for Live Images 3 emporary Art). In the Room 3 Sung Hwan Ki Talk to the Pi m and dogr (D e Friday April 3 avid Michael Di Sung Hwan Ki 3 an m See p. 36 for d Saturday April 4, 9:30 PM Gregorio) with Helena Re and dogr in conversation details. Sunday April 5, ckitt. See p. 24 for 4 PM details.
ia Arts Centre
ectronic Med InterAccess El enue 9 Ossington Av 416 599 7206 g interaccess.or
9 April 3 – May ril 3, 7 – 10 PM tion: Friday Ap ep ec R ng ni pe O 5 PM Saturday 12 – Wednesday – 12 – 5 PM Sunday April 5,
Blind Trip z
e Richard Schü ere Were Non And Then Th ler (Canada/Germany) and ss Fa sa Laris nie Rogerson
cape er it is a lands space. Wheth s depicting c bli pu of es rm h sit epha eryday throug ctures of tunnels and platfo Curated by St ru explore the ev ssler’s works or labyrinth st . Fa at se sa r ris ge La en d ity pass tz an a Richard Schü across the glass from a car of uncertainty with commun ed wide across e dscape project ban European seen streaking s, their works invoke a sens lan a es m co r window be banality of ur subway station hütz uses the shot from a ca ony of sound. channel video pulses, tinks and beeps. Sc as tools to create a cacoph gle sin s tz’ hü Sc of ion , ct 5) ion t. tru 00 sit gs (2 ns po an ip co m d Tr of co an es se dio Blind , fences and sit tremendous ea nied with an au in wall accompa rolling hills, telephone poles sound straddles between bway stations d of th e wi nc pe na ca so ds versions of su d dis lan Kotti (2008) an ler’s miniature landscape an , ss g 6) lin Fa 00 ve of (2 ra z s lat un es e rp illn Th ntrast to the st like sea-creatures. Alexande suggest the histories and o r s is in sharp co e from m Schütz build tures sprawl across the floo ranean transportation but alsded by socialist architectur r Tor tu en om m e se Th er ulp un us bt sc rro ttb su nt su Ko of ca is d e pli tiv an ion r ta at ’s re Berlin. Fassler (2005) are not only represen Alexanderplatz subway st re-generative. Hallesches To made and continue of r rs d e To tte an sit s d e ua he re Th sq . sc ve d lle se rlin an Ha as ts, immigrants st and West Be munal space contrasts of Ea Berlin, and exemplifies com the former West where artis of st ea Ea ar s wa an at g, er wh ntral to Kreuzb m. Rather the stations are ce mes. ial egalitarianis ggesting spat rongly when staring out the ho su eir th by e ty ak ali m rti to pa st fort us with im lpable seclusion, felt most does not com e Were None is relational to an almost pa blic transit. er Th en Th d A in s An mpleted her M of these work h a maze of pu rmany. She co e has lived and consciousness ing car or hoofing it throug Ge , rlin Be in d Sh ov se . window of a m n visual artist ba Concordia University in 1999 e for art + architectural r) is a Canadia at RAM–initiativ orld 75 in Vancouve London in 2003 and BFA OG 19 PR , in or n or sid (b es r Iran (2008); W M nial of Tehran, Oldenburg, Larissa Fassle miths College, University of ns include: Le Chamois de en Bi ing am Ro lds t, l Fine Arts at Go since 1999. Recent exhibitio Jealousy—1st Internationa -Ruß-Haus für Medienkuns ; The 21. Kasseler n 7) ith worked in Berlin rlin, Germany (2008); Urba ina (2008); Video Visions, Ed zberg/Bethanien, Berlin (200 (2003). d Be , collaborations day Art Museum, Beijing, Ch Kunstform, Kunstraum KreuGallery of Art, Limerick, Irelan als To ty n s, Ci he te ick ge inu er M en e Lim ier , az ies of On 03 the art academ 8); WALK! – Sp ; and ev+a 20 Germany (200 - & Videofest, Kassel (2004) tor in Berlin. At Since 1987 he has ra cu d an t tis ar Dokumentarfilm He lives as an ental film and media theory. visual installation, dio kfurt, Germany. rim in 1965 in Fran arts (MA), philosophy, expe for his work in the field of au rn bo s wa tz ts Richard Schü and Berlin he studied fine d diverse gran rlin. ive ce re d an lly rson Kassel, London any exhibitions internationa the project gallery montanabe m ed media. Roge participated in raphy. In 2007 he co-curated raphy and relat l of New Media and og ot ph in rk Yo na w Jour film and photog be speaking Visual Arts in Ne , most recently AfterImage the School of siums, and will s an MFA from ral magazines and art journalsmmunity events and sympo Italy. Currently, Rogerson ha on rs ge iversities, co ly in Venice, Stephanie Ro ributing arts writer to seve nference in Ju s at several un nt has been a co s participated in conference y at The Arts and Society co ha ph tern Ontario. Criticism. She entation and early photogra iversity of Wes on queer repres D in Visual Studies at the Un Were None is pursuing a Ph the d Then There the Pie 2: An d Richard Schütz discuss th to lk Ta rissa Fassler annstruction of public space wi InterAccess! La at ts tis rty Ar pa a r fo and reco Please join us deconstruction 10 PM – 1 AM nie Rogerson. Friday April 3, curator Stepha 4 PM 4, Saturday April tails. for de 24 p. e s Se es cc at InterA ents ival Lounge Images Fest nge following our evening ev lou e th rs for a drink oe Head to l-g iva st fe fellow and meet your 1 AM ril 7, 10 PM – and a chat! – Tuesday Ap Sunday April 5
Mercer Union 1286 Bloor St reet West 416 536 1519 www.merceru nion.org
March 6 – Apr il 18 Opening Recep tion: Friday M arch 6, 7 — 10 Tuesday – Sa PM turday 11 AM – 6 PM Sunday April 5, 11 AM — 6 PM
Magnetic reso Pedro Paiva nance on abissologic experiments & Portugal, 2006 João Maria Gusmão –2008 Described as “p wonders of ps oetic philosophical fiction,” eu Jo archaeological do-scientific inquiry, offerin ão Maria Gusmão and Pe dr g an odd alche dig. mical compouno Paiva’s 16mm film installa tio d that is equa While alchemy l parts silent cin ns delight in the ema, land art arcane science may conjure lofty philosoph and ica are set forth by , while wholehearted, is defi l aims and obscure symbo nit lic th ely e te ar xts, Gusmão inflected by a tists, who, wh Following the alc and Paiva’s 21st centur ile flirting wi and reconstitut hemist’s motto of “Solve et th narrative, ultimately esch y mistrust of disciplinary au proximity to that Coagula,” or se ew cohesion in ion of matter. th rocks, who by Su pa favour of absu ority. Few claims the arduous ex ch is the case in Hydraulic rate and coagulate, their fi lms directly de rdity and unsteadiness. s of Solids, a ercise of swall lve int portr owing these so Sucking on st lids, effectively ait of a man seated at a din o the breakdown on transmutes th ner table chew Figures in Gusm e is also an old cowboy tri em ing to liquid. ck land artists lik ão and Paiva’s vignettes fre for desert survival, a way e Robert Smith to qu qu en en tly inhabit empt ch thirst in the protagonists ar son, who chos y terrains absenc e e universe inhab decidedly goofy rather than the desert as a prime work evocative of the photo-co e of a water source. nceptual prac ited by the title sit ru e gg in ed. Their abys th e lat tices of inert tree sect e ch 19 ar 60 ac s is a pla s. Yet Gu ter of Th ion impulse that dr s, lent anima by invisible st e Log Enchanter, who conjuce for slapstick play and low smão and Paiva’s ring, recall the ives attendance -te re s ch tre magic, a e stumps into invitation to na ba a levitatin ïve wondermen at a flea circus, we willingly d props of spirit photogra phy. But, infec g ballet. These t. collaborate in te th d e by fi lmmakers’ ho All of the films ax, compelled the same ar by their of the visual. Ul e silent, yet the personae of te tim n an at im ely atedly gesture , these demon as devoted pa , comica strations ta The artists borro physicians, parodying scien produce enigma rather th lly attempting to convey som an proof, reve e for their charac w freely from archaeology, getific methods in accordance aling Gusmão spoken explication and Paiva’s tru fanciful departuters. Yet, these would-be kn ology and ethnography to ge with Alfred Jarry’s verve for e status im ow interaction of res from logic. The Glaciolog ledge bearers always co nerate behavioural codes an aginary solutions. m mud and ice, d e ist m up od is es sh jus ort, relieved of of address t such a person he appears ea of equipment, any au . Occu rn th humans faced e observation of matter, th est in his search, replicating pied by a detailed demon thority by their e union of ide st with rock, ice, th ra e tio 16 n th involving centur as are singular an m d unclassifiab olten metal and landscape . In this mirror world, there y alchemist’s basic toils: th the le. — Sarah Ro are no machin e testing ; gravity, shad es ow ba , on yo an ly d Sh to movement co eridan João Maria Gu nspiring to mak ol-yielding sm ão and Pe e events that collaboratively since 2001. Th dro Paiva met in the late 19 ey will represen 90 t Portugal this s as fellow art students in Lis year at the 53 rd Venice Bien bon and have been working nale.
