Media City 16 catalogue

Page 1

TUES MAY 25 8:00 PM

Kevin J. Everson’s E r i e at the Burton in Detroit pp. 4-5



WHERE: Capitol Theatre

121 University Ave W, Windsor

TICKETS: Pay What You Can

($5 suggested) Festival pass: $20 Tix & passes at door

INFO: 519 973 9368

pp. 14-18

pp. 30-35

pp. 43-48

Intl Program 4

Intl Program 3

Intl Program 1

9:30 PM

9:30 PM

pp. 24-29

Friedl vom Gröller pp. 40-42

7:30 PM

Intl Program 2

Johan van der Keuken pp. 10-13

9:30 PM

7:30 PM

7:30 PM

Friedl vom Gröller at AGW pp. 38-39

Regional Artists Program pp. 20-23

Opening Party

p. 9

FRI MAY 28 3:00 PM

THUR MAY 27 6:00 PM

WED MAY 26 6:00 PM

pp. 59-61

Intl Program 6

9:30 PM

pp. 54-58

Intl Program 5

7:30 PM

Canadian Film & Video pp. 50-53

SAT MAY 29 6:00 PM

MEDIA CITY 16 16th Annual International Festival of House of Toast presents

Artist’s Film and Video

MAY 25-29, 2010

Program Directors: Program Committee:

Oona Mosna, Jeremy Rigsby Dean Carson, Gustave Morin, Oona Mosna, Jeremy Rigsby Regional Programmer: Brandon Walley Technical Director: Sergio Forest MEDIA CITY Lead Projectionist: Kathryn McKay 309 Chatham Street W Second Projectionist: Doug McLaren Windsor ON Guest Services: Lucy Howe N9A 5M8 CANADA Transportation Services: Chris Lamb 519 973 9368 Venue Logistics: MESM Photographer: Gustave Morin Volunteer Coordinator: Stephen Hargreaves

Media City 16 is presented with the support of a Media Arts Festivals grant from the Ontario Arts Council, an Annual Assistance to Media Arts Festivals grant from the Canada Council for the Arts, the Ontario Trillium Foundation and the Art Gallery of Windsor. Other financial support from the Downtown WIndsor Business Improvement Association and the City of Windsor Department of Cultural Affairs.


1. Capitol Theatre 121 University W.


2. AGW 401 Riverside W. (for F. vom GrĂśller talk/tour May 28) 3. Burton Theatre 3420 Cass Ave in Detroit (for Erie screening May 25)

The Jury

ELLIE EPP (Canada) has a post-graduate diploma in film studies from the Slade film program at University College, London, an MA in the philosophy of mind, and a recent PhD in perceptual epistemology. She began making 16mm experimental films at the London Film Co-op in 1973, and has also worked in still photography, video, experimental writing, and web design. Her films Trapline (1976), Notes in origin (1986) and Current (1988) have had extensive international distribution.

From 2002-06 SANJA GRBIN (Croatia) pursued various activities broadcasting experimental music, film and video on Croatian national radio and television programs. She is a co-founder of the 25 FPS Association for Audio-Visual Research in Zagreb, whose main project is the 25 FPS International Experimental Film and Video Festival, for which she curates the Expanded Cinema section. 25 FPS is also active in publishing, curating programs in other cities, and promoting Croatian experimental media to international events.

ERWIN VAN ‘T HART (Netherlands) began working in the cinema department at de Balie (a political and cultural center in Amsterdam) in 1997. He was part of the curatorial team of the distributor Filmbank which developed “Dlight”, a retrospective program of Dutch experimental film presented at the IFF Rotterdam in 2004 and he has worked as a short film programmer for Rotterdam since 2006. He also works as a curator and technician for the open air cinema company Openluchtbioscoop.

TUES MAY 25 • 8 PM • E R I E at the BURTON


Kevin Jerome Everson

USA, 16mm on video, 81 min, 2010

at the Burton Theatre (3420 Cass Ave, Detroit) tickets $5-$7 US or free with Media City pass filmmaker in attendance Erie consists of several independent events filmed in black-andwhite in the area around Lake Erie. Each event lasts about 10 minutes, the length of a roll of film, and they are edited back-to-back.

Hardly any words are spoken, apart from the particularly signifcant dialogue of three workers from a General Motors factory. The factory is soon going to close, like so many major steel and car companies, to the joy of those who think that “untrained” workers are earning too much money.


Erie is a major contribution to a central theme in the sizeable oeuvre of Kevin Jerome Everson: the culture of African-American workers.

