Media City 15 catalogue

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MEDIA CITY 15 House of Toast presents

15th Annual International Festival of Experimental Film and Video Art

Director Emeritus: Program Directors: Program Committee: Installation Curator: Regional Programmer: Technical Director: Lead Projectionist: Audio Engineer: Technical Assistant: Guest Coordinator: Volunteer Coordinator: Youth Development: Venue Logistics: Photographer:

MAY 20-23, 2009

Christopher McNamara Oona Mosna, Jeremy Rigsby Dean Carson, Gustave Morin, Oona Mosna, Jeremy Rigsby James Patten (AGW) Brandon Walley Sergio Forest MEDIA CITY Antonella Bonfanti 309 Chatham Street W Garth Rennie Windsor ON Baron Chauvin N9A 5M8 CANADA Lucy Howe 519 973 9368 Emily Copeland mediacity@houseoftoast.ca Justin Langlois MESM Gustave Morin

Media City 15 is presented with the support of a Visual and Media Arts Project grant from the Ontario Arts Council, Annual Assistance to Media Arts Festivals and Visiting Foreign Artists grants from the Canada Council for the Arts, and a grant from the Cultural Strategic Investment Fund of the Ontario Ministry of Culture. Other financial support from the Workers Arts and Heritage Centre (Hamilton), the Istituto Italiano di Cultura (Toronto), the City of Windsor Department of Cultural Affairs and Mr. Mark Boscariol.

WHERE:

Capitol Theatre 121 University Ave W

TICKETS:

All screenings are Pay What You Can. Full festival pass: $20 Tix & passes at door.

INFO:

www.houseoftoast.ca 519 973 9368

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The Jury

NICKY HAMLYN was workshop organizer for the London Filmmakers’ Co-op (now LUX) in the late 1970s. He has made over 40 films and videos since 1974 that have been widely exhibited internationally, including solo screenings at the Pacific Film Archive and the San Francisco Cinematheque, winning (among many other awards) second prize at Media City 10. His book “Film Art Phenomenon” was published by the British Film Institute in 2003. He lives in Lewes, Sussex, and teaches at University College for the Creative Arts, Maidstone.

CHRIS KENNEDY is an independent filmmaker, programmer and writer currently living in Toronto. He programmed film, video and live performance for the Images Festival from 2003-06 and served on the screening collective for Pleasure Dome from 2000-06.

His short experimental films have screened at over fifty film festivals worldwide and he has presented film programs in Egypt, Belgium, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute.

Programming film and video since 1977, MARK McELHATTEN is the co-founder and co-curator of the New York Film Festival’s “Views from the Avant-Garde” program, now in it's twelfth year. He has presented his ongoing “Walking Picture Palace” series since 1994. The International Film Festival Rotterdam has featured his programs since 1999. He was the program director of the Collective for Living Cinema in New York, The Brattle Theater in Boston, and acting program director of the San Francisco Cinematheque in 1985. He is currently the film archivist for Martin Scorsese.

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Nobel Peace Project Susan Gold

Canada, 2009

buttons/ performance/ mail art

NOBEL PEACE PROJECT RR#1 NOBEL, ONTARIO P0G 1G0 CANADA

In a Media City tradition, Windsor artist Susan Gold has once again created one of her coveted commemorative buttons for festival guests and participants.

Wear it. Keep it. Pass it on! Let NOBEL PEACE know what you did with your button. Send stories or images to:

Documentation to all in August 2009.

SUSAN GOLD is a Windsor artist and co-founder of the NOBEL PEACE Project .

The Nobel Peace Project is a form of non-monetary exchange that encourages iconoclastic communication, ideas, and imagery.

phog lounge 157 UNIVERSITY AVENUE WEST

the official after-screening bar of Media City

LATE NIGHT EVERY NIGHT

“BEST LIVE MUSIC VENUE IN CANADA” phoglounge.com

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Opening reception and event with sound and media performance by Windsor’s own Noiseborder Ensemble, including:

I hear your voice in the circling night (8 min, music: Brent Lee/video: Sigi Torinus, 2008)

Take Me On (8 min, music: Nicholas Papador/video: Sigi Torinus, 2008)

I’m So Lonely I Could Cry (8 min, Noiseborder Ensemble, 2008)

The NOISEBORDER ENSEMBLE was founded in 2008 by professional musicians and artists interested in the intersection of sound, image and technology. Noiseborder Ensemble performances draw on diverse musical traditions including chamber music, experimental music, popular musics, multimedia performance, electronica and improvisation. Current ensemble members include Brent Lee (saxophones, keyboards, electronics), Chris McNamara (electronics), Nick Papador (percussion, keyboards), Jessica Pistor (vocals, guitars), Trevor Pittman (clarinets), Sundar Subramanian (guitars), and Sigi Torinus (visuals).

6:00 PM WED MAY 20 • NOISEBORDER ENSEMBLE

Noiseborder Ensemble

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films of Kevin J. Everson

Something Else

7:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 1

USA, 16mm on video (Home S8mm on video)

Home (1.5 min, 2008) is about disappointment in northern Ohio.

The Reverend E. Randall T. Osborn, First Cousin (3.5 min, 2007) is about the art of the cut-away.

Ring (1.5 min, 2008) tries to exhibit the sweet science in an elegant way.

Second and Lee (3 min, 2008) is a cautionary tale about when not to run.

Something Else (2 min, 2007) is about found footage as subject matter, with Miss Black Roanoke, Virginia 1971 expressing her thoughts.

Playing Dead (1.5 min, 2008) is about lying still to stay alive.

Key to the Cities (2 min, 2008) has two mayors honouring the Candy Man in two different ways.

Ninety-Three (3 min, 2008) is a wonderful age to celebrate.

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Key to the Cities

Recently, Everson “has been responding to the performance of peoples of African descent in old film footage as if it were theatre. Either by re-enacting the films or just using the footage, I am attempting to create an archive of these performances.” (KJE)

Everson’s work has been widely shown at venues including the Sundance FF, IFF Rotterdam, the International Kurzfilmtage Oberhausen, the Museum of Modern Art (New York), the Whitney Museum (New York), Whitechapel Gallery (London) and the Centre Pompidou (Paris). He is a recipient of a Guggenheim Fellowship, a Creative Capital Fellowship, an NEA Fellowship and an American Academy in Rome Prize. Originally from Ohio, he now lives in Charlottesville, Virginia.

7:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 1

Over the past thirteen years KEVIN J. EVERSON has completed three feature films and about fifty short 16mm, 35mm and digital films about the working class culture of Black Americans and other people of African descent. His films focus on “conditions, tasks, gestures, and materials in these communities” and “the relentlessness of everyday life.” (KJE)

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Más Se Perdió Stephen Connolly

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England, 16mm, 14 min, 2008

Más Se Perdió (“we lost more”) structurally unites a series of historical and cultural references in contemporary Havana, Cuba. A variety of cinematographic approaches are used to explore the spaces of the derelict National School of Ballet, to document young athletes at an outdoor stadium, and to record a street scene with construction workers (the latter in reference to Chris Marker’s film Letter from Siberia [1957]).