Museum of C ontemporary Canadian Art 952 Queen St reet West 416 395 7430 mocca.ca
April 3 – Apr il 12 Opening Recep tion Friday Ap ril 3, 7 — 10 PM Tuesday – Su nday 11 AM – 6 PM
Virtual Jihadi Welcome to th Wafaa Bilal (Ir e Terrordome aq/USA), Juba The Thrill of Co l Brown (Can mbat ada) and Mar I’ve got so muc k Essen (USA ) h trouble on m y mind... From the war on terror and the war in Iraq Bilal, Jubal Br ow to ideas from ac n and Mark Essen operat more abstract representa e on the fringe tions of militar ross pop cultu ism and powe s of mashing re. up, deconstru r, cting and reco the works of Wafaa As the momen nstructing imag tum of the Iraq es and game designe W ar in the US r Hussein. This published Quest for Saddam began to blur the lines of en game was qu , te rtainment, mar ickly appropria a first-person shooter-styl hunter and th keting and pr e ga e te recently recruit hunted. In Virtual Jihadi, W d by Al Qaeda as The Nigh me that puts the player on opaganda, a US afaa Bilal rewo t of Bush Capt ed by Al Qaed th rks the narrativ use of stereotyp uring to revers e hunt for Saddam a to join the hu e yet again, ca e the roles of nt. This fully pla es and propag the st anda on both ya ing himself as sides of the wa ble hacked version of the a suicide bom Using a more game further be r on terror. indirect engage br eaks down th r, m mechanics an e d aesthetics of ent with the culture of terro r and war, the forms, Essen’s gaming. Distille ga a challenge wi games recall the formalist an d to their most basic elem mes of Mark Essen break op en th of two-dimensio stripped down militaristic d structural sentiments of av ts and set amidst flat, low-reen the conventional m planes.” Or as nal obstacles and mechaniz issions aboard a helicopte ant-garde cinema. The Thrill solution colour r, vertically an Essen describ of Combat pr ed foe. In Scra d combative go als become ex es in another statement ab p Collector the mission is horizontally scrolling throug esents out the game, h a maze to “collect scra panded in a su “S p, rrealist advent Jubal Brown pr ure within the crap Collector is about mak build planes, shoot m ing es ilit ary industrial co money.” The Avery. Brown’s ents three video installatio mplex. ns directionless enprojects aim to challenge th , accompanied by a serie s of sculpture e limits of spec ergy; a tragic s and beautiful collision of de tatorship, often manifesting made in collaboration with Jo spair and longin Iraqi-born artis as an amoral barrage of mind sh t Wafaa Bilal g. as at the Mus less eum of Contemhas exhibited worldwide inc luding in Bagh He has traveled porary Photog da ra an d, ph d lectured the Nether y in Chica peaceful confl ict resolution. extensively to inform audie go, the Milwaukee Art Mus lands, Thailand and Croatia nc La eu Bilal’s life and , his project Do st year, City Lights publish es of the situation of the Ira m and various other US ga as well mestic Tension ed Shoot an Ira qi lle . qi: Life, Art an people, and the importanc ries. Jubal Brown d Resistance e Under the Gu of is n, about Europe and No a video maker, multi-med ia rth ar tis Am t, organizer an erica. Past proje System Cultu d writer cts inc ral Centre, FA MEFAME, FAM lude The Cult of PO-PO, based in Toronto. He has sh To EFAME’s Vide ow odrome Serie ronto’s legendary Wastelan n extensively in Mark Essen s, Unknown Un is d known and Th event series, Art His games ha a game artist. He recently re ve e Land of the Lost. schemes, mas been shown at music venu ceived a BA from Bard Co lle oc a flying stick th histic difficulty and nonsen es and art festivals around ge in New York and current th ly at changes co sic e liv wo al es humor. He rld and are in Los An DOOMLASER. lour as well as a collaborative is currently in production on known for their odd contro geles. l game involving an independe nt XBOX title ab mechasexual motorcyclists with the collect out ive SPECIAL EV ENT Videodrome Saturday April 4, 8 PM Videodrome is a screening as pa one-night extravaganza of producers with rty. The event features a pr contemporary vanguard cu ltu og a/v mash-up, a strong audio-visual link, ex ram of video work from pr re, an exercise in video vis ominent local and internatio Bad Credit, Infi ual music with an emphas perimental video works wh na ich is nit Tzii (v-atak), No y Dose, Istvan Kantor, Ju on aggression and intensit function as dance music, l bal Brown, Rk y. Features wo hista (v-atak), o (v-atak), Ryan rks by: Nwodtlem, Ou ananiche and St Pete O’Hearn. ec, Skeeter, Smearballs,
pril 25 March 19 – A 4, 2 – 5 PM Saturday April : ch un La en Off Scre 5 PM Saturday 12 – Wednesday –
ry Art of Contempora Prefix Institute ite 124 Su t, es d Street W 401 Richmon 416 591 0357 prefix.ca
e Place of th
esn’t Take th One Image Doi Harun Farock –2006 Germany, 1995
e Previous O
rsity ncordia Unive Art Gallery, Co e Images Festival lt iau len ér El Th na Bi èle d th ich Curated by M circulated by the Leonard an ethe-Institut Toronto and Go d Organized an efix in association with the ts ased Pr Ar t his museum-b Presented by e Canada Council for the question abou 1 Paradoxically, a to es pli re th i t.” Supported by er Harun Farockrian rather than a visual artis resolutely ta champ, filmmak ago, e journal Hors museum, to be a documen one that was, not so long nce—that gives lin on e th r fo and experie out images— rk. In an interview g, “I try, when showing in a and thinking ab rin ibitionary” gaze hibition of his wo work by decla oach to making titutes the focus of an “exh impelled me to curate an ex pr ap is th , ion it is this distinct of art” but that now cons ce. This is the paradox that d by the eld an outside the “fi tions their tension and relev e place occupie e lla eir work and th n” like Harun Farocki, for th th in s ive ch ar Farocki’s insta us ria d s ta an rb en ts so en um ab m oc d cu “d an artists of do the work of a omena. What fascinates s, reasing use by rtant to insert en editing; of text Between the inc m in exhibitions, it is impo al look on both types of ph work of the image and of a demand on e dig es itic th ra to cast a cr . “Work” mak cinematic pa e meanings: by actice leads us y in its multipl a social activity mplex layerings produced d nature of his pr ys in which “work” is at pla -artist; and, of course, as an e co or th th r au he e th cip er de by wa ak ” to are the many a; of the filmm ply him- or herself in order ce “worked on litical manner. on em , cin at th of ; ble ind m history and m r or listener, who must ap intertitle is part of an ense xical and fundamentally po we the visitor, vie simple image, comment or defines it in an often parado A re t of his working ms the filmmaker. lematizes social space and 5), an accoun ste Interface (199 004), an essay on urban sy t, rs fi ry ve ourselves, prob i’s (2 ck , namely, Faro otographie; Counter-Music relation to those evoked by s ns tio lla ta ins in their film presents four ition Le monde après la ph e city (in this case, Lille) in of a Great City) tallation suite The exhibition th ed for the exhib ins lin, Symphony esentation of method produc control centres and the repr and Walter Ruttmann (Ber a variation in the form of an r each decade a) , Movie Camer in Eleven Decades (2006), th of cinema. In this case, fo 006), a video of surveillance (2 he Man with a bir ory ally, Dubbing Dziga Vertov (T Workers Leaving the Fact e 100th anniversary of the ich Robert De factory gate. Fin th s; from the 1920 e by Farocki in 1995 to mark picting the space around a dubbed and subtitled) in wh body of work a , de on the film mad chose an excerpt of a film four languages n is to immerse viewers in is artist’s anslated into th itio since 1895, he e scene from Taxi Driver (tr . The objective of the exhib oughly grasp the extent of e museumth or thor includ loop, presents th himself in front of a mirr enable them to s expanded to wi and disparities the mid-1990s, when it wa ies nit fi af Niro engages s, juxtaposition e 1960s to whose scope, e from its beginnings in th lt tic aduating from cinematic prac tallations. – Michèle Thériau 1944. Since gr lms, documentaries hoslovakia, in fi e ec ur Cz at fe ed y ex based video ins et nn nin more than in German-a 2003, Museu Neutitschein, ie in 1966, he has directed es Festival in in important i was born in es at the Imag m Harun Farock Film- und Fernsehakade the subject of retrospectiv 2006. He has participated e 2004, he he nc in en Berlin’s Deutsc ograms. His films have be d the Vienna Filmmuseum d Documenta 12 (2007). Si and writer, and pr an t an and television rani de Barcelona in 2004 ie International (2004-05) . Farocki is a media theoris Berlin. in eg te po es and works denden Küns d’Art Contem ents such as the 54th Carn ademie der bil to 1984. He liv international ev g professor at Vienna’s Ak journal Filmkritik from 1974 al issues itin dressing critic has been a vis r the influential German film exhibitions ad exhibition catalogues, s ou er m fo r nu ito was an ed e has organizediting has appeared in many tario in t Gallery of On r and editor. Sh wr a curator, write d international artists. Her contemporary art at the Ar rsity of Ottawa. She is t ul ia ér Th the Unive nadian an Art curator of Michèle torial studies at Québécois, Ca 96, she was a Department of in the work of journals. From 1988 to 19 contemporary art and cura adjunct professor with the d ht an an ug d s ta 03, she Gallery an anthologie m 1998 to 20 Bina Ellen Art Toronto and, froDirector of the Leonard and e al. th tré ly in Mon is current ordia University er 20, 2007). History at Conc amp (Decemb eà Notes v, “D’une imag and Pavel Pavlo 1. André Habib
run Farocki,” Ho
ation avec Ha
Video Trinity Square Suite 376 d Street West, 401 Richmon 416 593 1332 deo.com trinitysquarevi
2 April 4 – May ril 4, 2 – 5 PM ch: Saturday Ap un La en Off Scre 11, 1 – 3 PM Saturday April ay 12 – 4 PM Master Class: – 6 PM, Saturd AM 10 ay id Fr Monday 12 — 4 PM Sunday April 5,
te Matrix E.V.E. Absolu son ph Gunilla Jose Canada, 2009
the Images leading up to ring the month n. This is Josephson’s du ce en sid o’s Artist-in-Re a 60-minute video installatio , ty Square Vide son will be Trini ing E.V.E. Absolute Matrix ph se Jo la nil ding Video artist Gu this time, she will be develop . an l and comman g Festival. Durin tion with musician Eve Egoy an is a powerfu er Cities, a five-hour oy Eg , rs se po m Inn latest collabora ntemporary co l intensity as she performs d the music are visible, an d works by co new music an phson captures her powerfu nor the performer’s hands ce. ing rm rfo pe the piano woman’s fa Specializing in V.E. Absolute Matrix, Jose Curran. Neither less study of a performer. In E. 12 parts by composer Alvinwith an enigmatic and seam rmer by in d ic on the perfo epic for piano viewer is simply presente impact of mus ate and unabashed al tu ec ell e int d is inaudible. Th emotional an phobic, intim t of desire. her in claustro d to grasp the en s to dissect an listening, but by observing a decoder and an instrum personal narrative. aim n so ph se t, n by en de m hid tru a ins of g g In this work Jo head of the musician not yin llin ntrol in the te mera as a pr e getting into th phson uses the insisting ca of cogency and masterful co In the se ol otional states. close–ups. Jo the piano for Egoyan is a to textualised em Happy House: The Id, on -c de of es ly, d m Simultaneous hedly at extre ns Venus Hedda (2001) an ed yet tormented. She tly and unabas tio erat stasy and us to look direc 000), as well as the installa character Hedda, who is lib re da s eo vid (2 n’s videos of ec e so os th d ph de Vi ce se a du Jo Josephson’s dd ro le, int ab n e He ict so Th ed ph s: pr se rie un Jo Se d , xplicable an (Loco)motive Little Red Fireman (2001) rix. Bizarre, ine e the Kid and th eme in E.V.E. Absolute Mat th is g. returns to th olm University eply challengin s from Stockh despair are de Social Science s have been exhibited in BA a lds Toronto. She ho n) in Stockholm. Her video ola artist, based in Swedish-born t and Design (Konstfacksk a is n so ph Ar Gunilla Jose the College of nationally. m fro 6) 98 (1 and an MFA ughout Canada and inter ro extensively th Josephson with Gunilla Master Class , 1 – 3 PM 11 Saturday April tails. de See p. 25 for
Vtape Video Sa lon 401 Richmon d Street West, Suite 452 416 351 1317 vtape.org
Chinese is a Sylvie BoissePlus Switzerland/G au & Frank Westermeyer ermany, 2008
April 4 - May 15 Off Screen La unch: Saturday April 4, 2 – 5 PM Tuesday – Frid ay 11 AM – 5 PM Saturday 12 – 4 PM Sunday April 5, 2 – 5 PM
In Chinese is a Sylvie Boissea Plus (a two-part work usua lly u lived—including and Frank Westermeyer of exhibited as a two channe l ins fer that of dream s, that of the pr a meditation on the way in tallation, in non-contiguou s setting which lan esent and that In this ambitiou of an ancestral past guage constructs the life th s), . at is turn their obse s work, produced at the Ak rva ad two distinct gr nt eye (and camera) on a St emie Schloss Solitude wh er oups of studen ut e tg th ar e t co lan lla guage school with the rudim ts with two dis offering classes borative pair are fellows, th en ey in Chinese. He often lists of th ts of a very difficult foreign lantinct hopes and dreams: th e e cities they ha fi gu rs t, ag a e, gr he oup of German re they document roically offering Chinese-Germ ve visited and ad sh ult or an teenagers th t, s e sim st fo ru od ple gg they ling sent who are learn ing their mothe enjoy when they travel to Ch ences in lilting Putonghua, r tongue, a lan Boisseau and ina Westermeyer guage that they ; the second, a class of refer to the Du a ‘found objec have never sp ch t’ oken. unknown in th (objet trouvé)”. And to this ampian origin of this work , e West but re sa se yin ns e g, of “W the “real”, they e treat this lan vered by Mao first modern au add guage school as as open when lan thor. Keenly focused and fl a writer who used vernaculareferences to the Chinese auth aw guage is being r drawn into co lessly edited, Chinese is a Pl language and ultimately be or Lu Xun, ns ca us cio m op e us Ch er ne at ina’s ss. es in the inter Sylvie Boissea stitial spaces that works in sculp u (Paris, 1970) & Frank Wes ture, installatio te rm ey er (Essen, German n and video ha Boisseau studie y, 1971) are m ve ulti-disciplinary University, Germd economics at Sorbonne, Pa been exhibited extensively an ris , y. an Bo d th W then went on to estermeyer stu throughout Germany and Euartists whose Beaux-arts in died visual com rope. study with Chris Paris. m tian Boltanski at Ecole nationaunication at Wuppertal le superieure de s
) (WARC Gallery ource Centre es R t Ar ’s en Wom Suite 122 d Street West, 401 Richmon 416 977 0097 warc.net
pril 18 March 26 – A ril 4, 2 – 5 PM : Saturday Ap ch un La – 5 PM en re Off Sc , Saturday 12 11 AM – 5 PM ay id Fr – y da Tues 12 – 5 PM Sunday April 5,
e Prairie Shadow on th en Deanna Bow y: Christina Battle Cinematograph Rick Hyslop Sound Design: Canada, 2009 lie Wood ta Curated by Na
ction, vinyl d of video proje nt llation comprise ncle Herman, a descende ta ins y ar lin cip t-u ie is an interdis ulate a narrative of her grea air Pr e th on bine to form n’s Shadow Deanna Bowe ge lighting, all of which com rta. be ly whispered floor text and sta n slaves who settled in Al His life was on gia thin the family. re constantly dismissed. wi e am sh of former Geor of was a source estions from the artist we t-uncle’s estate after man,” Herman qu r grea ng and dance r’s kitchen, and childhood items from he rman was rumoured to be A “closeted so he given several ot He s dm at wa an th n gr ed h Lloyd’s we rn n’s Bo lea r, luding Gwynet items she about in Bowe so little of him, howeve es from these productions inc ing Despite know , and by piecing together clu e designer for many stage um he died in 1979 rt Mackay, the (white) cost . ua of a young lovers with St adow on the Prairie (1951) als the sad fate d the Prairie reve ated by the harsh terrain an on ow classic ballet Sh ad Sh t, fe woman takes tern settlemen and to begin a new life. De g es un W yo ’s e da th na sed on Ca neer husb closes when Thematically ba to the prairies with her pio snowy wastes,” the ballet es “vast e th of ar wife who com fe d anguish an ors that of the driven mad by dding chest and dies. al th MacKay mirr relationship wi n as metaphor and conceptu life al re refuge in her we ’s an lonialism and ition that Herm ’s invisibility and oppressio co os , op ch pr ur a ch m ck an mes Herm ct springs fro ty of the bla Bowen’s proje yd’s classic ballet, and refra nder roles, the moral rigidi a. Llo d slave traum out ge an ab s da ion na tragic bride in ss Ca cu in broader dis movement arch for much n, segregation, diasporic sio arborough. sexual oppres of Toronto at Sc rer at University her Diploma of Fine Arts tu lec d an t tis d tallation ar in 2008 an based media insat the University of Toronto t en is a TorontoDeanna Bow r Masters degree in Visual Ar lly and internationa She received he College of Art. a itions nationally rr has had exhib Art Centre 7 in Trinidad, Zs e Sh or. from Emily Ca at uc porary d arts ed media artist, curator an l (TAAFI), Caribbean Contem d a number of art and new n at itio te is a multimedia na Natalie Wood ternative Art Fair Internatio Aird Gallery. Wood has cura ry and the I Represent exhib Al , and John B. at WARC Galle at the Toronto adina Museum e Hero Project Zsa Gallery, Sp the critically acclaimed Th as exhibits such A Space.