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) the Centre Pompidou (Paris), the 15th edition of Media City in 2009 and the Images Festival (Toronto), where Erie won the Best International Film Award in 2010. He is a recipient of a Guggenheim Fellowship, a Creative Capital Fellowship, an NEA Fellowship and an American Academy in Rome Prize. Originally from Mansfield, Ohio, he now lives in Charlottesville where he teaches at the University of Virginia.

TUES MAY 25 • 8 PM • E R I E at the BURTON

Over the past thirteen years KEVIN J. EVERSON has completed several 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)



Shadow Detection Kero

Canada, 2010

An installation in Milk Coffee Bar. Shadow Detection is an interactive image-generator of bodies and their shadows. Patrons in Milk witness their shadows as real time data streams. Their bodily presence is shifted from the standardized and regulated object of surveillance technology into flowing, solarized and inverted apparitions.


KERO (Sohail Azad) has over 20 releases on some of electronic music’s most celebrated and innovative labels such as Bpitch, Ghostly International, Shitkatapult, Touchin' Bass and his own critically acclaimed Detroit Underground Records. Recently he has performed with notables such as Speedy J, Ken Ishii and Funkstorung, opened up for Flying Lotus, and presented high-tech graphic visuals at venues across North America on tour with the Butthole Surfers. He has presented installation or performance projects at three previous editions of Media City.

with live performance by Chris Bissonnette. Free! Meet, mingle and have a drink with your fellow festivalists in the Capitol’s Joy Theatre. Windsor artist Chris Bissonnette sets the mood with a short series of video vignettes, with accompanying audio arrangements of field recordings and live instrumentation. CHRIS BISSONNETTE is a sound artist and graphic designer. In 1997 he co-founded Thinkbox (with Mark Laliberte and Christopher McNamara), a media collective focused on the intersection of art and popular electronic music. In 2005, Bissonnette released his debut album Periphery on the Kranky label, followed by In Between Words in 2008. His video Corridor (2001) was screened at the Media City 7 in 2001.


Opening Party



The prolific career of the Dutch documentary filmmaker JOHAN VAN DER KEUKEN (1938-2001) spans 42 years, during which time he made 55 short and feature-length films which screened at countless venues worldwide, winning several major awards. During his lifetime, van der Keuken was the subject of retrospective screenings at most of the world’s prominent film institutions including the Cinémathèque Québécoise (Montreal, 1975), the Pacific Film Archive (Berkeley, 1978 and 1999), the Film Museum (Munich, 1980), the Cinémathèque Française (Paris,1987), Kino Arsenal (Berlin, 1999) and both the Centre Georges Pompidou (Paris) and Cinematheque Ontario (Toronto) in 2000. Media City is pleased to present a selection of five of Johan van der Keuken’s short films, four dating from the 1960s and one, Temps/Travail, that is among the last of his completed works.

WED MAY 26 • 7:30 PM • JOHAN vd KEUKEN

Retrospective: Johan van der Keuken

Blind Child 2


16mm, 24 min, 1964

Four Walls

16mm, 22 min, 1965

WED MAY 26 • 7:30 PM • JOHAN vd KEUKEN

Blind Child

Blind Child

What is reality? A leap across an abyss. To gather material for Blind Child, van der Keuken spent two months at the Dutch Institute for the Blind. The major theme of the film is perception; the secondary themes are communication and the never-ending struggle to be in contact with reality. A reflection on the relationship between physical and mental space. In 1965, Amsterdam underwent a severe housing crisis. Van der Keuken investigates the living conditions of families occupying tiny, state-issued apartments. The result is a thought-provoking portrait of the inhabitants and their environments.

Herman Slobbe/Blind Child 2 16mm, 29 min, 1966


The second film on blind children follows one young boy in particular. Upon reaching puberty, Herman Slobbe needs to struggle against his environment in order to carve out a path for himself.

16mm, 10 min, 1960-63

The incessant coming-and-going of cars slows to a crawl, the passersby stop and the city of Amsterdam comes to a standstill. This film is one of the first that van der Keuken made on his own, freely, and without the constraints of anecdote, storyline or script


16mm on video, 11 min, 2000

A montage showing the repetitive movements typical of many types of laborious rural, craft and industrial activities in completely different geographical contexts.