Each place maintains some relationship to notions of utopia, however the autonomous soundscape of the film is suggestive of underlying conflicts contained within these visions.

STEPHEN CONNOLLY holds and MFA from the Central Saint Martins School of Art and Design. Since 2002 he has made eight films which have screened at venues including the IFF Rotterdam (winning a Special Jury Prize), the Ann Arbor FF, the Melbourne IFF and Media City 11. His work received a solo screening at the British Film Institute in 2008. He lives in London.

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Flatform

Italy, video, 6 min, 2008

A landscape understood as a complex network of connections that guide relationships between people. The video focuses on actions and places, movements and the environment, and points out that people are the place in which they live as well as the trajectories which the place itself creates. The video underlines the reciprocal connection between environment and its inhabitants, where territory plays an inevitable role also in its anthropomorphic transformations.

FLATFORM is a goup of artists based in Milan, founded in 2006. Their work has been exhibited at the Venice Biennale, the Centre Pompidou (Paris), Art Basel, Documenta 12 (Kassel), the IFF Rotterdam and many other venues internationally.

7:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 1

Sunday 6th April, 11:42 a.m.

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Sarah Ann Pim Zwier

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Netherlands, 35mm, 9 min, 2008

Sarah Ann Henley miraculously survived a 250-foot drop after jumping off the Clifton Suspension Bridge in 1885. Her Victorian skirt, inflated by the wind, acted as a parachute. A tale told by contrasting three detailed newspaper articles with a sober use of image.

PIM ZWIER holds an MFA from the Piet Zwart Institute in Rotterdam. He makes public art projects, installations and (since 2004) has made five films which have screened at venues including the IFF Rotterdam, !F Istanbul and the Courtisane Festival (Gent). He lives in Rotterdam.

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Neil Beloufa

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Algeria/France, video, 14 min, 2007

A unique blend of science fiction and documentary, shot in Mopti, Mali.

People emerge from the dark, holding fluorescent lamps; they imagine the future and speak about it in the present tense. Without a script or scenario, the video plunges us into these surreal stories, mixing glimpses of an imaginary technological world with an enduring oral tradition.

NEIL BELOUFA studied at the École des Beaux Arts de Paris, at Cooper Union (New York) and at CalArts. His work has been exhibited at international venues including the Prague Triennial, the 12th Biennial of the Moving Image (Geneva), the Palais de Tokyo (Paris) and the National Center of Contemporary Arts in Moscow, and at film festivals including Rotterdam, Images (Toronto) and IdieLisboa, winning the "Arte Prize for Best European Short Film" at the 54th International Kurzfilmtage Oberhausen, among other awards. He lives in Paris.

7:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 1

Kempinski

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Complex

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Israel, video, 9 min, 2008

Eitan Efrat, Sirah Foighel Brutmann & Daniel Mann

On a rainy night, a group of young Israeli men reunite in a deserted parking lot. In this abstract setting, they re-enact their previous roles.

From the preparations and the routines to the division of tasks, their group chemistry is clearly still intact.

Israeli-born EITAN EFRAT is currently a student in the Audio-Visual department in the Gerrit Rietveld Academy in Amsterdam. His short videos, made in collaboration with Daniel Mann and Sirah Foighel Brutmann, have been exhibited at IDFA (Amsterdam), the International Kurzfilmtage Oberhausen, the Courtisane Festival (Gent), and other venues.

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Israel, video, 3 min, 2008

Eitan Efrat, Sirah Foighel Brutmann & Daniel Mann

A story about a human complexity, about relations between a son and his mother and the attitudes of both towards realities of life in Israel.

Israeli-born SIRAH FOIGHEL BRUTMANN is a graduate of PARTS (Performing Arts Research and Training Studios) in Brussels. She has collaborated with Eitan Efrat and other artists on several dance, performative and video projects that have been exhibited in Europe and Japan.

DANIEL MANN was born in the United States and raised in Israel. He studied film production at the Sam Spiegel Film school in Jerusalem and at the Tel Aviv University film department. He works as an editor and director for short films and contributes reviews and essays on films to several publications.

7:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 1

Prrrride

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9:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 2

The Unseen Pavel Medvedev

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Russia, video, 30 min, 2007

The film is set during the G8 summit in St. Petersburg in July 2006. We see the effects for the local population: sirens, military patrols, blocked streets, low-flying helicopters and armed escorts. How unpleasant life becomes when world leaders meet to solve our problems.

PAVEL MEDVEDEV has worked as a radio and television producer and, since 2000, as a director at the St. Petersburg Documentary Film Studio. He has made nine films since 2001 which have screened at numerous international festivals including the Berlin IFF, the IFF Rotterdam and the Tampere IFF, winning the Grand Prize from the International Kurzfilmtage Oberhausen in 2007 for his film Third Planet from the Sun (2006) and the prize for Best Documentary from the Karlovy Vary FF in 2004 for his film Wedding of Silence (2002). He lives in St. Petersburg.

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Pieter Geenen

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Belgium, video, 11 min, 2008

The construction of the controversial Three Gorges Dam on the Yangtze River will be completed later this year. atlantis explores the flooded Three Gorges Reservoir behind the dam, by the searchlights of a Yangtze cruise boat. The lightbeam on this nocturnal landscape reveals a sunken universe of demolished buildings, desolate forests and ghost ships.

PIETER GEENEN holds a postgraduate degree in Transmedia from the Hogeschool Sint-Lukas in Brussels. His video work has been screened at international festivals including Images (Toronto), EMAF (OsnabrĂźck) and Courtisane (Gent) and exhibited in numerous galleries in Belgium. He lives in Brussels.

9:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 2

atlantis

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Fashion Avenue Jim Jennings

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USA, 16mm, 8 min, 2008

Filmed in New York’s Garment District, Fashion Avenue uses mirrors to reflect something more beautiful than the world of glamour: the everyday lives of working people. The filming of reflections creates the effect of printed fabric, and their often-jagged shapes resemble sleeves and lapels lying on the cutting-room table.

Since the mid-1970s JIM JENNINGS has made more than 25 films which have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the “Wavelengths” program at the Toronto IFF and at Media City 12, 13 and 14. He lives in New York.

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Gyula Nemes

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Hungary, 35mm, 20 min, 2008

The life, demolition and reconstruction of the Kopaszi dam between the years 1998 and 2007. Ten years in a forgotten landscape. People living in houseboats, struggling against flood, snow and investors who want to evict them. The second part of The Dike of Transience (2005).