Wynick/Tuck Gallery 401 Richmon d Street West, Suite 128 416 504 8716 wynicktuckgal lery.ca
April 4 – Apr il 25 Off Screen La unch: Saturday April 4, 2 – 5 PM Tuesday – Sa turday 11 AM – 5 PM
Toronto-EMAK Takashi Ishida I Japan, 2009
Initially trained as a painter, Ta experimental kashi Ishida m an introduced to imation pioneers such as Osoved into the field of filmmak Toronto audie ing after seein kar Fischinger, nc and has since been exhibited es in 2001 through its inclus Viking Eggeling and Len Ly g the work of early Cinemathequ e. Ishida’s wo ion nu m in er th ou e s Im tim e Ontario and ag a residency an es in the city, most recently es Festival’s multi-part Ja rk was first pan Focus, d exhibition wi as the subject th Reel Asian In 2009, Imag and Trinity Sq of a retrospective at es uare Video. work Toronto- is pleased to present the fru EMAKI. Like se the Japanese veral of his prev its of Ishida’s most recent To pic warring familie ture scroll, which originate ious pieces, this work draw ronto-based residency: his s d “narrative” an and folk tales for formally rig in the 11th century. While s upon the formal traditions brand new d excruciating he may forgo of emaki, or detail of their orous studies of line, shap th historical nam e and movem e traditional narratives of esake. ent, his works In Toronto-EM echo the epic AK of a long narro I two monitors sit at the ba w juxtaposition be gallery space. Presenting se of two eight-metre scroll bo drawings which the detail with tweeen process and produc th the moving image and the flat drawing run along opposing walls which one can t—the frenetic the video pres s side by side int m er ov pr em et en th ts e m en an subtractive pie t different iterations of tim otions in the large brush st d rhythms in the video are creates a e: the first is an rokes of the sc ce where the illuminated by brush strokes rolls. The two disappear from additive animation moving forward in tim channels of Takashi Ishida the paper. e, the second a presented exte , born in Tokyo in 1972, is a ns residency in th ively at Japanese museu renowned Japanese artist ms, galleries an and filmmaker. e UK. In 2007 he received th of Gotoh Mem His projects ha d film festivals e or recently ende ial Cultural Award. After re prestigious Most Promising and also internationally, inc ve been d in February luding a recent ceiving the pr 2009. ize, Ishida spenYoung Talent prize from the Fine Art Division t a year in resid ence in Toront o, which
il 18 April 3 – Apr ril 3, 7 PM tion: Friday Ap ep ec R Opening PM turday 12 – 6 Tuesday to Sa PM 6 12 — Sunday April 5,
l Centre XPACE Cultura enue Av on 58 Ossingt 64 28 416 849 xpace.info
ampo - Paala
Jo SiMalaya Alc
oney, ino, Megan Ro Mark Pellegr ner Space Outer and In campo, Liam Crockard, Al is for Student Jo SiMalaya , Matthew Williamson the ongoing S th ojects through time student media art pr t en ud st Brad Tinmou g of supportin arks the first an emerging generation s a long history -presented with XPACE m ultaneously ace introduce es Festival ha co While the Imag and video, this exhibition ojects in Outer and Inner Sp s of film and video, while sim of pr rie lm fi orks e da Th ew un m al. bo fra tiv s e se fes th e os screening of of th cr a gallery at oving image onal by way projects occupy hybrid development of the m th the popular and the pers e of artists whos ations of identity through bo rm Jo has negotiating fo nalism, family and society. munity worker. tio pher and com igrant women, queer ra og ot ph subculture, na er, video mak d luding imm award-winning ge diverse communities inc currently studying Integrate ga Alcampo is an e is Jo SiMalaya munity arts projects that en , and migrant workers. Sh m developed co of the mental health system ge of Art & Design. rs lle where he is youth, survivo ography at the Ontario Co tice in Toronto, ot uates his prac llage, sculpture, video and sit w no d Media and Ph an , ropology ner, Ontario Through co 1986 in Kitche e Arts program at OCAD. ambition, hallucination, anth etown. e m Fin rd was born in Liam Crocka undergraduate thesis in the elling, pop-science, teenag try and delinquency in his ho ryt us completing his m addresses themes of sto on recollections of dead ind Lia g perimental performance, ent. Currently he is focusin equipment, ex m tiquated video edium. He is currently the an th wi s rk and disappoint wo m es of the artist who AD o-based video urse, structure and anomali d Media department at OC te ino is a Toront co Mark Pellegr ctronics to explore the dis ive his BFA from the Integra ele e and will rece software and dinator at Vtap oney currently Technical Coor o, Megan Ro ion to rsity of Toront dit ive ad Un in e , th in 2009. ing at t departmen ing and draw Visual Studies ary practice includes paint lin uate from the A recent grad in Toronto. Her interdiscip its s He holds cred lives and work rks. is photography. film, video and an online gallery space. He in ing video-based wo rk wo t nto-based artis projects, and is working on alternative film and editing ro To g gin er cusing on th is an em and video Brad Tinmou editor on several short film Film Production program fo d ’s as director an ird year of York University O Magazine. th &S n the internet currently in his is the photo editor for SO e gaps betwee s d n examines th eo, websites to electronic so m ia techniques, an ill W ging”, Matthewe of formats from print to vid graduate of the Fanshawe ga en gly tin tra A ovidence, broad rang achines. ce as “frus Described on e working in a ships we forge with our m own work in Trieste, Italy; Pr ‘real life’. Whil ion has sh ew th at and so-called sed on the humorous relat M t, en AD stud his work is focut program and a current OC College Fine Ar d Toronto, Ontario. an Rhode Island; e to celebrate! unch Party Off Screen La en installations are open. Tim re All of the Off Sc 10:30 PM 4, Saturday April and Awards! Student Party 10:30 PM 7, Tuesday April
nt Centre lery, Harbourfro York Quay Gal uay West 235 Queens Q 416 973 5379 entre.com harbourfrontc
ay 3 March 14 – M 13, 6 – 10 PM n: Friday March tio ep ec R ng Openi sday 12 – 6 PM Tuesday – Thur ay 12 – 8 PM iday & Saturd Wednesday, Fr PM Sunday 12 – 6
: california suns
LIGHT READING d Table 2027
h McAlpine Century tzler, Elizabet ral landscape Goodbye 20thAmy Granat & Drew Hei from the cultu nt documents of the southwestern ta ex by ed Rosa Barba, m n are all infor erials to ical landscape
in this exhibitio ated within the geograph tuses and mat to project uated appara cts presented loc The three proje ury that are simultaneously McAlpine each deploy antiq ury modernism as a means nt d e. cent of the 20th ce at & Heitzler an king back to mid- to late- the throes of obsolescenc . Barba, Gran United States tic landscape via cinema, loo-modernism and a media in evoke a synthe emporary condition of post nt beyond our co
d Table 2027 ct loops of Western Roun other and proje ors face each e upon the gallery walls. ct oje pr o Rosa Barba tw , ll a clanking of its opposit d Table 2027 Germany, 2007 installation Western Roun bulb creating a silhouette bass, one melody) that reca Round rn ’s In Rosa Barba’s , the light of each projector minimalist soundtracks (one rk references “The Weste that wo lm o clear 16mm fi s are accompanied by tw used to produce them. The Fine Arts and held in 1949 itecture, of ion These project emblematic of the devices ed by the California School science, philosophy and archly e, industrial dron n Art”, a symposium organiz t, literature, criticism, music, e group publicly and private ar er Table on Mod an elite group of men from ht and Gregory Bateson. Th ernist future. er od rig brought togeth l Duchamp, Frank Lloyd W modernist legacy and a m its ce in Cologne in including Mar emporary artistic practice, of Media Arts the Academy Vienna, Stockholm and m fro d discussed cont te ua . She grad Angeles, Italy, rmany in 1972 in Budapest, Sweden, Los ivals in Germany, France, st d, and s was born in Ge Rosa Barba since completed residencie tensively at galleries and fe erland, Peru, Brazil, Finlan Chicago itz ex s 2000, and ha rba has exhibited her work , USA, Canada, Austria, Sw ted by Video Data Bank in bu Amsterdam. Bad, The Netherlands, Sweden Festivals. Her work is distri es Scotland, Irelan the 2005 and 2008 Imag as Korea as well Amsterdam. in and Filmbank nsferred to T.S.O.Y.W. ler screen film tra & Drew Heitz itzler. The dual- Werther that emerged from He ew Dr d Amy Granat an ’s estion y Granat Goethe boration by Am e of Johann Wolfgang von no about Jean Genet’s sugg s USA, 2007 e first film colla rrativ Parri o screen Tw . cle T.S.O.Y.W. is thupon a reworking of the na Olivier Mosset and Steven cy or ot aneously , with a m video is based ler’s discussions with artists attainable love, Charlotte m footage they shot simult ether m itz un Granat and He phy to replace Werther’s this narrative, based on 16 Granat along with Jutta Ko ra of sed by in his autobiog ure each artist’s rendition dtrack compo at nied by a soun pa m co concurrently fe ac , as lex camer . She has on a pair of Bo repnin. d in New York he has been base m; Palais de Tokyo, Paris; at an and Stefan Tc Gr y 98, Am Museu Chicago; rd College in 19w York; the Milwaukee Art mpbell Gallery, her BA from Ba , Ne les; Shane Ca the curatorial collective Since receiving tionally at Broadway 1602 Redling Fine Art, Los Ange of r co-founde titute. ; na exhibited inter rary Art Centre, New York hitney Biennial. She is also d Gallery and the Swiss Ins po ar P.S. 1 Contem , New York; and the 2008 W cts at The Kitchen, Orch oje White Columns at has recently presented pr th Cinema Zero
Los Angeles, and works in including currently lives d lly an na tio a, lin na ro er ton, South Ca 2000 and has exhibited int emporary Art Center, les ar Ch in 72 19 nter College in ris; P.S. 1 Cont ennial. In r was born in Drew Heitzle ler received his MFA from Hu e Centre Culturel Suisse, Pa l; and the 2008 Whitney Bi Bring the se th itz n ; Ba rk , He itio Yo nd ia. hib lla w rn ex se t Ne lifo ou Ba er, Ca ab rk; Kunsthaus Sculpture Cent much written exhibitions at ology Film Archives, New Yo n Fine Art and curated the Angeles. th New York; An the co-founder of Champio rk, and Q.E.D. Gallery, Los s addition he wa zabeth Dee Gallery, New Yo Eli War Home at a sunset ING: californi to the LIGHT READ lpine e title referring s film loop, th d entirely of “flashou inu nt co a Elizabeth McA is rk is compose , which, lifornia sunset UK, 2008 READING: ca ne is appropriating. The wo ly inserted into movie trailers duration, lpine’s LIGHT lpi Elizabeth McA n of the materials that McA otion picture frames popular trailers. Over its ten-minute the th e Hollywood origi dual monochrome 35mm m e perceptual intensity of th e entire colour spectrum, wi llage. ivi e th h th d co as ug un re ro so th inc e e, ck ns ey frames”— ind de bla d to create a by the human from white to whilst unseen G: california sunset moves each sourced frame retaine e Arts & LIGHT READIN nying audio fragment from ived a BA in Fin pa ndon. She rece of Fine Art. Her projects Lo in d se ba original accom ly ticipating artist current ture from the Slade School erdisciplinary symposium An PILOT, lpine is an int as well as the an MFA in Sculp r of Elizabeth McA m Goldsmiths College and Ballina Arts Centre, Ireland; is a co-founder