"Film has its origins at the fair and it should stay that way. But is that fair not situated in the marshy country behind the church, the temple and the mosque? Just past the warehouse and the town halll? Not far from the concert hall, the police-station and the disco, yes, the whole community full of homeopaths and psychopaths, who all run around or are stuck in a traffic-jam, restless in search of the meaning of life. The filmmaker is there, I think, to make something of this confusion visible, but also something of that meaning.” —Johan van der Keuken

WED MAY 26 • 7:30 PM • JOHAN vd KEUKEN

A Moment’s Silence





Robert Todd

USA, 16mm, 9 min, 2009

Sleepy... waiting for something to happen, with a camera in the dim, in a playground, quiet and colourful. Swinging away, and slowly drifting off.

ROBERT TODD has made more than 45 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston. His 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’s 10th through 15 editions, winning Third Prize in 2007.


Gerbrand Burger

Netherlands, video, 11 min, 2009

The imaginary journey of a man who travels from east to west. His character is composed of a collection of literary fragments dating from the 14th century until today. The original texts are largely written by Arabs travelling to Europe. The word “rihla” means “journey in search of wisdom or knowledge”. Ibn Battuta's book by that title forms a travelogue containing fiction, Islamic study, poetry, observations and other forms of writing. GERBRAND BURGER studied at Leiden University, the Gerrit Rietveld Academie (Amsterdam), and Cooper Union (New York). He has made 13 video works since 2003 which have have screened at numerous international venues and festivals including the IFF Rotterdam, the Centre Georges Pompidou (Paris), the Milano Film Festival and Kino Arsenal (Berlin). He was a recent participant in the Artist Research Program at the CCA Kitakyushu, Japan. This is his first appearance at Media City. He lives in Amsterdam.





Distance Julie Murray

USA, 16mm, 12 min, 2010

Time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures are obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.”


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’s 6th edition in 2000 and her work has screened at six editions of the festival since 1999, winning five Honourable Mentions of the jury.

Volko Kamensky

Germany, 35mm, 22 min, 2009

A report from the land of the Brothers Grimm: the story of a sleepy German hamlet presented in twenty-two images. The voices of its inhabitants guide the audience through the rural environment. But the impact of the film owes as much to what is concealed as to what is shown and said. The crucial distinction between story and history becomes increasingly flimsy. VOLKO KAMENSKY studied film at the Hochschule für bildende Künste in Hamburg. His films have screened at venues including the Festival International du Documentaire Marseille, the Hamburger Kurzfilmfestival and the Duisburger Filmwoche. This is his first appearance at Media City. He lives in Hamburg.


Oral History


Image copyright of the artist, courtesy of Video Data Bank,


One Bright Day Jem Cohen

USA, video, 18 min, 2008

While out shooting for a different project altogether, I encountered two men sleeping on a Manhattan street. A short time later, I was standing in front of Penn Station when one of the men suddenly reappeared. He stepped in front of my camera and began to speak.


The short and feature-length films of JEM COHEN have screened at countless international festivals (including Media City 13 in 2007), at galleries including the Walker Art Center (Minneapolis) and the NY MoMA, and have been featured in retrospectives at venues including BAFICI (Buenos Aires) and the International Kurzfilmtage Oberhausen. His films have been broadcast by the BBC, ZDF/ARTE, the Sundance Channel and PBS. They are in the collections of the NYMoMA, The Whitney Museum and the Screen Gallery in Melbourne, Australia. Cohen has also made numerous videos and concert films for musicians including Godspeed You Black Emperor!, Fugazi, Vic Chesnutt, the Ex, Terry Riley, Patti Smith, R.E.M., Sparklehorse and others. He lives in New York.

Regional Artists Program

The Use of Movement


New film and video from here or hereabouts.

The Use of Movement Christopher McNamara

Windsor/Ann Arbor, video, 15 min, 2009

Each scene is an incomplete narrative, with monologues in Spanish, German, Bengali and Italian creating occasional dissonances with the images and action.


Allegra Pitera

Detroit, video, 1.5 min, 2010

A humourous look at a serious subject that is altering the face of Detroit's suburban sprawl: the garage facade.



Sleeping Bear

Ann Arbor, video, 3 min, 2009

A collage presented in three vertical frames, addressing the motivations for human control over other living creatures.

Everything to Live For Scott Northrup

Dearborn, video, 5 min, 2008

A discarded reel of 8mm film, some loosely remembered passages from an old romance novel and years of heartache… but no regrets, not one.

Sleeping Bear Jack Cronin

Detroit, S8mm on video, 10.5 min, 2010

Filmed at the Sleeping Bear Dunes National Lakeshore in northern Michigan over three years, loosely following the cycle of seasons.