GYULA NEMES studied film at FAMU (Prague) under Vera Chytilova. He has made several short films including an earlier segment of The Lost World entitled The Dike of Transience, which screened at Media City 12 and many international festivals, including Images (Toronto) and the “Views from the Avant-Garde” program at the NYFF. Lost World won the Best Documentary Award at the Karlovy Vary FF in 2008. His feature film My One and Onlies (2006) screened in competition at the Venice FF. He lives in Budapest.

9:30 PM WED MAY 20 • INTERNATIONAL PROGRAM 2

Lost World

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12 Explosions Johann Lurf

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Austria, video, 7 min, 2008

“In the chapter on sound in his ‘Theory of Film’, Siegfried Kracauer writes: ‘Supposing shrill screams or the blasts of an explosion are synchronized with images of their source and/or its environment: much as they will leave their imprint on the spectator’s mind, it is unlikely that they will prevent him from taking in the images....’ Johann Lurf has made a film that refutes this assumption in seven minutes. 12 Explosions shows a series of tableaus filmed in Vienna at night. These places are virtually waiting for something to happen. And because of the film’s title we know that something will. [But] it might be that the title is merely a ruse...” – Maya McKechneay JOHANN LURF studied at the Akademie der Bildenden Künste in Vienna. He has made four short films since 2003 which have screened at IndieLisboa, the IFF Rotterdam, the International Kurzfilmtage Oberhausen and many other festivals. He lives in Vienna where he also works as a projectionist.

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6 PM THURS MAY 21 • REGIONAL ARTISTS PROGRAM

Regional Artists Program

Ten recent films and videos from here or hereabouts.

Baby Time (Sean Hages, Detroit, 13 min, 2008) Two expectant parents and their journey through the labour and delivery of their first child.

The Smell of Mommy's Honey Muffins (Brandon Walley, Detroit, 4 min, 2008) Mmmm, the sweet smell of Detroit.

Paradise (lost) (Vagner M. Whitehead, Detroit, 1 min, 2006) Personal history is fictionalized and (re)presented as a slide show.

A City To Yourself (Nicole MacDonald, Detroit, 24 min, 2008) Detroit is half the population it was 50 years ago. A lifelong Detroiter looks at some of the pluses– or at least some of the peculiarities– of having a city to yourself.

Frame Her Look (Kelsey Haas, Stoney Creek, 6 min, 2008) Images and sound are layered to compound and unravel time and memory.

Eldon (Nick Kolevski, Windsor, 4 min, 2008) An elderly man prepares for his birthday party. He hopes his busy family can attend.

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The Big Trees (Paul LaBute, Windsor, 3 min, 2007) Kirk Douglas shines as a man on a mission to stop wealthy industrialists from plundering his local forest. An evil railroad tycoon has an awful fate in store for him.

Digital Framework (Josh Romphf, London ON, 1 min, 2008) “Cinema is not movement. This is the first thing. Cinema is not movement.” – Peter Kubelka, Theory of Metrical Film

beth olem/house of the world (Scott Miller Berry, Detroit/Toronto, 5 min, 2008) Beth Olem cemetery houses about 1,400 residents, ironically, slightly more than the current number of employees at the GM Poletown Assembly plant, whose jobs continue to evaporate.

6 PM THURS MAY 21 • REGIONAL ARTISTS PROGRAM

When I’m Calling You... (Gilles Hebert, Windsor, 6 min, 1989-2009) At the Bodega Bohemia in Barcelona, a cabaret for aged opera singers and drag queens.

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7:30 PM THURS MAY 21 • ROBERT FENZ

Robert Fenz

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Lonely Planet

USA, all films 16mm

Meditations on Revolution, Part 1 – Lonely Planet (12 min, 1997) Cuban life captured in active street scenes and intimate portraiture.

Without parade or polemics, Fenz finds revolution in the tenacity of a populace trapped by a proud past, in flux towards an unknown future.

Meditations on Revolution, Part 2 – The Space in Between (8 min, 1997) Inspired by a meeting with Oscar Niemeyer, architect of Brasilia, Fenz's vision of a favela neighbourhood in Rocinha – Latin America's largest permanent shanty town – is a metaphor for revolution abandoned.

Meditations on Revolution, Part 3 – Soledad (15 min, 2001) History and its relationship to the present are contemplated through everyday events intertwined with fragments of Mexican tradition.

Meditations on Revolution, Part 4 – Greenville, MS (30 min, 2001) A study of a boxer in ritual, ceremonious training. The act of training comes to symbolize the struggle of an individual to transform their life and the conditions of those around them.

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Greenville, MS

The films of ROBERT FENZ have been recognized internationally by many prizes and awards including a DAAD artist residency in Berlin, a Guggenheim Fellowship and the Grand Prize at Media City in 2004 for Meditations on Revolution, Part 5 – Foreign City (2003). He was invited to exhibit in both the 2002 and 2008 Whitney Biennials, and has had solo presentations of his films at the Locarno IFF, the Cinématheque Français, the IFF Rotterdam, the Museum of Modern Art (New York), the Harvard Film Archive and many other venues. Recently, he taught filmmaking at the School of the Museum of Fine Arts (Boston) and The School for Independent Filmmaking (Vienna). He has also worked as a cinematographer on several films including Chantal Akerman’s La Bas (2006) and From the Other Side (2002).

7:30 PM THURS MAY 21 • ROBERT FENZ

Crossings (10 min, 2007) is a vision of the US – Mexican border as a kinetic and disorienting fault line, an abstract force field suspended between the two nations.

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Soledad

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Ben Rivers

England, 16mm, 16 min, 2008

A portrait of S, a 75 year-old man living in a remote area. S has been obsessed with Darwin’s works for much of his life. Since a child he has wondered at life on earth and, though he never became an academic, found in Darwin many answers to his questions. The film concentrates on the mysterious geography of his world: his garden, the contraptions and inventions he has made, his patch of land where he has built a home after a life of travelling and working around the world. An attempt to span from the beginnings of the world up to an uncertain future.

BEN RIVERS studied at Falmouth School of Fine Art. In 1996 he co-founded the Brighton Cinematheque, serving as its programmer for several years. He has made more than a dozen short films which have screened at the IFF Rotterdam (where he won a Tiger Award in 2008), the ICA (London), the “Views from the Avant-Garde” program at the New York FF, the London FF, and many others. He lives in London.

9:30 PM THURS MAY 21 • INTERNATIONAL PROGRAM 3

Origin of the Species

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ELEMENTS Julie Murray

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Ireland/USA, 16mm, 8 min, 2008

When the trees were enchanted,/ In the expectation of not being trees, The trees uttered their voices/ From strings of harmony, The disputes ceased./ Let us cut short heavy days, A female restrained the din./ She came forth altogether lovely.

The head of the line, the head was a female.