and directo CO, fro e AR Critical Theory ited at SPACEX, Exeter; th odern. In addition, McAlpine s since been exhibited at . ha M have been exhib Archive: Image at the Tate was launched in 2004 and a Bartlett Gallery in London T ts: Laur the Past: Artis r artists and curators. PILO represented by fo le. McAlpine is na en Bi e a live archive nic the 52nd Ve Madrid and at ntury: odbye 20th Ce ding with Go ci in co ns tio Other exhibi playground Topsy-Turvy in the form of -purposed for ure of fantasy re ct ite en ch be ar s e Lyla Rye ha th interest in itecture that but actually Canada, 2009 s inspired by artist Lyla Rye’sms. A futuristic, utopian arch US by Buckminster Fuller sculpture e t Topsy-Turvy wa is case, geodesic jungle gy larized and patented in th mes are a fusion of abstrac r to pu th do simila rs lou co y structures—in y, geodesic domes were po 23. In playgrounds, these ar psy-Turvy 19 heme of prim the realm of plarmany, the first being built in produced in a Mondrian sc to a broad range of play. To . The ge originated in Ge gineering. They are usually uity of reference lends itself ent, reality and fantasy mer physical en big h , past and pres and structural building toys, and their am to and throug e adult and child fractured by projecting on gement with th ga en e tiv most children’s yground as a space where be ac ll courage an by video wi explores the pla of space normally created perceptual incongruities en in reality. as n d coherent illusio e resulting spatial shifts an e realm of fantasy as much Th th da, Rye has interferences. this playground to exist in . Within Cana dely since 1989 Gallery, Medicine Hat; wi d ite space, allowing hib ex l d internationa lifax; Esplanade work has been n artist whose t Gallery of Nova Scotia, Ha nada, Toronto, and has ha tio lla ta ins an Ca Toronto; Ar useum of Lyla Rye is d the Textile M e Power Plant, exhibited at th on Art Centre, Kingston; an ide, Paris, and Berlin. ela gt rin Ad , Agnes Ethe , New York San Francisco ins, exhibitions in , Patrick Jenk y, April Hickox rle Ha ad Br e ty of Goddard, ation in a varie Frame to Fram, Warren Brown & Adam river o explore anim ta Josh Bonnet antal Rousseau, Seth Sc n by nine Ontario artists wh hallway. Ch in this exhibitio onitors in an open access Tanya Read, is transformed of m The still image s. Presented on a series yle formats and st
YYZ Suite 140 d Street West, 401 Richmon 416 598 4546 t.org yyzartistsoutle
il 18 March 7 – Apr arch 6, 7 PM tion: Friday M Opening Recep ril 4, 2 – 5 PM : Saturday Ap ch un La en re Off Sc – 5 PM turday 11 AM Tuesday – Sa
Somewhere Something Be
tter , TorontoSomething Be ic and dialogue ne he Co sa ee d, image, mus consciousness. Al un so , lm fi ing al urced from exist Canada, 2008 expand emotion ed scenarios so ters and scenes that aim to ents of unrelat room in ac gm ar fra ch g s, itin rie ed sto ly to a darkened e Through careful sa Cohene develops uniqu ugh the gallery veral film actors who ro th u yo ds ee lea introduces se ere they based artist Al rated colours microcosm wh ily. Each screen pattern of satu tter, a striped different members of a fam ree characters interact in a tant and intimate. Be g hin et m t So th dis ionships In her project onitors presen er, mother and child. The ips that are simultaneously th nchronized m extent our relat which three sy three shifting personae: fa n’t see and share relationsh als and expresses to what o soon merge int but don’t listen, look but do munication between individu r m cupy hear each othe r looks at the space of co ourselves. that seek to oc tte of Be g hin et m eo installations shown in festivals and So rough mirrors vid th d ed an ct s tru eo ns vid has , and has to others are co been producing rsonal integrity. Her work Cohene has e United States artist Aleesa ral belief and peScandinavia, Turkey, and th sidencies in Canada, d ltu se cu , ba oion nt ot ro re Since 2001, To zone between ideas and emGermany, Holland, Russia, e has participated in artist ien (KHM) in Cologne, al the opposition Canada as well as in Brazil, ronto’s Images Festival. Sh e Kunsthochschule für Med To th galleries across recht’s Impakt Festival and ly pursuing a fellowship at nt Ut won prizes at and Denmark. She is curre Toronto. ds e in ap Vt by d te the Netherlan work is distribu Germany. Her Somewhere uise Noguchi such as age from films tention June Pak & Lo isting film foot at ex r eula pr y rtic pa plo ys em their work pa Canada, 2008 s at YYZ that and installation, ting three work Pak are presen on. Through the use of video ne Ju d an i sor, Louise Noguch , 3-Iron and Enter the Drag ychological spaces. ps iversity of Wind Oz The Wizard of enes that isolate social and sign and the Un epts confront the De d an t Ar of sc nc ge to cinematic e Ontario Colle d other media, Noguchi’s co ant (Toronto), The Cond studied at th Pl an chi is at The Power rn in Toronto an ography, sculpture, video d bo ite s hib wa i ex (Munich). Nogu ch en Louise Nogu ived her MFA. Using phot r work has be d the Deutsches Museum He ty. ali re d an an ce , perception rliner Kuntsverein (Berlin), where she re tions of identity spectator’s no llery (Vancouver), Neuer Be an MFA Ga t University and temporary Ar Birch Libralato in Toronto. BFA from York s found in the fragmented a lds ho e Sh by o. represented and the lives in Toront the human–nes rea, and now ital media projects explore iversity of Western Ontario es oul, South Ko nu Un dig Se e ve d in th us an rn at d rio s bo se va se s ba at ur June Pak wa ity of Windsor. Her time- ia and interdisciplinary co have shown rs ia installations from the Unive ly teaches time-based med -channel videos and med nt gle rre n. Her sin Self. She cu of Art and Desig ce 1996. Ontario College da, the US and Europe sin na Ca throughout
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Thank you to our community partners Art Gallery of York University 4700 Keele Street Accolade East Building Toronto ON M3J 1P3 (T) 416 736 5169 (F) 416 736 5985 (E) firstname.lastname@example.org www.yorku.ca/agyu
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Departing from the notion of out there, the Art Gallery of York University (AGYU) is an artistically and intellectually driven public art gallery dedicated to manifesting contemporary art within its university context and “off-site” through diverse cultural circuits. AGYU, out there: the centre.
The CFMDC is Canada’s foremost non-commercial distributor for artists’ and independent film. Since 1967, the CFMDC has been dedicated to promoting and disseminating works which operate outside of the mainstream. With over 2,500 titles in distribution, the CFMDC is a critical resource for curators, programmers, educational institutions, festivals and museums worldwide. For information on distributing your work through the CFMDC, please contact us at the address above.
A Space 401 Richmond Street West, Suite 110 Toronto ON M5V 3A8 (T) 416 979 9633 (F) 416 979 9683 (E) firstname.lastname@example.org www.aspacegallery.org Founded in 1971, A Space is one of the oldest operating artist-run centres in Canada. A Space is committed to politically engaged, culturally diverse and technically innovative programming. Basic membership is $20.
Blackwood Gallery University of Toronto Mississauga 3359 Mississauga Road North Mississauga ON L5L 1C6 (T) 905 828 3789 (F) 905 569 4262 (E) email@example.com www.blackwoodgallery.ca Located at the University of Toronto Mississauga, the Blackwood Gallery is a centre for the research, presentation and dissemination of contemporary art and its histories. The Blackwood seeks to be a catalyst for current debates, and a laboratory for contemporary artistic and curatorial experiments. Through its activities, it aims to disturb preconceptions, foster discussion, and engage the intellect as well as the senses. The gallery’s award-winning exhibitions and publications present a broad spectrum of art practices and experimental undertakings (performance, installation, sound-art, video and off-site projects). Exhibition formats are versatile and intersect with contemporary discourse in the arts as well as interdisciplinary, research-based undertakings in the university context.
C Magazine 401 Richmond Street West, PO Box 5 Station B Toronto ON M5T 2T2 (T) 416 539 9495 (F) 416 539 9903 (E) firstname.lastname@example.org www.cmagazine.com C Magazine, Canada’s leading international contemporary art magazine, publishes compelling critical writing by established and emerging writers. C emphasizes the important role Canadian art and artists play in any discussion about contemporary art, and looks at their work in context of international art activity. Published quarterly, C Magazine has kept its audience on top of the most significant underground trends in art and culture for 25 years.
Canadian Art Foundation 310 – 215 Spadina Avenue Toronto, ON M5T 2C7 (T) 416 368 8854 (F) 416 368 6135
Charles Street Video is a media art centre that offers artists access to production opportunities and to electronic and digital tools. CSV’s facilities include Final Cut Pro and Avid editing systems, an audio editing station and a full range of high and standard definition video production gear. Among the many annual activities CSV undertakes are numerous artist residencies and training sessions and the provision of scholarships to post-secondary, media art students. In addition to the Images Festival, CSV also collaborates on production programs with such organizational partners as Inside Out, Planet in Focus, Seventh Generation Image Makers, New Adventures in Sound Art, the Toronto District School Board, the Art Galley of Ontario and the Power Plant Gallery.
Cinema Scope 465 Lytton Boulevard Toronto ON M5N 1S5 (T) 416 889 5430 (E) email@example.com
An independently published film quarterly marked by analytical writing on film and video, Cinema Scope unites experienced critics from across North America with up-and-coming Toronto writers. Packed with reviews, essays, festival reports, and interviews, it is geared to cinephiles looking for an intelligent forum on world cinema. With unparalleled depth and breadth, Cinema Scope is a real alternative in the Canadian film scene and has earned the respect of cinephiles worldwide.
Cinematheque Ontario Screenings at Jackman Hall, Art Gallery of Ontario 317 Dundas Street West Toronto ON M5T 1G4 (T) 416 968-FILM www.cinemathequeontario.ca Cinematheque Ontario, the year-round screening programme of the Toronto International Film Festival Group, is dedicated to presenting transformative world cinema through thoughtfully curated retrospectives, filmmaker monographs, and international programme tours. Cinematheque Ontario presents an ambitious selection of more than 300 films annually, including acclaimed directors’ retrospectives, national and regional cinema spotlights, thematic programmes, exclusive limited runs, and classic and contemporary Canadian and international cinema, including many new and rare archival prints. For more information, call 416-968-FILM or visit cinemathequeontario.ca
The Canadian Art Foundation is a charitable organization that fosters and supports the visual arts in Canada. The foundation celebrates artists and their creativity with a nationwide educational program of events, lectures, competitions, publications and other initiatives.