Ted Kennedy





Charlie Egleston

London, 16mm, 5 min, 2010

A film about seeing, wanting to see, and having seen.


Michelle Tarailo

Windsor, video, 4.5 min, 2008

A meditation on the movement of the Detroit River and the industrial landscape it flows through.

The Men


Wrestling with My Father

Charles Fairbanks

Ann Arbor, video, 3 and 4.5 min, 2009

The Men presents the fighter’s perspective in a grappling match; an immersive experience between intimacy and violence.


In Wrestling with My Father my father watches me wrestle. My father was a wrestler. You never stop being a wrestler.

Ed Janzen

Kingsville, video, 2 min, 2010

A fly compresses time and captures itself on video by triggering a motion-activated surveillance webcam.


Vernichtung (Undone Electronics)

Detroit/Berlin DE, audio/video performance, 15 min, 2010

A live electronic punk performance soundtrack to a video portrait. The video portraits are created specifically for each performance, shown only once, and specific to the program/venue. Vernichtung is David S. Blunk, II (Detroit) and Matthias D. Vernichtung (Berlin).






Sea Front

Stuart Moore & Kayla Parker England, S8mm on video, 5.5 min, 2009

The once-grand 19th century structures built into the limestone cliffs at the seashore in Plymouth, England are now cracked and crumbling. This space between land and sea is a site for rites of passage for modern day Plymouth youth, who gather here at high tide throughout the summer months.


STAURT MOORE is a filmmaker and sound artist currently teaching at University College Plymouth. KAYLA PARKER has made more than 30 films and videos since the mid-1980s which have been widely screened at international film festivals and exhibited in the UK at venues including the Tate Modern, the Whitechapel Gallery, Hayward Gallery, and the ICA. Together they founded Sundog Media in 1997, collaboratively creating several animations, installations and interdisciplinary projects. This is their first appearance at Media City.

Nick Collins

England, 16mm, 10 min, 2009

Frost Table documents dawn and sunrise on January 1st, 2008, a cold morning on a French hillside. Tholos looks at an excavated Mycenean tomb in Messenia, Peloponnese, set amid olive groves, but with patches of shade close by where flowers grow. Jasmine Tea unfurls itself from a white screen to an infusion which is ready to drink. Garden looks at a corner of my garden which is both sombre and joyful. Since 1976 NICK COLLINS has been making films which have been shown widely at international festivals, including recent screenings at Image Forum (Tokyo), the International Kurzfilmtage Oberhausen, EX-iS (Seoul) and at Media City 13 in 2007. He is currently a lecturer in Film and Video at Northbrook College Sussex and a visiting lecturer at the University of Brighton. He lives in Lewes, Sussex.


Four Little Films



Hanging upside down in the branches Ute Aurand

Germany, 16mm, 15 min, 2009

A montage of brief recollections filmed before the death of my mother in 2000 and the death of my father in 2007. I stand as an adult in the midst of childhood feelings, gazing at the disappearance of my family home and the changing relation to my parents.


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), the Toronto IFF and at Media City 15 in 2009, winning the festival’s Grand Prize for her film in die Erde gebaut (2008). 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, Zürich. She lives in Berlin.

Milena Gierke

Germany, S8 to 35mm enlargement, 6 min, 1997/2008 Images of a stream in southern France: it‘s the toads' mating season. Movement on the water surface distorts the toads, sometimes making them unrecognizable, bringing two different levels of perception into the action at hand. MILENA GIERKE studied film at the Frankfurt Hochschule für Bildende Künste under Peter Kubelka and sculpture at Cooper Union in New York City under Hans Haacke. She works exclusively with Super 8mm, although she has recently revised and prepared 35mm prints of some of her earlier films. Among the many international presentations of her films are retrospective screenings at Anthology Film Archives (New York) in 1995 and at 25FPS (Zagreb) in 2009. As of 2001, she is also a member of the curatorial group "Filmsamstag". This is her first appearance at Media City. She lives in Berlin.





Groundplay Robert Todd

USA, 16mm, 12 min, 2009

Life is a speck of dust. A camera as a microscope, nosing about in a world on a different scale. The sensitive instrument does not perceive objects, but dives into the empty spaces between them. The focus shifts to a new world filled with structures, grit and dust barely perceptible to the naked eye. —IFF Rotterdam

ROBERT TODD has made more than 45 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston. His 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’s 10th through 15 editions, winning Third Prize in 2007.