– from “Cad Goddeu” (The Battle of the Trees) Welsh Book of Taliesin, 6th century

Originally from Ireland, JULIE MURRAY now lives in Milwaukee. She has made more than twenty films and digital videos since 1986 which have been exhibited at numerous international events including the Whitney Biennial (New York) and the IFF Rotterdam, with solo screenings at venues such as the San Francisco Cinematheque and Cinematheque Ontario (Toronto). She was a member of the competition jury at Media City 6 and her work has screened at the festival’s 5th, 6th, 9th, 10th and 11th editions.

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Joost Rekveld

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Netherlands, 35mm, 29.5 min, 2008

“Andronicos says that in a certain place in Spain one finds small, scattered stones which are polygonal and grow spontaneously. Some of them are white, others are like wax and pregnant of smaller stones similar to themselves. I kept one to verify this myself and it gave birth at my place, so the story is not a lie.” – anon, Paradoxographus Palatinus, 3rd century JOOST REKVELD studied at the Interfaculty Image and Sound of the Royal Conservatory in The Hague. He makes films and kinetic installations and has engaged in numerous collaborative projects in fields such as music, opera, dance, theatre and robotics, and he has curated numerous film screenings and installation exhibitions for venues including the Impakt Festival (Utrecht) and the Queensland Art Gallery (Brisbane). His films have been widely screened internationally at festivals such as the IFF Rotterdam, the Sundance FF and Media City 6 and 8. He lives in Amsterdam, where he is Head of the ArtScience Interfaculty at the Royal Academy.

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Rose

Robert Todd

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USA, 16mm, 9 min, 2008

To rise, before.

ROBERT TODD has made more than 40 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston.

His previous films have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the IFF Rotterdam, Cinematheque Ontario and at Media City 10 through 14.

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Bruce McClure

USA, 3 x bipacked 16mm, 15 min, 2008

“. . . flies leisurely over the sea to level off in an environment that they are suited for.” – Birds of Northern Places (date unknown) “While visiting the cathedral in Bristol I saw a sacristy door decorated with a pelican feeding its young with the blood dripping from sores on its chest. In Glasgow there are stained glass windows with the same subject.” – Bruce McClure BRUCE McCLURE is an architect, licensed to practice in New York in 1992.

In 1994 he began working with stroboscopic discs as an entry to cinematic pursuits. Since 1995 his film and projector performances have been exhibited at numerous international venues including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF and at Media City 8 through 14, winning the festival’s Grand Prize in 2006. He lives in Brooklyn. * “Lord Jesus, blessed pelican.” – St. Thomas Aquinas

9:30 PM THURS MAY 21 • INTERNATIONAL PROGRAM 3

Pie Pellicane Jesu Dominae*

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AS EACH PROJECTOR SETS TWO BIPACKED FILM LOOPS INTO MOTION, ACHRONISM IS CHRONICLED AWAY. DIMORPHIC SANDWICHES, THESE BIPACKED LOOPS ARE BOTH DIACHRONIC AND SYNCHRONIC. MACHINE TIME CLAWS UP THE ARGENTINE INCIDENT RAMPS CONCOMITANT AND LIMITED BY THE INDIFFERENT BEAT OF LIGHT PISTONS. REFLECTIONS OF CLONIC SPASMS FLAP FLUTTER AND SQUAWK OVERHEAD WITHOUT REFERENCE TO HISTORICAL ANTECEDENTS BEGGING FOR DIACHRONIC ORDERING BY THE BIO-SYNOD OF NERVE FIBERS. EARLIER, A PHENOMENAL 134 FRAME PELICAN SEQUENCE WAS DISMANTLED FROM THE ANACHRONISTIC “BIRDS OF NORTHERN PLACES”.

GIVEN NEW CYCLIC NESTINGS WITH THE PISTONS (ONE FRAME BASE TO 25 EMULSION), INDIVIDUAL BIRD FRAMES ARE CENTRIFUGED, DRAWING OUT SEQUENCES IN SPACE THAT EVIDENCE TIME DISPLACEMENT AS A POSSIBLE INGREDIENT IN DIMENSIONAL PERCEP

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TION

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3 PM FRI MAY 22 • WORKERS LEAVING THE FACTORY

Workers Leaving the Factory “The first camera in the history of cinema was pointed at a factory.”

Workers (leaving the factory)

Nancy Davenport, Canada, 2008

Workers Leaving the Factory in Eleven Decades Harun Farocki, Germany, 2006

Exit

Sharon Lockhart, USA, 2008

La Sortie des Usines Lumière Louis Lumière, France, 1895

Friday, May 22, 3:00 pm Art Gallery of Windsor, 401 Riverside Dr. W. “Workers Leaving the Factory” artist talk and community forum Exhibition dates: May 2-July 5

Exit

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More than a century later, La Sortie has found new relevance for several contemporary media artists. The film is a point of origin for any historical critique of cinematic representations of industrial workers. It is also a reference for new ways to depict the very different realities and challenges faced by industrial workers in the 21st century. As part of Media City, an exhibition entitled “Workers Leaving the Factory” will be presented from May 2 to June 5 at the Art Gallery of Windsor, featuring three of these recent film and video artworks by Canadian artist Nancy Davenport, the German filmmaker Harun Farocki and American filmmaker Sharon Lockhart, along with a video presentation of the original Lumière film.

3 PM FRI MAY 22 • WORKERS LEAVING THE FACTORY

In 1895 the Lumière brothers of Lyons, France were experimenting with their new invention, the Cinématographe. They opened the camera’s shutter onto a scene outside the gates of their own factory at the end of the workday. The result was a forty-five second long motion picture now known as La Sortie des usines Lumière (usually given in English as Workers Leaving the Factory), often cited as the first “proper” film ever made, or at least the first to be publicly exhibited when it was shown to a Parisian audience in December, 1895.

Exit

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Workers (leaving the factory)

3 PM FRI MAY 22 • WORKERS LEAVING THE FACTORY

The space before the factory gates has always been the scene of social conflicts. This is where strikes were called, and barricades erected to disrupt the work of the plant, in opposition to decisions of the factory’s management and owners. This was where labour leaders tried to prove the justice of their case to the factory’s employees. This was the scene of the demonstrations, protests and campaigns the workers launched in defence of their rights. The effort invested in Harun Farocki’s Workers Leaving the Factory in Eleven Decades is a fascinating cinematographic analysis of more than a century of such episodes as depicted in varous films, commencing with La Sortie through to Chaplin’s Modern Times (1936), by way of Fritz Lang’s Metropolis (1927) up to Antonioni’s Red Desert (1964) and onwards. This 12-monitor installation shows that Lumiere’s short movie already bore the germs of a predictable and critical debate, hinging upon the place of the individual in an industrial society.

HARUN FAROCKI has made close to 90 films since 1966, including three feature films. His work has been shown in international retrospectives and solo screenings at venues including the Cinémathèque Francaise, the Museum of Modern Art New York and the Austrian Filmmuseum in Vienna. Currently, he is a professor at the Akademie der bildenden Künste, Vienna.