Charles Street Video 65 Bellwoods Avenue Toronto ON M6J 3N4 (T) 416 603 6564 (F) 416 603 6567 (E) firstname.lastname@example.org www.charlesstreetvideo.com
Continuum Contemporary Music 300 Bloor Street West Toronto ON M5S 1W3 (T) 416 924 4945 (E) email@example.com www.continuummusic.org Continuum Contemporary Music presents the work of emerging Canadian composers alongside works by established national and international composers in its concert series, at festivals, on tour, over the air waves and through recordings. Formed in 1985, Continuum has commissioned and premiered over 100 new works from emerging and established Canadian composers and is active in developing new audiences, promoting art in the community, and developing the next generation of composers through public art projects, workshops across Canada and Europe, and through its Biennial International Call for Scores.
FADO Performance Art Centre 401 Richmond Street West, Suite 448 Toronto ON M5V 3A8 (T) 416 822 3219 (E) firstname.lastname@example.org www.performanceart.ca Founded in 1993, FADO was established to provide a stable, knowledgeable and supportive forum for creating and presenting performance art works created by Canadian and international performance artists. FADO is the only artist-run centre in English Canada devoted specifically to this form. FADO’s activities include presenting performances, artist talks, festivals, residencies, exchanges and workshops, as well as publishing in a variety of formats, including video and for the web.
The Factory: Hamilton Media Arts Centre 126 James Street North Hamilton ON L8R 2K7 (T) 905 577 9191 (E) email@example.com wwww.hamiltonmediaarts.org An artist-driven resource centre dedicated to the production and promotion of diverse forms of independent film, video and time-based media arts – access to facilities, equipment, peer resources, and educational initiatives. The Factory encourages the development and appreciation of these art forms through an ongoing programme of screenings and events including the monthly Factory Works Screening Series.
Frame Discreet 8mm.16mm.transfer.studio (T) 416 803 1101 (E) firstname.lastname@example.org www.framediscreet.com Razor sharp frame accurate transfers of 8mm & 16mm. We offer scene by scene and supervised transfers, working with you to reveal the beautiful texture of film.
Fuse Magazine 401 Richmond Street West, Suite 454 Toronto ON M5V 3A8j (T) 416.340.8026 (E) email@example.com www.fusemagazine.org Fuse is a community of visual and performing artists, educators, community workers, writers, activists, organizers, policy makers, social thinkers, curators and other movers and shakers. Together we produce a quarterly publication that is focused on the intersections of art, media and politics.
Gallery 44 Centre for Contemporary Photography 401 Richmond Street West, Suite 120 Toronto ON M5V 3A8 (T) 416 979 3941 (F) 416 979 1695 (E) firstname.lastname@example.org www.gallery44.org Gallery 44 Centre for Contemporary Photography is a non-profit artist-run centre committed to the advancement of photographic art. Founded in 1979 to establish a creative, supportive environment in which photography could flourish, today our centre consists of a gallery, resource centre, darkroom and production facilities. We offer workshops, equipment rental, and serve a membership of artists and photo enthusiasts. Our goal is to contribute to the dialogue on contemporary Canadian photographic art practice and to foster its support, understanding and appreciation.
Gallery TPW 56 Ossington Avenue Toronto ON M6J 2Y7 (T) 416 645 1066 (F) 416 645 1681 (E) email@example.com www.gallerytpw.ca Gallery TPW addresses the vital role that images play in contemporary culture and explores the exchange between photography, new technologies and time-based media. For over 30 years Gallery TPW has played a significant role in facilitating critical discussion, supporting professional artists and developing audiences through its gallery exhibitions, screenings, online programming, publications and public events.
The Gladstone Hotel 1214 Queen Street West Toronto ON M6J 1J6 (T) 416 531 4635 www.gladstonehotel.com “The Gladstone offers immediate immersion into Toronto’s art scene.” —New York Times, 23.07.06. The Gladstone Hotel is a unique urban hotel featuring 37 artist-designed hotel rooms and suites, a lively bar showcasing local musicians and Toronto’s favourite karaoke, plus a cafe serving breakfast, lunch and dinner with a focus on local, organic and fair trade ingredients. The Gladstone also offers shortterm artist studios, exhibition spaces, event and conference venues in the heart of the city’s art and design district.
Goethe-Institut Toronto 100 University Avenue North Tower Suite 201 Toronto ON M5J 1V8 (T) 416 593 5257 (F) 416 593 5145 (E) firstname.lastname@example.org www.goethe.de/toronto The Goethe-Institut Toronto, presenter of the latest arts & ideas from Germany, offers a wide range of contemporary arts programming, creating a vibrant dialogue between our partners in Germany and Canada. We also have professional German language courses both in Canada and Germany. In 2009, the Goethe-Institut Toronto will relaunch its completely renovated downtown location.
Gulf Islands Film & Television School S.43 C.12 Galiano Island British Columbia V0N 1P0 (T) 1 800 813 9993 GIFTS is more than a school — we are a film, video & animation production hub. Located on beautiful Galiano Island, BC, we offer intensive live-in workshops and programs throughout the year for both teens and adults. Under the close mentorship of award-winning media professionals, our students are immersed in all aspects of the production process. Every student comes away from the program with a well-rounded set of creative skills and an original video to add to their portfolio. Our mission is to give students the means to fulfill their vision and talent, then sit back and watch as they astound us.
Harbourfront Centre 235 Queens Quay West Toronto, ON M5J 2G8 T 416-973-4000 E email@example.com
Harbourfront Centre/Visual Arts at York Quay Centre Visual Arts at York Quay Centre is made up of 11 exhibition spaces which are both traditional and unique. These venues are located within and outside York Quay Centre proper and range in focus from the main gallery established for group exhibitions that is 1,400 feet square, to the recently added architecture space to individual project vitrines. The year-round exhibition schedule emphasizes new work by contemporary local and international artists in craft, design, new media, architecture, photography and site specific projects. Exhibitions change five times a year in all of the venues except in the case of special initiatives. For more information on our current exhibitions, visit harbourfrontcentre.com/visualarts.
Harbourfront Centre/World Stage www.harbourfrontcentre.com/worldstage Harbourfront Centre’s World Stage is dedicated to providing audiences with unrivalled works of international and national theatre, dance, music and multidisciplinary performance from the globe’s leading artists. These are productions that challenge, enlighten and push boundaries. Harbourfront Centre’s World Stage is proud to collaborate with cutting-edge multidisciplinary partners like the Images Festival. This partnership provides both Harbourfront Centre and Images the platform to showcase aritsts working in various performance styles to new audiences. For more information about World Stage, visit harbourfrontcentre.com/worldstage.
Hot Docs Canadian International Documentary Festival 110 Spadina Avenue, Suite 333 Toronto ON M5V 2K4 (T) 416 203 2155 (F) 416 203 0446 (E) firstname.lastname@example.org www.hotdocs.ca
Liaison of Independent Filmmakers of Toronto (LIFT) 1137 Dupont Street Toronto ON M6H 2A3 (T) 416 588 6444 (F) 416 588 7017 (E) email@example.com www.lift.on.ca
Hot Docs, North America’s largest documentary festival, conference and market, will present its 16th annual edition from April 30 to May 10, 2009. An outstanding selection of 150+ documentaries from Canada and around the world will be presented to Toronto audiences and international delegates. Hot Docs will also mount a full roster of professional development and market events for documentary practitioners, including the renowned Toronto Documentary Forum, running May 6 & 7, 2009.
LIFT is a non-profit charitable organization that provides Toronto’s vibrant arts community with affordable access to film equipment, professional and creative development workshops, film screenings and much, much more. Whether you’re an auteur or an absolute beginner, if you’re interested in making a film, we can help you.
imagineNATIVE Film + Media Arts Festival 401 Richmond Street West, Suite 349 Toronto ON M5V 3A8 (T) 416 585 2333 (F) 416 585 2313 (E) info@imagineNATIVE.org www.imagineNATIVE.org The imagineNATIVE Film + Media Arts Festival is an international festival that celebrates the latest works by Indigenous peoples on the forefront of innovation in film, video, radio, and new media. Please join us for the 10th annual festival, October 14-18 2009, in Toronto.
Inside Out 401 Richmond Street West, Suite 219 Toronto ON M5V 3A8 (T) 416.977.6847 (F) 416.977.8025 (E) firstname.lastname@example.org www.insideout.ca Inside Out, the presenter of the annual Toronto Lesbian and Gay Film and Video Festival, is currently in its nineteenth fabulous year – Festival dates are May 14 to 24, 2009. Over the past decade, we have grown by leaps and bounds. Currently, our festival caters to audiences of more than 30,000, is the third largest film festival in Toronto and is one of the city’s most anticipated queer cultural events. We are committed to the promotion and exhibition of Canadian and international LGBT artists and their works, while encouraging the production of new work. We are dedicated to nurturing and supporting new and established artists through a variety of initiatives such as the Queer Youth Digital Video Project and Mark S. Bonham Scholarship for Queer Studies in Film. As well, we provide opportunities for our community to come together, foster discussion and encourage co-operative partnerships.
Media City Film Festival 309 Chatham Street West Windsor, ON N9A 5M8 (T) 519 973 9368 (E) email@example.com www.houseoftoast.ca/mediacity MEDIA CITY is an international festival of experimental film and video art presented in Windsor, Ontario since 1994. Each year Media City screens approximately fifty new films and videos in all gauges and formats in its international programs. The festival also presents retrospective screenings and discussions with featured artists, and exhibits installations in the Art Gallery of Windsor and other venues in Windsor and Detroit.
Mercer Union, A Centre for Contemporary Art 1286 Bloor Street West Toronto ON M6H 1N9 (T) 416.536.1519 (F) 416.536.2955 (E) firstname.lastname@example.org www.mercerunion.org Mercer Union, A Centre for Contemporary Art is an artist-run centre dedicated to the existence of contemporary art. We provide a forum for the production and exhibition of Canadian and international conceptually and aesthetically engaging art and related cultural practices. We pursue our primary concerns through critical activities that include exhibitions, lectures, screenings, performances, publications, events and special projects.
Museum of Contemporary Canadian Art (MOCCA) 952 Queen Street West Toronto ON M6J 1G8 (T) 416 395 0067 (F) 416 395 7598 (E) email@example.com www.mocca.ca
InterAccess Electronic Media Arts Centre 9 Ossington Avenue Toronto ON M6J 2Y8 (T) 416 599 7206 (F) 416 599 7015 (E) firstname.lastname@example.org www.interaccess.org InterAccess provides artists and the general public with opportunities to explore the intersection of culture and technology through the creation, exhibition and critique of electronic art forms and new communications media.
The Museum of Contemporary Canadian Art (MOCCA) was founded in 1999 with a mandate to exhibit, research, collect and promote innovative art by Canadian artists whose works engage and reflect the relevant stories of our times. MOCCA currently exists as a not-for-profit, arms-length agency of the City of Toronto’s Culture Division. MOCCA’s exhibition program reflects a dynamic yet balanced approach to presenting the wide range of ideas and media being explored by established artists at advanced stages of practice, and emerging artists who have demonstrated strong promise and exceptional commitment. In addition, MOCCA includes work by non-Canadian artists in group exhibitions, thereby creating a global context for the Canadian cultural voice.
Performance Creation Canada (Blog) pcctoronto.wordpress.com Kasseler Dokumentarfilm und Videofest Filmladen Kassel e.V Goethestrasse 31 Kassel Germany 34119 (E) email@example.com www.filmladen.de/dokfest The Kasseler Dokumentarfilm und Videofest began as a pure documentary film festival in the 1980s but has since extended its frame to include media installations, MONITORING, and the seminar interfiction, a place for lectures and debates about the internet. In 2008 the festival presented 279 films and videos as well as 17 media installations, and was attended by more than 9,000 spectators. The 26th festival takes place November 10-15, 2009. Deadline for entries: July 21st.
Performance Creation Canada (PCC) is a nationwide network dedicated to the nourishment, management and study of performance creation in Canada, and the ecology in which it flourishes. The meeting is aimed at creating a discussion between artists in dance, theatre, music, film, and visual arts who are interested in the well being of Canadian performance creation. The conference is designed to open conversation, and open minds. The 11th edition of PCC is being presented in conjunction with the Images Festival and will be taking April 2 to 5, 2009.
Pleasure Dome 195 Rushton Rd. Toronto ON M6G 3J2 (T) 416 656 5577 (E) firstname.lastname@example.org www.pdome.org
Toronto Reel Asian International Film Festival 401 Richmond Street West, Suite 309 Toronto ON M5V 3A8 (T) 416 703 9333 (F) 416 703 9986 (E) email@example.com www.reelasian.com
Pleasure Dome is dedicated to the year-round presentation of experimental film and video by artists. Programming since 1989, Pleasure Dome exhibits local, national and international artists, especially those who make shorter-length and small-format work, as well as non-traditional events that mix film and video with other media such as performance and installation. Pleasure Dome also publishes texts on media art including the recent anthology Cinematic Folds: the furling and unfurling of images.