Harriet McDougall

England, video, 13 min, 2008

The senses act simultaneously as receptors and filters, both enabling us to make sense of our surroundings and preventing us from fully doing so. In Frontier, two layers of imagery (shot in a continuous 15 hour take from dawn to dusk) are interlaced and compressed. Transient effects of light and colour confound expectations of visual depth and space within the frame. HARRIET McDOUGALL is a painter and video artist. She studied at the Chelsea School of Art and Design and at Duncan of Jordanstone College of Art. Her videos have been screened at venues including Anthology Film Archives (New York), EMAF (Osnabrück), the Simrishhamm International Art Film Festival (Sweden), and the Museum of Modern and Contemporary Art, Strasbourg. This is her first appearance at Media City. She lives in Haltwhistle, Northumberland.





Atlantiques Mati Diop

Senegal/France, video, 15 min, 2009

By nightfall, around a campfire, a young man from Dakar tells his friends about his clandestine odyssey. MATI DIOP is completing a residency at the Studio national des arts contemporains du Fresnoy. She has created four short works which have screened at venues including the Cinémathèque Française and Cinéma du Réel in Paris, with Atlantiques winning a Tiger Award for Short Film at the 2010 IFF Rotterdam. She is also an actor, appearing most prominently in Clair Denis’ film 35 Rhums (2008). This is her first appearance at Media City.


David Gatten

USA, 16mm, 9 min, 2010

Excerpts from Sir Thomas Browne's 1658 text HYDRIOTAPHIA UrneBurial Or, A Brief Discourse of the Sepulchrall Urnes Lately Found in NorFolk are superimposed with the stone faces of grave markers and burial urns. This image-text bookends a series of objects framed in the ancient glass window panes of a tiny shop in a tiny snow-covered town on a mountain top in Colorado. DAVID GATTEN lives in a tiny snow-covered town on a mountain top in Colorado. His films are in the permanent collections of the Whitney Museum and the Art Institute of Chicago, have been screened at venues such as the Pacific Film Archive, the Cinémathèque Française, Anthology Film Archives and Image Forum, and at festivals including Rotterdam, New York, London, and Ann Arbor. The have also been seen at five editions of Media City since 2002, winning three Honourable Mentions and a Grand Prize in 2005 for The Great Art of Knowing (2004).


So Sure of Nowhere Buying Times to Come



Present Participle Shirin Sabahi

Iran/Sweden, R8mm on video, 25 min, 2009

A film inspired by the artist’s chance discovery of three reels of silent 8mm footage shot by Ellis Edman (1899-1988), a prominent Swedish journalist. The researcher (the artist), the filmmaker (Edman) and the archivist (Edman’s son) each have a “voice” in describing the images. Contradictions of nationalism, the narrative construction of history, and generational patterns of receiving knowledge are all at stake in a continually oscillating narrative. Born in Tehran, SHIRIN SABAHI is a graduate of the Iran University of Science and Technology. In 2009 she went to Sweden to obtain an MFA at Malmö Art Academy. Her work has been exhibited at venues including the Iran Photo Museum, the 7th Mercosur Biennial in Brazil and the Bruges Cultuurcentrum. This is her first appearance at Media City.


Richard Wiebe

USA, video, 5 min, 2009

Lake Aliki, Cyprus. For centuries, countless flamingos have wintered here from Iran. Rimbaud encountered them when he worked a quarry in Larnaca. 7th century Arabs described them to mark the burial site of Umm Haram, aunt of the Prophet Muhammad. It is said that Lazarus spent his days on the shores of this lake after his resurrection, staring into the sun to shake off the darkness of the grave. The Greeks represented flamingos in poetry, the Romans slaughtered them for their tongues. Today, a man sings: Pharmacist, oh pharmacist, oh pharmacist, I want medicine for myself, I want medicine for myself, My heart, my heart, my heart is beating like this, My heart is afflicted because of you.

RICHARD WIEBE is a graduate student at the University of Iowa where he also teaches courses in film theory and production. He has worked as an editor on several short films; Aliki is his first film of his own.





Through Some Trick of Nature It Appears Bruce McClure

USA, 3 x 16mm, 16 min, 2010

A 16mm projector performance for three machines each embraced with bi-packed film loops. Loops patterned with base and emulsion (one base to two emulsion) are sandwiched with loops composed of negative and positive prints from Birds of Northern Places. The original camera image is 149 frames long. The duration of this work is variable but on this occasion it will last 16 minutes.


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 every edition of Media City since 2002, winning several awards, including the festival’s Grand Prize in 2006 for his multi-projector performance Nethergate (2006). He lives in Brooklyn.