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Workers Leaving the Factory in Eleven Decades

The films of SHARON LOCKHART have been widely screened at venues around the world including the Sundance Film Festival (2009), Cannes Film Festival (2009) and the New York and Rotterdam International Film Festivals.

Her installation works and photographs have been exhibited in solo and group shows at the Whitney Museum of American Art, the Museum for Contemporary Art, Tokyo and The Austrian Museum for Modern Art, Vienna, to name a few.

She has been the recipient of fellowships from the Guggenheim Foundation and the Rockefeller Foundation. Her films and photographs are housed in public and private collections around the world. She is currently associate professor at the University of Southern California’s Roski School of Fine Arts

3 PM FRI MAY 22 • WORKERS LEAVING THE FACTORY

Filmed over a five-day workweek, each of the five takes that comprise Sharon Lockhart’s Exit shows the long progression of workers leaving the Bath Iron Works at the end of their shift. Each take starts with a title card stating the day of the week, and then begins a daily routine that varies greatly from day to day. Reminiscent of the original Lumière film, Exit emphasizes the flow of time and the nuances of daily experience.

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La Sortie des Usines Lumière

3 PM FRI MAY 22 • WORKERS LEAVING THE FACTORY

Nancy Davenport’s Workers (leaving the factory) is a speculative, multiscreen take on labour and globalization, connecting Norwegian workers to their out-sourced Chinese counterparts in a seamless, multi-screen environment. At the centre of this moving frieze of animated portraits is an image of a factory where workers gather at the gates or rocket into outer space – referencing not only La Sortie but another iconic work of early cinema, A Trip to the Moon (1902) by Georges Méliès.

NANCY DAVENPORT’s work has been exhibited at the 2007 Istanbul Biennial, the Kennedy Center in Washington, the 25th Biennale de Sao Paulo, the 1st Triennial of Photography & Video at the International Center of Photography in New York, and at the de Singel International Kunstcentrum in Antwerp, among other venues.

Her work has been featured in October, Artforum, Art in America, ARTnews, and Flash Art. She is currently teaching photography at Cooper Union in New York.

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Ben Russell

USA, 16mm, 8 min, 2008

A(nother) remake of the Lumière Brothers pseudo-actuality La Sortie des usines Lumière (1895). This time around our factory is a construction site peopled by thousands of Southeast Asian labourers, a neo-Fordist architectural production site that manufactures skyscrapers like so many cars.

BEN RUSSELL is an itinerant photographer and filmmaker whose works have screened in spaces ranging from 14th century monasteries to Japanese cinematheques, from police station basements to punk squats, including solo screenings at the IFF Rotterdam and the Museum of Modern Art New York. A 2008 Guggenheim award recipient, he teaches at the University of Illinois at Chicago.

7:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 4

Workers Leaving the Factory (Dubai)

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7:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 4

Revue

Sergei Loznitsa

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Russia, 35mm on video, 82 min, 2008

As he did with his earlier film Blockade (2005), a re-creation of the WWII siege of Leningrad, filmmaker Sergei Loznitsa has once again scoured the Russian film archives for Revue, selecting excerpts from newsreels, propaganda films, TV shows and feature films that present an evocative portrait of Soviet life during the 1950s and 1960s.

With scenes taken from the length and breadth of the Soviet Motherland, Revue illustrates industry and agriculture (dam construction, steel plants, Stakhanovite labour competitions, farmland seeded by hand and plowed with horse), political life (local elections, abundant Lenin iconography, speeches by Khrushchev, the threat of capitalist spies), popular culture (a village choir, a dance troupe, a travelling cinema, poetry readings for workers, a propagandistic stage play), and technology (space exploration, astronaut Yuri Gargarin, new industrial development).

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Seen from these dual historical and contemporary perspectives, Revue is both a nostalgic and instructive look back at a communist past that represents social engineering on a grand, and frightening, scale.

SERGEI LOZNITSA studied at VGIK in Moscow. He has made twelve films since 1997, most of them produced through the St. Petersburg Documentary Film Studio, which have screened at countless international festivals, winning awards such as the Best Documentary at the Karlovy Vary FF, the Grand Prize of the International Kurzfilmtage Oberhausen and an Honourable Mention at Media City 11 (all in 2003) for his film Factory (2002).

Loznitsa’s film Blockade screened at Media City 12, and he attended Media City 13 for a retrospective screening of his other works. He currently lives in Lübeck, Germany.

7:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 4

The film's flow of disparate scenes representing typical Soviet life of the period is, seen from today's perspective, alternately poignant, funny, and tragic. The cumulative impact reveals a life of hardship, deprivation and seemingly absurd social rituals, but one always inspired by a vision, or illusion, of a communist future.

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Spirit House Robert Todd

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USA, 16mm, 11 min, 2008

A tale of two passages within the Spirit House. A look at the places where we find our spiritual presence augmented, inflamed, or simply acknowledged.

ROBERT TODD has made more than 40 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston.

His previous films have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the IFF Rotterdam, Cinematheque Ontario and at Media City 10 through 14.

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John Price

Canada, 16mm, 10 min, 2009

A reaction to the dark forecasts... scanning the cosmos in search of light as my son prepares for the voyage ahead...

JOHN PRICE has made experimental documentaries and diary films since 1986. His work has been exhibited at international venues including the IFF Rotterdam, Kino Arsenal (Berlin), the “Wavelengths” program at the Toronto IFF and at Media City 13 and 14. He also produces film projections for opera and dance and teaches cinematography in Toronto, where he lives.

9:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 5

The Sounding Lines Are Obsolete

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night side

Rebecca Meyers

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USA, 16mm, 4 min, 2008

A side of the universe turned away from the sun.

REBECCA MEYERS is a filmmaker and programmer living in Cambridge, Massachusetts as a 2008-2009 Harvard Film Study Center Fellow. She has programmed film and video works for venues such as the THAW Festival (Iowa City) the Onion City Experimental Film and Video Festival (Chicago) and the Harvard Film Archive. Her own films have screened internationally at festivals including the Toronto IFF, the London IFF, the International Kurzfilmtage Oberhausen and at Media City 9 and 11.

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Ute Aurand

Germany, 16mm, 42 min, 2008

From the groundbreaking ceremony in May 2004 until the opening in February 2007, in die Erde gebaut (“Building under Ground”) follows the construction of the new building for the Rietberg Museum, a collection of art from non-European cultures in Zürich. As the building progresses, the type of work changes from the heavy physical labour of the initial excavation and pouring of the foundation to the laying of wooden floors and plastering the walls to the final placement of the exhibits. The different activities of the workers determine the rhythm of the film.

UTE AURAND studied at the Deutsche Film- und Fernsehakademie, Berlin.

She has made more than thirty films since 1985 which have been widely screened internationally at venues such as Anthology Film Archives (New York) and the Toronto IFF. Since 1989 she has curated numerous film events for Kino Arsenal and Filmkunsthaus Babylon in Berlin, and has held various teaching positions at universities including the Hochschule der Künste Hamburg and the Hochschule für Gestaltung, Zurich. She lives in Berlin.

9:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 5

in die Erde gebaut

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9:30 PM FRI MAY 22 • INTERNATIONAL PROGRAM 5

Trypps #6 (Malobi) Ben Russell

USA, 16mm, 12 min, 2009

From the Maroon village of Malobi in Suriname, this single-take film offers a strikingly contemporary take on a Jean Rouch classic. It’s Halloween at the equator, Lightning Bolt for the jungle set.

BEN RUSSELL is an itinerant photographer and filmmaker whose works have screened in spaces ranging from 14th century monasteries to Japanese cinematheques, from police station basements to punk squats, including solo screenings at the IFF Rotterdam and the Museum of Modern Art New York. A 2008 Guggenheim award recipient, he teaches at the University of Illinois at Chicago.

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6 PM SAT MAY 23 • JEAN-CLAUDE ROUSSEAU

Jean-Claude Rousseau

Venise n’existe pas

France, selected short works 1984-2008.

Screening and discussion with the artist.

Identified by Jean-Marie Straub as one of the three “greatest living filmmakers in Europe”, the French auteur JEAN-CLAUDE ROUSSEAU began working on Super 8mm in the early 1980s, inspired by the films of Ozu Yasujiro. On 8mm he created two short works (seen here) and three longer films, including La Vallée Close (1995) which screened at the Locarno FF and won the Grand Prix du Documentaire at the Belfort FF. Countless other venues, including the Venice FF, the Vienalle, the Jeonju IFF, the Centre Pompidou (Paris) and the Cineteca Nazionale (Rome) have also presented retrospective or solo screenings of Rousseau’s works. Beginning in 2002, Rousseau switched to working in digital video, leading to a more prolific recent output of shorts and several longer works, including De son appartement (2007) which won the Grand Prix at FID Marseille. He has published several texts on the films of Robert Bresson and the aesthetics of the painter Jan Vermeer. He lives in Paris.

"La beauté n'est jamais fictive." – Jean-Claude Rousseau.

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Deux fois le tour du monde

If he leaned out of the window, if he made that move at the risk of falling or dropping the camera, if he leaned out to the point of falling, he would see, we would see, beyond the window, the inhabited islands, the churches and the palaces where the boats are moored.

La nuit sans étoiles (video, 18 min, 2006)

Can you tell if yours is a colour or a black and white dream? If yours is a silent or sound dream? If there’s a voice-over or natural sound?

Deux fois le tour du monde (video, 8 min, 2006)

I don’t know why/ I love this world/ where we come to die – Natsume Soseki 301 (video, 18 min, 2008)

Chute des patineurs sur le lac gelé.

Keep in Touch (16mm, 25 min, 1987)

Les régions océaniques verront arriver en soirée un voile des nuages élevés... Dimanche, nuages et pluies envahiront dans la journée l'ensemble du pays. Temps observé à New York: 7 et -1, neige.

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Venise n’existe pas (16mm, 11 min, 1984)

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Above: Keep in Touch

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Below: La nuit sans ĂŠtoiles

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Naomi Uman

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Ukraine/USA, 16mm, 10 min, 2007

Kalendar (a segment of a six-part film entitled Ukrainian Time Machine) is both a chronology of seasonal observations and a record of the filmmaker’s assimilation into a new language.

NAOMI UMAN, former private chef to Malcolm Forbes, Calvin Klein and Gloria Vanderbilt, traded in her oven mitts for a 16mm film camera and acid resistant rubber gloves several years ago. Her films have screened at venues including The Sundance FF, The IFF Rotterdam,The Guggenheim Museum, The Whitney Museum, The Smithsonian Institute, Mexico City's Museo de Arte Moderno and Media City 6. American by birth, she currently lives in a small village in Ukraine, 30 km from the town of Uman, birthplace of her own ancestors.

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Kalendar

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7:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 6

Two Times 4’ 33” Manon de Boer

Belgium, 35mm, 11 min, 2008

"In a situation provided with maximum amplification, perform a disciplined action."

"The performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition." – John Cage MANON DE BOER studied at the Rijksakademie in Amsterdam. She works in film, video and sound and also creates CD-rom and internet projects. She has had solo exhibitions at the Power Plant (Toronto), the Stedelijk Museum (Amsterdam) and has exhibited in the 2007 Venice Biennale, the 2008 Berlin Biennale and in numerous group exhibitions at prominent galleries throughout Europe. In 2001 she published the artist book Oscillations through the imprimatur of La Lettre Volée. She lives in Brussels.

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Vincent Grenier

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Canada (QC)/USA, video, 9 min, 2008

Two weather-worn red vinyl chairs on an outdoor promontory stand as witnesses to a view. The chairs provide flickering openings, internal views, into colour fields that quickly forgo a sense of scale. The chairs’ standard issue “natural textures” offer their oval screens to natural sunlight as projected through wind-swept tree leaves.

A Québec City native, VINCENT GRENIER has been making experimental films since the early 1970s, after receiving an MFA from the San Francisco Art Institute. His films and recent video works have been exhibited at venues including the Centre Pompidou, the Museum of Modern Art New York, Anthology Film Archives and countless international film festivals. His video Tabula Rasa (2004) won 2nd Prize at Media City 11 and he was the subject of a retrospective screening at Media City 12 in 2006. He lives in Ithaca, New York, and is Chair of the Cinema Department at Binghamton University.

7:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 6

Les Chaises

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Light Speed Karen Johannesen

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USA, S8mm, 6 min, 2007

Time as a measure of space. Units of time. Quantum particles inexplicably simultaneous. Flickers of a shadow, syncopated, a beat, rhythm, pattern repeating. Single frame magnetic force field speeding at the rate of light. Light speed.

KAREN JOHANNESEN studied at the University of Illinois at Chicago. She has made eleven films since 2001, all on Super 8mm,which have screened at venues such as the San Francisco Cinematheque, the Images Festival (Toronto), Anthology Film Archives (New York) and were included in the smallgauge retrospective “Big as Life” organized by the Museum of Modern Art New York in 2001. She lives in Chicago.

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Jim Jennings

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USA, 16mm, 8 min, 2009

Instead of being a “city symphony,” Greenpoint is a neighbourhood jam session. In lieu of skyscrapers and Civil War monuments, we see momand-pop shops and the detritus of daily life. This film is a frank and loving portrait of a Brooklyn neighbourhood.

Since the mid-1970s JIM JENNINGS has made more than 25 films which have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the “Wavelengths” program at the Toronto IFF, the IFF Rotterdam and at Media City 12, 13 and 14. He lives in New York.

7:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 6

Greenpoint

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films of Helga Fanderl

Schmetterlinge

Germany, all films S8mm

Gare d’Austerlitz (3 min, 2008) A rhythmic exploration of an old Parisian railway station and parts of its architecture.