Canada’s premier pan-Asian international film festival, the Toronto Reel Asian International Film Festival takes place annually, showcasing independent Asian film and video from Canada, the U.S. and around the world. The 13th annual edition of Reel Asian will take place November 11-15, 2009. Our Call for Submissions is now open! The early deadline is Friday, May 15, 2009 - full guidelines and application forms are available for download from our website at www.reelasian.com. ,
The Power Plant Contemporary Art Gallery at Harbourfront Centre 231 Queens Quay West Toronto ON M5J 2G8 (T) 416 973 4949 (F) 416 973 4933 (E) firstname.lastname@example.org www.thepowerplant.org The Power Plant is Canada’s leading public gallery devoted exclusively to the art of our time. A prominent, non-collecting exhibition facility located in Toronto, it features new work by today’s best artists and is an integral part of Harbourfront Centre. The Power Plant celebrates the diverse conditions of evolving visual-art practice through exhibitions, publications, lectures and public programs.
Prefix Institute of Contemporary Art 401 Richmond Street West, Suite 124 Toronto ON M5V 3A8 (T) 416 591 0357 (E) email@example.com www.prefix.ca Prefix Institute of Contemporary Art is a public art gallery and arts publishing house that fosters the appreciation and understanding of contemporary photographic, media, and digital arts. As the only venue of its type in Canada, Prefix increases the visibility of Canadian artists and supports Canadian writers, curators, and critics, while also bringing a diverse body of international work to Canadian audiences through exhibitions, publications, and community-partnered activities. In 2008, Prefix released its first book, Milk and Melancholy by Kenneth Hayes, in partnership with the MIT Press.
Ryerson University’s G. Raymond Chang School of Continuing Education (Film Studies) The G. Raymond Chang School of Continuing Education Ryerson University, 350 Victoria Street Toronto ON M5B 2K3 (T) 416 979 5035 (E) firstname.lastname@example.org www.ryerson.ca/ce The Chang School’s Film Studies program provides you with a basic grounding in the principles, contemporary theories, and techniques of the motion picture medium. Courses range from introductory filmmaking to specialized topics such as screen writing; cinematography and lighting workshops; directing screen performance; production design; and sound design. Our Film Studies program is an excellent starting point for people who want to pursue a career in the film industry or satisfy their curiosity about film and film production.
Toronto Animated Image Society 60 Atlantic Avenue, Suite 102 Toronto, ON M6K 1X9 (T) 416-533-7889 (E) email@example.com www.tais.ca The Toronto Animated Image Society is a not-for-profit, artist-run organization that explores and promotes the art of animation and supports animators as artists. Over the past 20 years, TAIS has encouraged the exchange of information, facilities, ideas and aesthetics within Toronto’s animation community through events, screenings, workshops, and art exhibitions. TAIS also provides affordable access to a specialized animation studio
Trinity Square Video 401 Richmond Street West, Suite 376 Toronto ON M5V 3A8 (T) 416 593 1332 www.trinitysquarevideo.com TSV is an amazing artist-run centre that provides independent artists and community organizations with video production and postproduction support and services at accessible rates. In existence since 1971, TSV provides an extensive range of services and initiatives for the creation, training and understanding of media art. These include workshops, an annual artist-in-residency, themed commission programs, artist talks, internships, member production grants and festival and community sponsorships. The TSV Gallery features brilliant exhibitions and dazzling screenings of innovative video art by notable local, national and international artists.
Vtape 401 Richmond Street West, Suite 452 Toronto ON M5V 3A8 (T) 416 351 1317 (F) 416 351 1509 (E) firstname.lastname@example.org www.vtape.org Founded in 1980, Vtape is an international distribution, exhibition and resource centre with an emphasis on the contemporary media arts. Vtape represents over 900 artists and carries over 4,000 titles. In-office facilities include study carrels for viewing and an extensive library of print materials available to the general public. Vtape also provides exhibition support and equipment rentals to galleries, curators and individual artists. Vtape has developed the bi-lingual educational website “Video art in Canada” and maintains an active commitment to the preservation and restoration of all formats of early video art.
Wavelength Music Arts Projects www.wavelengthtoronto.com Wavelength is a forum for the Toronto underground musical and artistic community to reach a broader audience through a weekly pay-what-you-can live music series, special presentations and blog. Started in 2000, Wavelength continues to be driven by a social conscience, promoting inclusivity, equality, civic and environmental responsibility, with the aim of encouraging connections between diverse and currently isolated communities.
WARC Gallery - Women’s Art Resource Centre 401 Richmond Street West Suite 122 Toronto ON M5V 3A8 (T) 416 977 0097 (F) 416 977-7425 (E) email@example.com www.warc.net WARC is a not-for-profit, artist-run centre dedicated to the advancement of contemporary Canadian women artists. Activities include the WARC Gallery, curatorial research library, professional development workshops, educational resources, symposia & conferences, and special projects. Charitable # 131083271RR0001
Winnipeg Film Group 100 Arthur Street, Suite 304 Winnipeg, MB R3B 1H3 (T) 204 925 3452 (F) 204 942 6799 winnipegfilmgroup.com The Winnipeg Film Group is a non-profit organization dedicated to promoting the art of cinema. We have served as a resource for Manitoba film and video artists for 35 years, providing access to affordable training, mentorship, production and post production equipment and facilities through our Training and Production department, local, national and international programming through our Cinematheque, as well as local, national and international distribution assistance for Canadian independent film and video artists through our Distribution department.
WORKMAN ARTS / RENDEZVOUS WITH MADNESS 1001 Queen Street West Toronto ON, Canada M6J 1H4 (T) 416 583 4339 F. 416 583 4354 www.rendezvouswithmadness.com The Rendezvous with Madness Film Festival has been exploring madness at the movies since 1993. Through screenings and post-show panel discussions, we strive to bring our audience fabulous Canadian and international films, encourage discussion and battle stigma. The 17th annual Festival will take place in Toronto this November 5-14, 2009.
XPACE Cultural Centre 58 Ossington Avenue Toronto ON (T) 416 849 2864 (E) firstname.lastname@example.org www.xpace.info XPACE Cultural Centre is a non-profit organization dedicated to emerging art and design. Our goal is to bridge students with their established counterparts through experimental programming that cultivates public dialogue. This allows for a dynamic art space that questions and re-evaluates the cultural and artistic expectations of visual language. XPACE is a membership-driven organization supported by the OCAD Student Union.
YYZ 401 Richmond Street West, Suite 140 (T) 416 598 4546 (F) 416 598 2282 (E) email@example.com www.yyzartistsoutlet.org YYZ is a vibrant artist-run forum for the presentation of local, national and international contemporary artist-initiated exhibitions in all media, publications on topics in contemporary art, culture and society and activities that bring artists and audiences into contact with each other in engaging ways.
Wynick/Tuck Gallery 401 Richmond Street West, Suite 128 Toronto ON M5V 3A8 (T) 416 504 8716 (F) 416 504 8699 (E) firstname.lastname@example.org www.wynicktuckgallery.ca
York University â€“ Department of Film 222 Centre for Film and Theatre 4700 Keele Street Toronto ON M3J 1P3 (T) 416 736 5149 (F) 416 736 5710 (E) email@example.com www.yorku.ca/finearts/film
Founded in 1968 as a downtown storefront/warehouse, Wynick/Tuck Gallery features multi media, progressive contemporary art by emerging, mid-career and senior artists. Wynick/Tuck is committed to pushing the boundaries and blurring the lines.
York Universityâ€™s Department of Film offers undergraduate and graduate programs leading to BA, BFA, MA, MFA and PhD degrees, taught in state-of-the-art facilities by award-winning filmmakers and scholars. Programs include hands-on professional training in film and digital production (cinematography, editing, sound, directing and producing for fiction, documentary and alternative projects); screenwriting (story editing, scene writing, feature scripts, writing for television); and in-depth academic studies in cinema and media history, theory and criticism with a special focus on Canadian, international, documentary and alternative film.
ARTIST INDEX Abidi, Bani p. 70–71 Aguayo, Matias p. 70–71 Ammo Factory p. 65 Arcangel, Cory p. 56 Arnold, Martin p. 33 Aschberg, Frank p. 51 assume vivid astro focus p. 70–71 Ayres, Richard p. 33 Bad Beuys Entertainment p. 70–71 Banfi, Márcio p. 70–71 Barba, Rosa p. 86–87 Barber, Stephanie p. 49 Battle, Christina p. 33 Belém, Laura p. 70–71 Bell-Smith, Michael p. 60 Beloufa, Neïl p. 40 Bilal, Wafaa p. 79 Billyou, Mary p. 40 Blandy, David p. 70–71 Bodman, Amy p. 47 Boisseau, Sylvie p. 82 Bonnetta, Josh p. 86–87 Borins, Daniel p. 70–71 Borjal, Patrick p. 70–71 Boué, Francois p. 55 Bourque, Louise p. 41–43 Bowen, Deanna p. 83 Braga, Cristina p. 51 Brinkman, Mat p. 60 Brown, Jubal p. 79 Brown, Warren p. 86–87 Bryant, David p. 61 Bull.Miletic p. 70–71 Buzio, Guillermina p. 62 Calderón, Miguel (Los Super Elegantes) p. 70–71 Campbell, Duncan p. 49 Chan, Lesley Loksi p. 62 Christie, Amanda Dawn p. 64 Ciocci, Jacob p. 60 Cloud Eye Control p. 65 Cocoon p. 70–71 Cohene, Aleesa p. 88 Continuum Ensemble p. 33 Coonley, Ben p. 37, 89 Cote, Philippe p. 55 Cranfield, Brady p. 70–71 Crockard, Liam p. 85 Dardot, Marilá p. 70–71 Day, Dennis p. 70–71