Luftparade (Air Parade, 3 min, 2007) An interplay between parading airplanes and helicopters and the camera eye.

Kakibaum im Winter (Kaki Tree in Winter, 3 min, 2008) Evocation of a marvelous tree whose fruit is ripe when the leaves are gone.

Große Kaskade (Big Cascade, 0.5, 2008) Twenty dreamlike seconds of blue; a baroque fountain whose water is flowing down huge steps.

Lichttempel (Temple of Light, 2 min, 2008) Blinded by Mediterranean light, the metamorphosis of a Doric temple dedicated to the god of fire.

Pfosten im Fluss (Piles in a River, 1 min, 2007) Old rotten piles that once bore a landing stage stand like enigmatic ruins in the Hudson River.

Jardin tropical im Frühling (Tropical Garden in Spring, 3 min, 2007) Architectural and natural elements of an old tropical garden.

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Jardin tropical im Frühling

Pflanzen (Plants, 1 min, 2007) Close-ups of plants on a terrace creating rhymes of colours, structures and light.

Zora schaukelt (Zora Swinging, 1 min, 2007) A little girl in a red dress, on a red swing, under a green tree.

Schmetterlinge (Butterflies, 3 min, 2007) On the difficulty and enthusiasm of filming butterflies in a museum of natural history.

Kirche in Bernui (Church in Bernui, 1.5 min, 2007) The colourful interior of an old village church in the Spanish Pyrenees.

Nach dem Feuer II (After the Fire II, 3 min, 2008) The transforming power of fire in the vestiges of a ruined taxidermy shop.

HELGA FANDERL studied at the Stadelschule Frankfurt and at Cooper Union.

Her films have been screened at venues including the Deutsches Filmmuseum, Kino Arsenal, Anthology Film Archive and the Centre Pompidou, and are held in collections including those of the Museum für Moderne Kunst (Frankfurt) and the Louvre. She was the subject of a retrospective at Media City 13 in 2007.

She lives in Paris and Frankfurt.

7:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 6

Wassertanz I (Dance of Water I, 1.5 min, 2007) Water dancing in the sun transformed into a sort of abstract film painting, full of gestures.

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9:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 7

Trilogy, Kettle’s Yard Jayne Parker

England, 16mm on video, 25 min, 2008

Linear Construction, Woman with Arms Crossed and Arc form a trilogy of films set in Kettle’s Yard, University of Cambridge, featuring cellist Anton Lukoszevieze. These films are documents of musical performance: respectively, “Recitation” (1980) by Georges Aperghis, “Sensitivo, per arco solo” (1959) by Sylvano Bussotti and “Raimondas Rumsas” (2002)

by Laurence Crane. They include art objects from the Kettle’s Yard collection, opening up metaphorical space and meaning.

JAYNE PARKER studied at Slade School of Art, London. She has made two dozen films since 1979. Her earliest films were minimally animated drawings, illustrating cryptic feminist narratives. More recently she has embarked on a series of films ( e.g. Stationary Music [2001] and Catalogue of Birds [2006]) engaged with the work of 20th century composers such as Stefan Wolpe and Oliver Messiaen. Her films have been exhibited at venues including the Tate Modern and the ICA in London and at international festivals including the Jeonju IFF, IKF Oberhausen and Media City 12 and 13. She lives in London.

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Nishikawa Tomonari

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Japan, 35mm, 2.5 min, 2008

This film was shot using a still camera with sixteen lenses which takes a series of sixteen pictures in 1.5 seconds, fitting onto two normal frame areas. The film depicts the Tokyo Racecourse during its biggest annual event, the Tokyo Derby. Each race lasts two minutes, thirty seconds.

NISHIKAWA TOMONARI earned an MFA from the San Francisco Art Institute in 2006. Since 2001 he has made a dozen films which have screened at venues including the “Views from the Avant- Garde” program at the New York FF, the IFF Rotterdam and Media City 12 and 14. He lives in Tokyo.

9:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 7

16 – 18 – 4

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Iris Out

Simon Payne

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England, video, 10 min, 2008

A video composed of single frames from sequences of expanding or contracting irises, reformatted for different aspect ratios. In the middle are rows incorporating nine contrasting sequences of six different colours and tones in alternating combinations. At stake is the relation between the edges of planes and the shape of the screen, as well as the way in which colour fields are reproduced by the eye and brain, affecting perception.

SIMON PAYNE studied at the Royal College of Art, London. His video works have been exhibited at ExIS (Seoul) the IFF Rotterdam and the Tate Modern and Serpentine galleries in London, among other venues, and are discussed in Nicky Hamlyn’s book “Film Art Phenomena” published by the British Film Institute in 2003. He lives in London and teaches at Anglia Ruskin University in Cambridge.

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Henning Lundkvist

Sweden, video, 30 min, 2008

Extracts from Richard Wagner's autobiography as well as from his opera "Tristan und Isolde" (1859)- The composer’s experience and description of the 1849 revolution attempt in Dresden set against the secret nightly meetings of his heroes; the “enlightening” gaze of history set against the twilight in which its possibilities still slumber.

HENNING LUNDKVIST is a sound and audiovisual artist based in Malmö.

His work has been performed or presented at international venues including White Space (Zürich), Ausland (Berlin) and Cobra (Buenos Aires). He has released several CDs, CD-rom and vinyl discs on Inaktiverlag, Economic Thought Projects, Komplott and other labels. Since 2007 he has been curator of the “Audiotrium” series at the Teatr Weimar in Malmö and he is also the founder of Radiowy.se, a web-based forum for radio plays and sound art.

9:30 PM SAT MAY 23 • INTERNATIONAL PROGRAM 7

Wagnerischer Lichtung

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XXX

Bruce McClure

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USA, 3 x 16mm, 15 min, 2008

X One base/2 emulsion

X One base/2 emulsion

X One base/2 emulsion

One base/7 emulsion One punch/2 frames

One base/7 emulsion One punch/2 frames

One base/7 emulsion One punch/2 frames

One base/25 emulsion One base/25 emulsion One base/25 emulsion (sound synch) (sound synch) (sound synch) BRUCE McCLURE is an architect, licensed to practice in New York in 1992.

In 1994 he began working with stroboscopic discs as an entry to cinematic pursuits. Since 1995 his film and projector performances have been exhibited at numerous international venues including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF and at Media City 8 through 14, winning the festival’s Grand Prize in 2006. He lives in Brooklyn.

MIND IS THE WOMB FOR A MECHANICAL BEAUTY THAT APPEALS TO EYE AND EAR PORTALS – THE ENTRANCES TO THE “TEATRO MARITTIMO.” LIKE HADRIAN, WHOSE NEEDS FOR SECLUSION WERE MANIFESTED IN THE ROTUNDA OF THE VILLA ADRIANA AT TIVOLI, THE CINEMATIC APPARATUS INHABITS THE MOVIE HOUSE INVITING US INTO ITS PARADOXICAL ISOLATION. SCREENED FROM OUTSIDE DISTURBANCE BY A TOWERING CIRCULAR WALL, HADRIAN’S RETREAT INSCRIBED A CANAL WITH RETRACTABLE WOODEN BRIDGES ENSURING COMPLETE CONTROL OVER HIS PRIVACY ON THE ARTIFICIAL ISLAND. THE WALL WAS SUPPORTED BY BRICK LAID UP IN OPUS RETICULATUM AND FACED WITH MARBLE. TO MY EYES, DURING A VISIT IN 1983, IT WAS THE ANONYMOUS STRUCTURAL MATTER BROUGHT TO LIFE BY LIGHT THAT CAPTURED MY IMAGINATION. MASONRY SET IN A MATRIX IS THE STUFF OF X X X THAT IS COMPOSED OF NINE NAMELESS FILM LOOPS INSERTED IN A THREE ROW, THREE COLUMN WOMB. X X X , UNLIKE INTRA-UTERINE DEVICES, IS NOT OPPOSED BY THE CHURCH OR THE MEDICAL PROFESSION, BUT DOES ENCOURAGE PROMISCUITY AND COMMUNION. LOOKING TOWARD THE WALL ACROSS THE CANAL, IN THE RECESSES OF A COLONNADE, WE

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Locally: Chris Blais at the University of Windsor School of Visual Arts, Garth Rennie and Michael Darroch at Communications Studies, University of Windsor; James Patten, Gilles Hebert, Tony Mosna, Marty Hunt, Cassandra Getty, Sandra Wong, Nicole McCabe and Mary Anne VanWatteghem at the Art Gallery of Windsor, Otto Buj and Mark Boscariol from WIFF, Karl Jirgens and Stephen Pender at the English Dep't, University of Windsor, Brent Lee at the University of Windsor School of Music, Stephen Hargreaves and John Doherty at WAMM, Hugh Barrett at the Windsor Community Museum, Utsy Hadaro at the Arts Council of Windsor and Region, Ron Drouillard and Brandy at the Windsor Worker’s Action Centre, Nicole Macdonald and Robert Andersen at the Detroit Film Center, Brandon Walley at Y Arts and Detroit Projection Project, Keith and Sarah at Klever design (Detroit), David, Vicki, and Stephen at S. Funtig & Associates, Mary Baruth at the City of Windsor, Dan Bombardier at Printworx, Adam Fox at CJAM radio, Frank and Tom at Phog, Thomas McDonald the FedEx guy, Bob Williams and Amanda Gellman at RJ Williams and Associates, Grace Manias, Jackie Fitzgerald, Peggy Dorner, Elaine Weeks, Chris Mangin, Steve Daigle and anyone we forgot. Extra thanks to all hardworking volunteers whose names were not available at press time and to those who graciously opened their homes to billet visitors.

All descriptions of works are provided by the artists unless another source is cited.

Running times are rounded to the nearest half minute. Names of Japanese artists are given as family name first, given name second. The work of Jean-Claude Rousseau, Harun Farocki and Robert Fenz is exhibited out of competition.

NOTES

SEE RIPPLES OF LIGHT STIRRED AND CHIMED BY SILVER WAVERLINGS.

THANKS

In no particular order: Julia Sosnovskaya at the St. Petersburg Documentary Film Studio, Angelika Ramlow at Arsenal Experimental (Berlin), Marie Logie at Auguste Orts (Brussels), Ina Rossow at Deckert Distribution (Leipzig), Sencer Vardarman at Mondaynews (Berlin), Katalin Vajda & Márta Bényei at Magyar Filmunio (Budapest), Theus Zwakhals at Netherlands Media Art Institute (Amsterdam), Mike Sperlinger at LUX (London UK), Alexandra Querrec at Capricci Films (Paris), Matthias Rajmann at Harun Farocki Filmproduktion (Munich), Clay Lerner at Lockhart Studio (Los Angeles), Alexandra Gaty and Renée Martin at Blum & Poe (Los Angeles), Ruth Phaneuf at Nicole Klagsbrun Gallery (New York), Karim El Khettabi-Shimsal at Indielisboa (Lisbon), Gretchen at PDX (Portland OR), Lori Fried at Icarus Films (New York), Madeleine Molyneaux at Picture Palace Pictures (New York), Andrew Lochhead at the Workers Arts & Heritage Centre (Hamilton), Martin Stiglio at the Istituto Italiano di Cultura (Toronto), Scott McLeod & Jayne Wilkinson at Prefix Photo (Toronto), Pablo de Ocampo, Scott Miller Berry & Rebecca Gimmi at the Images Festival (Toronto), Andréa Picard at Cinematheque Ontario/TIFF (Toronto), Andrei Gravelle at TIFF (Toronto), Robin Ginsburg (Brooklyn), Ralph McKay at Sixpack Film Americas/Filmbank (Marfa TX), Claartje Opdam at Filmbank (Amsterdam), Gerard Holthuis at Filmstad (Amsterdam), Julie Leclerc at the Ontario Ministry of Culture (Toronto), Larissa Fan at CFMDC (Toronto), Marcos Ortega at ExpCinema, Patrick Friel (Chicago), Nadja Pelkey (Guelph), Chris Toner at the Canada Council for the Arts, Mark Haslam at the Ontario Arts Council.

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DISTRIBUTION SOURCES

films of Kevin J. Everson: Picture Palace Pictures, New York.

Sarah Ann (Pim Zwier) and #37 (Joost Rekveld): Filmbank, Amsterdam Kempinski (Neil Beloufa): Montevideo/NMAI, Amsterdam The Unseen (Pavel Medvedev): St. Petersburg Documentary Film Studio Lost World (Gyula Nemes): Magyar Filmunio, Budapest 12 Explosions (Johann Lurf): Sixpack Film, Vienna Origin of the Species (Ben Rivers) & Trilogy, Kettle's Yard (Jayne Parker): Lux, London UK Exit (Sharon Lockhart) courtesy Blum & Poe, Los Angeles Workers (leaving the factory) (Nancy Davenport) courtesy Nicole Klagsbrun Gallery, New York Revue (Sergei Loznitsa):Icarus Films, New York in die Erde gebaut (Ute Aurand): Arsenal Experimental, Berlin Venise n'existe pas and Keep in Touch (Jean-Claude Rousseau): Capricci Films, Paris Two Times 4'33" (Manon de Boer): Auguste Orts, Brussels All other films and videos courtesy the artists.

MC15 catalogue good:MC15 catalogue good

4/30/09

12:49 PM

Page 66

MC15 catalogue good:MC15 catalogue good

4/30/09

12:49 PM

Page 67

MC15 catalogue good:MC15 catalogue good

4/30/09

12:49 PM

Page 68