Dezfoulian, Pouyan Jafarizadeh p. 51 Diaz, Lav p. 32 dogr (aka David Michael DiGregorio) p. 36 Duran, Francisca p. 49 Essen, Mark p. 79 Eyres, Erica p. 53 Faria, Fabio p. 70–71 Farocki, Harun p. 80 Fassler, Larissa p. 77 Fernandes, Brendan p. 74 Ferro, Chelpa p. 70–71 Finnigan, Elvira p. 64 Forsyth, Iain p. 70–71 Fortier, Louis p. 73 Frenkel, Vera p. 33 Fritzgerald Craig, James p. 53 Geoffroy, Thierry p. 38 Goddard, Adam p. 86–87 Goldstein, Malcolm p. 33 Goldt, Karø p. 40 Gonzalez-Foerster, Dominique p. 70–71 Graham, Rodney p. 70–71 Granat, Amy p. 86–87 Gronsdahl, Troy p. 64 Guerzi, Maki p. 70–71 Gusmão, João Maria p. 78 Hadjithomas, Joana p. 72 Halprin, Jason p. 55 Hamilton, Anitra p. 70–71 Hansen, Mike p. 70–71 Harley, Brad p. 86–87 Hartman, Loren p. 53 Heitzler, Drew p. 86–87 Hickox, April p. 86–87 Hirsch, Antonia p. 73 Histrionics, The p. 70–71 Holden, Clive p. 33 Holzfeind, Heidrun p. 38 Hommer, Joerg p. 51 Horne, Adele p. 64 Husain, Oliver p. 46 Ishida, Takashi p. 84 Jenkins, Patrick p. 86–87 Johannesen, Karen p. 55 Joreige, Khalil p. 72 Josephson, Gunilla p. 81 Katayama, Kaoru p. 70–71 Kawamura, Yuki p. 70–71 Kibbins, Gary p. 53 Kiburz, Mika p. 40
Kim, Sung Hwan p. 36, 76 Kim, Young-Sup p. 73 Koroshegyi, Arnold p. 73 Kuchar, George p. 50 Kwon, Byungjun p. 36 Lachajczyk, Joe p. 51 Laibach p. 70–71 Landry, Diane p. 73 Lane, Penny p. 53 Laric, Oliver p. 60 Latimer, Christine Lucy p. 46 Leinkauf, Mischa p. 51 Lemieux, Karl p. 61 Lorenzo, Jorge p. 46 Maddin, Guy p. 33 Marcelle, Cinthia p. 70–71 Marman, Jennifer p. 70–71 Marro, Xander p. 60 Mateik, Tara p. 60 Matheus, Rodrigo p. 70–71 Mazinani, Mani p. 51 McAlpine, Elizabeth p. 86–87 McCann, Penny p. 62 McIntyre, Daniel p. 51 Migone, Christof p. 61 Miller, Peter p. 49 Morales, Wagner p. 70–71 Morgan, Steev p. 62 Mroué, Rabih p. 34 Mugaas, Hanne p. 56 Murata, Takeshi p. 60 Nakamura, Takehiro p. 55 Noguchi, Louise p. 88 Olson, Marisa p. 60 Paiva, Pedro p. 78 Pak, June p. 88 Pallett, Owen p. 70–71 Parant, Jonathan p. 61 Paterson, Andrew J. p. 46, 70–71 Peaches p. 70–71 Peacock, Jan p. 75 Pellegrino, Mark p. 85 Phillips, Heidi p. 64 Pollard, Jane p. 70–71 Polta, Steve p. 55 Pong, Elodie p. 70–71 Pound, Stuart p. 70–71 Price, Seth p. 60 Ramo, Sara p. 70–71 Read, Tanya p. 86–87 Reinke, Steve p. 46
Richardson, Tasman p. 60, 70–71 Rist, Pipilotti p. 70–71 Robinson, Michael p. 60 Ronna, Giorgio p. 70–71 Rooney, Megan p. 85 Rousseau, Chantal p. 86–87 Rudelius, Julika p. 38, 40 Russell, Ben p. 60, 61 Rye, Lyla p. 86–87 Rytel, Joanna p. 38 Sacks, Rick p. 33 Saïto, Daïchi p. 33 Schütz, Richard p. 77 Schwartz, Jonathan p. 64 Scriver, Seth p. 86–87 Shamash, Sarah p. 62 Silva, Fern p. 51 SiMalaya Alcampo, Jo p. 85 Smith, Ariel p. 53 Smith, John p. 63 Smith, Michelle p. 64 Snow, Michael p. 73 Soares, Valeska p. 70–71 Spengler, Isabell p. 46 Stewart, Alexander p. 49 Stratman, Deborah p. 45 Stübi, Corine p. 70–71 Supnet, Leslie p. 60 Tatham, Zak p. 53 Tetine p. 70–71 Thauberger, Althea p. 52 Tinmouth, Brad p. 85 Trainor, Jim p. 40 Uman, Naomi p. 64 van der Made, Judith p. 53 van der Werve, Guido p. 70–71 van Dillen, Oscar p. 33 Wardill, Emily p. 46 Watson, Gabriel p. 51 Weekend Leisure p. 70–71 Westermeyer, Frank p. 82 Wheele, Ben p. 49 White, Ian p. 52 Williamson, Matthew p. 85 Wong, Ming p. 70–71 Wood, Kelly p. 73 Yücel, Altan p. 51 Zaatari, Akram p. 45
DISTRIBUTORS & GALLERIES Agência da Curta Metragem Apartado 214 4481-911 Vila do Conde, Portugal T: +351 252 646683 E: firstname.lastname@example.org www.curtasmetragens.pt/agencia/en/ Anthology Film Archives 32 2nd Avenue New York, NY 10003 USA T: 212 505 5181 E: email@example.com www.anthologyfilmarchives.org Arsenal Potsdamer Straße 2 D-10785 Berlin, Germany T: +49 30 26955 100 E: firstname.lastname@example.org www.arsenal-berlin.de/arsenal Art Gallery of Greater Victoria (AGGV) 1040 Moss Street Victoria, BC V8V 4P1 Canada T: 250 384 4101 E: email@example.com www.aggv.bc.ca Art Gallery of York University (AGYU) Accolade East Building, 4700 Keele Street Toronto ON M3J 1P3 Canada T: 416 736 5169 E: firstname.lastname@example.org www.yorku.ca/agyu Blackwood Gallery University of Toronto Mississauga 3359 Mississauga Road North Mississauga, ON L5L 1C6 Canada T: 905 828 3789 E: email@example.com www.blackwoodgallery.ca
Canadian Filmmakers Distribution Centre (CFMDC) 401 Richmond Street West, Suite 119 Toronto, ON M5V 3A8 Canada T: 416 588 0725 E: firstname.lastname@example.org www.cfmdc.org
Galerie Eva Presenhuber Limmatstraße 270 P.O. Box 1517 CH – 8031 Zurich Switzerland T: +41 43 444 7050 E: email@example.com www.presenhuber.com
Canyon Cinema 145 Ninth Street, Suite 260 San Francisco, CA 94103 USA T: 415 626 2255 firstname.lastname@example.org www.canyoncinema.com
Groupe Intervention Vidéo 4001 Rue Berri Montreal, QC H2L 4H2 Canada T: 514 271 5506 E: email@example.com www.givideo.org
carlier I gebauer Markgrafenstraße 67 D-10969 Berlin, Germany T: +49 30 2400 863-0 E: firstname.lastname@example.org www.carliergebauer.com
Harvard Film Archive Carpenter Center for the Visual Arts 24 Quincy Street Harvard University Cambridge, MA 02138 USA T: 617 495 4700 hcl.harvard.edu/hfa
Diaz Contemporary 100 Niagara Street Toronto, ON M5V 1C5 Canada T: 416 361 2972 E: email@example.com www.diazcontemporary.ca Electronic Arts Intermix (EAI) 535 West 22nd Street, 5th Floor New York, NY 10011 USA T: 212 337 0680 E: firstname.lastname@example.org www.eai.org Galeria Graça Brandão Rua Miguel Bombarda, 552 4050-382 Porto, Portugal T: +351 223 403 803 E: email@example.com www.galeriagracabrandao.com
Laura Bartlett Gallery 10 Northington Street London WC1N 2JG United Kingdom T: +44 20 7404 9251 E: firstname.lastname@example.org www.laurabartlettgallery.com Leonard & Bina Ellen Art Gallery Concordia University 1400 Blvd. de Maisonneuve West, LB-165 Montréal QC H3G 1M8 Canada T: 514 848 2424 ext. 4750 E: email@example.com www.ellengallery.concordia.ca LUX Shacklewell Studios 18 Shacklewell Lane London E8 2EZ United Kingdom T: +44 20 7503 3980 E: firstname.lastname@example.org www.lux.org.uk
Netherlands Media Art Institute Keizersgracht 264 1016 EV Amsterdam, The Netherlands T: +31 20 6237101 E: email@example.com www.nimk.nl Sine Olivia Pilipinas Unit 307, Alicante Towers Marquinton Residences, Sto. Nino Marikina City, Philippines T: +63 919 5256730 firstname.lastname@example.org Video Pool 300 – 100 Arthur Street Winnipeg, MB R3B 1H3 Canada T: 204 949 9134 E: email@example.com www.videopool.org Vtape 401 Richmond Street West, Suite 452 Toronto, ON M5V 3A8 Canada T: 416 351 1317 E: firstname.lastname@example.org www.vtape.org Winnipeg Film Group 304 – 100 Arthur Street Winnipeg, MB R3B 1H3 Canada T: 204 925 3456 E: email@example.com www.winnipegfilmgroup.com
TITLE INDEX 01/06, p. 60 Mat Brinkman and Xander Marro firstname.lastname@example.org
Bernadette, p. 49 Duncan Campbell LUX
Counter-Music, p. 80 Harun Farocki Leonard & Bina Ellen Art Gallery
Hallesches Tor, p. 77 Larissa Fassler email@example.com
12 x 26, p. 46 Andrew J. Paterson Vtape
Binary Sound Systems, p. 73 Kelly Wood Blackwood Gallery
Cultural Exchanges, p. 38 Thierry Geoffroy firstname.lastname@example.org
Holy Smokes!, p. 53 Loren Hartman email@example.com
1–9, p. 40 Mary Billyou firstname.lastname@example.org
Black and White Gods, The, p. 61 Ben Russell email@example.com
Curse Cures, p. 62 Lesley Loksi Chan firstname.lastname@example.org
Hotel Diaries, p. 63 John Smith LUX
1997A (Arrival), p. 55 Steve Polta email@example.com
Black and White Trypps Number Three, p. 60 Ben Russell firstname.lastname@example.org
Des nuages aux fêlures de la terre, p. 55 Philippe Cote email@example.com
How To Lose Consciousnes, p. 53 Gary Kibbins Vtape
Diamond (Descartes’ Daughter), The, p. 46 Emily Wardill LUX
Hunting, The, p. 74 Brendan Fernandes Diaz Contemporary
dino, p. 53 Judith van der Made firstname.lastname@example.org
Hydraulics of Solids, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
Distracted Bullets, p. 72 Joana Hadjithomas and Khalil Joreige email@example.com
I, An Actress, p. 50 George Kuchar Canyon Cinema
Don’t Worry Be Happy (stressful mix), p. 60 Jacob Ciocci firstname.lastname@example.org
I Deeply Regret, p. 40 Karø Goldt Arsenal
Dreaming of Lucid Living, p. 65 Cloud Eye Control www.cloudeyecontrol.com
I Love (St.) Louis, p. 51 Joe Lachajczyk email@example.com
Dubbing, p. 80 Harun Farocki Leonard & Bina Ellen Art Gallery
I want to look like you, p. 38 Thierry Geoffroy firstname.lastname@example.org
2 Cameras @ Sea, p. 33 Clive Holden and Oscar van Dillen CFMDC A House Full of Dust, p. 55 Steve Polta email@example.com a little prayer (H-E-L-P), p. 41 – 43 Louise Bourque CFMDC Account, p. 75 Jan Peacock firstname.lastname@example.org Adrift, p. 40 Julika Rudelius Netherlands Media Art Institute
Blind Trip, p. 77 Richard Schütz email@example.com Borders Test (version complet), p. 38 Thierry Geoffroy firstname.lastname@example.org Boy/Analysis: An Abridgement of Melanie Klein’s “Narrative of a Child Analysis”, p. 46 Steve Reinke Vtape Buried Traces, p. 64 Michelle Smith Groupe Intervention Vidéo
Alexanderplatz, p. 77 Larissa Fassler email@example.com
Chapters 1–12 of R. Kelly’s Trapped in the Closet Synced and Played Simultaneously, p. 60 Michael Bell-Smith Electronic Arts Intermix
Altars, p. 62 Guillermina Buzio firstname.lastname@example.org
Chelsea Girls, p. 52 Althea Thauberger Art Gallery of Greater Victoria
E.V.E. Absolute Matrix, p. 81 Gunilla Josephson email@example.com
Ibiza: a reading for “The Flicker”, p. 52 Ian White firstname.lastname@example.org
Always With You, p. 72 Joana Hadjithomas and Khalil Joreige email@example.com
Child, p. 51 Altan Yücel firstname.lastname@example.org
Film Noir (100% Black Film 1), p. 46 Jorge Lorenzo email@example.com
Imprint, p. 41 – 43 Louise Bourque CFMDC
And We All Shine On, p. 60 Michael Robinson firstname.lastname@example.org
Chinese is a Plus, p. 82 Sylvie Boisseau and Frank Westermeyer email@example.com
Final Space, p. 65 Cloud Eye Control www.cloudeyecontrol.com
In Between, p. 51 Mischa Leinkauf firstname.lastname@example.org
Animated Heavy Metal Parking Lot, The, p. 60 Leslie Supnet email@example.com
Cinematic (The Log Enchanter) p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
Finder, p. 75 Jan Peacock firstname.lastname@example.org
In The Room, p. 76 Sung Hwan Kim email@example.com
Cleopatra’s Teeth, p. 40 Mika Kiburz firstname.lastname@example.org
Fissures, p. 41 – 43 Louise Bourque CFMDC
In the Room 3, p. 36 Sung Hwan Kim, dogr and Byungjun Kwon email@example.com
Close Encounter, p. 53 Zak Tatham firstname.lastname@example.org
Frame to Frame, p. 86–87 Josh Bonnetta, Warren Brown & Adam Goddard, Brad Harley, April Hickox, Patrick Jenkins, Tanya Read, Chantal Rousseau, Seth Scriver email@example.com
Interface, p. 80 Harun Farocki Leonard & Bina Ellen Art Gallery
Annual Report, p. 51 Cristina Braga Agência da Curta Metragem Ariadne’s Thread, p. 62 Sarah Shamash firstname.lastname@example.org Art Since 1960 (According to the Internet), p. 56 Hanne Mugaas & Cory Arcangel email@example.com Att tänka tankar man inte vill tänka, p. 38 Joanna Rytel Netherlands Media Art Institute Aufhebung, p. 55 François Boué firstname.lastname@example.org
Co-existence_Cable Porcelain & Sound, p. 73 Young-Sup Kim Blackwood Gallery Colombo’s Column, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão Commercials, p. 53 Erica Eyres Winnipeg Film Group
Behind the Shadows, p. 33 Christina Battle and Martin Arnold CFMDC
Communism of Forms: Sound + Image + Time – The Strategy of Music Videos, The, p. 70–71 Art Gallery of York University
Believing Makes it So, p. 62 Steev Morgan email@example.com
Correspondence, p. 85 Megan Rooney firstname.lastname@example.org
Fulcro, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão Game, The, p. 60 Tasman Richardson Vtape generosity of mechanics (is not well documented), the, p. 64 Troy Gronsdahl email@example.com Glorious, p. 33 Guy Maddin and Richard Ayres firstname.lastname@example.org Going Back Home, p. 41 – 43 Louise Bourque CFMDC
Inversion, Transcription, Evening Track and Attractor, The, p. 49 Stephanie Barber email@example.com It only hurts when I cry, p. 51 Daniel McIntyre firstname.lastname@example.org J.J. & Murphy’s .flv Generation, p. 89 Ben Coonley email@example.com Jours en fleurs, p. 41 – 43 Louise Bourque CFMDC (Just Beyond the screen) the universe—as we know it—is ending, p. 46 Christine Lucy Latimer firstname.lastname@example.org
Film + Media Arts Festival October 14-18, 2009 Submission deadline: June 1, 2009 www.imagineNATIVE.org www.myspace.com/imagineNATIVE
TITLE INDEX Just Words, p. 41 – 43 Louise Bourque CFMDC
Mount Shasta, p. 46 Oliver Husain Arsenal
Kalendar, p. 64 Naomi Uman email@example.com
Mylar Balloon Rip Off, p. 55 Jason Halprin firstname.lastname@example.org
Kempinski, p. 40 Neïl Beloufa Netherlands Media Art Institute
Nature Morte, p. 45 Akram Zaatari Vtape
Khiam 2000 – 2007, p. 72 Joana Hadjithomas and Khalil Joreige email@example.com
Night of the Bomb, p. 50 George Kuchar Anthology Film Archive
Kotti, p. 77 Larissa Fassler firstname.lastname@example.org
NJS Map, p. 60 Seth Price Electronic Arts Intermix
Lasting Images, p. 72 Joana Hadjithomas and Khalil Joreige email@example.com
NKS OT EAD, p. 85 Liam Crockard firstname.lastname@example.org
L’éclat du mal / The Bleeding Heart of It, p. 41 – 43 Louise Bourque CFMDC
Nothing is Over Nothing, p. 64 Jonathan Schwartz email@example.com
Lerne Deutsch mit Petra Von Kant (Learn German with Petra Von Kant), p. 70 - 71 Ming Wong firstname.lastname@example.org Le Sénat, p. 73 Louis Fortier Blackwood Gallery LIGHT READING: california sunset, p. 86–87 Elizabeth McAlpine Laura Bartlett Gallery Light Speed, p. 55 Karen Johannesen email@example.com
Nu hander det igen: They Will Never Catch Us, p. 51 Frank Aschberg and Gabriel Watson firstname.lastname@example.org Obama Night, p. 85 Brad Tinmouth email@example.com O’er the Land, p. 45 Deborah Stratman firstname.lastname@example.org On the Logic of Dubious Historical Accounts, 1969-1972, p. 49 Peter Miller and Alexander Stewart email@example.com
Limits of What We Know, The, p. 47 Amy Bodman firstname.lastname@example.org
ONCE NEAR WATER: Notes from the Scaffolding Archive, p. 33 Vera Frenkel and Rick Sacks Vtape
Magnetic Shadow, The, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
Paalaala / Remembrance, p. 85 Jo SiMalaya Alcampo email@example.com
Make Me Stop Smoking, p. 34 Rabih Mroué firstname.lastname@example.org
Path, p. 64 Elvira Finnigan Video Pool
Melancholia, p. 32 Lav Diaz Sine Olivia Pilipinas
Performed Listening: H, p. 60 Marisa Olson email@example.com
Memory Data Register, p. 61 Bryant / Migone / Parant / Lemieux firstname.lastname@example.org
Pitch, The, p. 46 Isabell Spengler Arsenal
Men Seeking Women, p. 53 Penny Lane email@example.com
Presentation Theme, The, p. 40 Jim Trainor firstname.lastname@example.org
Message The, p. 60 Oliver Laric email@example.com
Professor and the Blind Girl, The, p. 62 Penny McCann firstname.lastname@example.org
Meteoritics, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
PYT (Pretty Young Thing), p. 60 Tara Mateik email@example.com
Morning Will Come, p. 51 Pouyan Jafarizadeh Dezfoulian firstname.lastname@example.org
Quiero Ver, p. 64 Adele Horne email@example.com
Motel Capri, p. 50 George Kuchar Harvard Film Archives
Red Carpet, The, p. 51 Joerg Hommer firstname.lastname@example.org
Remapping the Apparatus: Cinematographic Specificity and Hybrid Media, p. 37 Ben Coonley email@example.com Retrato Oficial (Official Portrait), p. 49 Francisca Duran CFMDC Revival, p. 64 Heidi Phillips Winnipeg Film Group Romanians (Live like a King), The, p. 38 Heidrun Holzfeind firstname.lastname@example.org Rupture, p. 73 Arnold Koroshegyi Blackwood Gallery Scrap Collector, p. 79 Mark Essen email@example.com Self Portrait Post Mortem, p. 41 – 43 Louise Bourque CFMDC Seven Video Responses to Constant Dullart’s “YouTube as Subject”, p. 89 Ben Coonley firstname.lastname@example.org Shadow Man, The, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão Shadow on the Prairie, p. 83 Deanna Bowen email@example.com Some Days Ago (Kajitu), p. 55 Takehiro Nakamura firstname.lastname@example.org Someone Else’s Girlfriend, p. 53 James Fritzgerald Craig Video Pool Something Better, p. 88 Aleesa Cohene Vtape Somewhere, p. 88 June Pak and Louise Noguchi email@example.com Spinners, p. 51 Fern Silva firstname.lastname@example.org Stolen Waters, p. 73 Diane Landry Blackwood Gallery Subterranean Heart, p. 65 Cloud Eye Control www.cloudeyecontrol.com
To All the Boys I’ve Loved Before, p. 53 Ariel Smith Vtape Topsy-Turvy, p. 86–87 Lyla Rye email@example.com Toronto-EMAKI, p. 84 Takashi Ishida firstname.lastname@example.org Trees of Syntax, Leaves of Axis, p. 33 Daïchi Saïto and Malcolm Goldstein email@example.com T.S.O.Y.W., p. 86–87 Amy Granat and Drew Heitzler Galerie Eva Presenhuber Two Radio Solos, p. 73 Michael Snow Blackwood Gallery Untitled, p. 85 Matthew Williamson firstname.lastname@example.org Untitled (Pink Dot), p. 60 Takeshi Murata Electronic Arts Intermix v = d/t, p. 64 Amanda Dawn Christie CFMDC Verbal Burglary, p. 51 Mani Mazinani email@example.com Videodrome, p. 79 Jubal Brown firstname.lastname@example.org VideoSPACE: The Psyche-Out Chronicles, p. 85 Mark Pellegrino email@example.com Virtual Jihadi, p. 79 Wafaa Bilal firstname.lastname@example.org Voice Over, The, p. 65 Ammo Factory email@example.com Vox Pop, p. 73 Antonia Hirsch Blackwood Gallery Walraff Method, The, p. 38 Thierry Geoffroy firstname.lastname@example.org Western Round Table 2027, p. 86–87 Rosa Barba carlier I gebauer
there, there, p. 75 Jan Peacock email@example.com
Workers Leaving the Factory in Eleven Decades, p. 80 Harun Farocki Leonard & Bina Ellen Art Gallery
Those Crazy Insides, p. 51 Ben Wheele firstname.lastname@example.org
Your Blood is as Red as Mine, p. 38 Julika Rudelius Netherlands Media Art Institute
Thrill of Combat, The, p. 79 Mark Essen email@example.com
Ze Turra, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
Throw, p. 78 Pedro Paiva and João Maria Gusmão Galeria Graça Brandão
ADVERTISERS INDEX Academy of Canadian Cinema and Television p. 44 Anthology Film Archives p. 59 Art Gallery of York University (AGYU) p. 21 Autoshare p. 111 Available Light Screening Collective p. 35 Banff New Media Institute p. 21 Bar_One p. 91, 106 Beehive Design p. 91 Blackflash Magazine p. 90 BorderCrossings Magazine p. 92 Broken Pencil Magazine p. 100 C Magazine p. 106 CalArts School of Film/Video p. 29 Calgary Society of Independent Filmmakers (CSIF) p. 39 Canadian Art Magazine p. 48 Canadian Filmmakers Distribution Centre (CFMDC) p. 30, 39 Centre international d’art contemporain de Montréal (CIAC) p. 12 Charles Street Video p. 30 Chris Stone Audio p. 99 Cine-byte p. 23 Cinemascope Magazine p. 102 Cinematheque Ontario p. 93 Cineworks p. 109 CIUT 89.5 FM p. 110 CKLN 88.1 FM p. 68 Codes Pro Media Canada p. 106 David Burkes, Chartered Accountant p. 100 Eastern Edge Gallery p. 27 EM Media p. 29 Emily Carr University of Art + Design (ECUAD) p. 15 Esse Magazine p. 108 Eye Weekly p. 28 The Factory: Hamilton Media Arts Centre p. 26
Faucet Media Arts Centre / Struts Gallery p. 57 Fearless Films p. 39 Film Comment Magazine p. 66 Filip Contemporary Art Magazine p. 108 The Film Buff p. 27 Frame Discreet Film Transfers p. 99 Fuse Magazine p. 104 Gallery 44 Centre for Contemporary Photography p. 57 Gladstone Hotel p. 22 The Globe and Mail p. 16 Gulf Island Film & Television School (GIFTS) p. 92 Imaginative p. 106 Inside Out p. 91 InterAcess Electronic Media Arts Centre p. 57 International Experimental Media Congress 2010 p. 110 Island Media Arts Co-op (IMAC) p. 29 Justina M. Barnicke Gallery p. 26 Kasseler Dokfest p. 111 Koffler Gallery p. 67 Lakeview, The p. 93 Latitude 53 Contemporary Visual Culture p. 35 Maisonneuve p. 100 Media City p. 111 Media Net p. 59 Mel Hoppenheim School of Cinema, Concordia University p. 35 Music Works p. 98 National Film Board of Canada (NFB) p. 58 New Brunswick Film Co-op p. 104 Niagara Artists’ Centre (NAC) p. 104 Nova Scotia College of Art and Design (NSCAD) p. 15 Ontario Arts Council (OAC) p. 30 Ontario College of Art and Design (OCAD) p. 12 Pages Books & Magazines p. 67
Pleasure Dome Film and Video p. 67 POV Magazine p. 101 Prefix Institute of Contemporary Art p. 102 Reel Asian International Film Festival p. 104 Rendezvous With Madness Film Festival p. 93 Rivoli / Queen Mother p. 108 Saskatchewan Filmpool Cooperative p. 101 Saw Gallery p. 14 Shameless Magazine p. 92 Sheridan College Institute of Technology & Advanced Learning – inside front cover Slate p. 90 Steamwhistle p. 2 Super 8 Hotel p. 54 This Magazine p. 109 Tom Thomson Art Gallery p. 67 Gallery TPW p. 39 Toronto Animated Image Society (TAIS) p. 26 Toronto Film and Television Office (TFTVO) p. 27 Trinity Square Video p. 57, 59 Twig Creative Design / Web Development p. 101 VIA Rail Canada – inside back cover Video Pool Media Arts Centre p. 99 Vtape p. 10 Westbury National Show Systems Ltd. p. 58 Winnipeg Film Group p. 106 Wynick/Tuck Gallery p. 99 Xtra! p. 10 York University Department of Film p. 68
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