A pattern shapekeeper, this projectionist deploys three projectors, film loops and effects pedals in the chum of Finnegans Wake. In anticipation of the eternal conjunction in the unknown of a theatre quarrel, another pattern shapekeeper, the projectors are deployed and handle off to shade exchange reverse and each is wrought with the other. High fidelity daildailer, as modern as tomorrow afternoon and in appearance up to the minute and a coupling system with vitaltone speakers, capable of capturing sky buddies and the whowle hamshack and wobble down in an eliminium sounds pound so as to serve him up melegoturny marygotaund, eclectrically filtered for allrish ohmes. This harmonic condenser enginium they caused to be worked from a magazine battery which was tuned up by twintriodic singulvalvulous pipelines with a howdrocephalous enlargement, a gain control of circumcentric megacycles ranging from antidulibnium onto the serostaatarean. They finally caused, or leastways brung it about somehows to pinnatrate inthro an auricular forfickle a meatous conch culpable of cunducing with concertiums so as to lall the beygone dozed the arborised around, up his corpular fruent and down his reuctionary buckling, hummer, enville and cstorrap lill the lubberendth of his otological life. Put me down for all ringside seats! 35

FRI MAY 28 • 3 PM • F. vom GRÖLLER at AGW

Friedl vom Gröller (Kubelka): Year Portraits A discussion with the artist at the Art Gallery of Windsor 401 Riverside Drive West 3 pm, Friday May 28


Organized by Media City to coincide with a retrospective of her films, the three series of Year Portraits (1977-78, 1997-98 and 2002-03) exhibited at the AGW represent a small fraction of the artist’s ongoing photographic practice that spans nearly forty years. Friedl vom Gröller (Kubelka) has taken a self-portrait every day since 1972, organizing the photos into calendrical sequences. The result is a body of work including thousands of precisely arranged photographs documenting the passage of time. In one sense, the photos could be seen as a film, running at a rate of one frame per day.

Venzone (detail)

Year Portraits opens at the AGW April 10 and continues until July 4. FRIEDL VOM GRÖLLER (KUBELKA) was born in London in 1946 and spent her childhood in East Berlin and Vienna. In 1971 she graduated with a diploma in industrial photography from the Graphic Instruction and Research Institute in Vienna. She has had solo exhibitions of her photographic works at museums and galleries including the Centre Georges Pompidou (Paris), Museum Moderner Kunst Stiftung Ludwig (Vienna), Galerie Fotohof (Salzburg) and the Frankfurter Kunstverein. She made her first films in the late 1960s while still a student. Her films have screened at venues such as the Munich Film Museum, the IFF Rotterdam, Anthology Film Archives, the Austrian Filmmuseum and many others. In 1990 she founded the School for Artistic Photography in Vienna, followed by the School for Independent Film in 2006. In 2005 she was awarded the Staatspreis für Photographie, Austria’s most prestigious photography award. In 1997 she completed her psychoanalytical training. Currently she teaches photography in Salzburg and Vienna.

FRI MAY 28 • 3 PM • F. vom GRÖLLER at AGW

Along with the Year Portraits, also on view at the AGW is vom Gröller’s photograph Venzone (1975) and a selection of photo books and monographs about the artist and her work.


Retrospective: Friedl vom Gröller (Kubelka) Passage Briare


Fifteen short films by the Austrian filmmaker, spanning her career from the late 1960s to the present day. Accompanied by a discussion with the artist.

“Friedl vom Gröller (Kubelka) has a mulitfaceted relation to photography and film. She is not only an artist working with (these) media, she is also a psychoanalyst who uses her camera in order to study psychic processes... she considers herself an artist who ‘thinks psychoanalytically’.“


“In (her) work, the psychoanalytic frame is intimately connected with a preoccupation with the human face...The camera becomes a privileged point of access to the psyche... For her, the making of an image implies connecting visual details with each other on a surface as well as organizing visual clues in time.” —Mika Elo, “Extending, Transfering, Responding”, from the monograph Secret Identities of a Psychoanalyst, Finnish Academy of Arts, 2010

Le Baromètre

Erwin, Toni, Ilse 35mm, 9 min, 1968/69 Graf Zokan (Franz West) 35mm, 3 min, 1969 Neuffer's Gegenstände 16mm, 6 min, 1971 Ohne Titel 35mm, 5 min, 1981 Secret Identities of a Psychoanalyst Eugen Bavcar Spucken Le Baromètre Paris June 2009 Boston Steamer Passage Briare Delphine de Olivera Hen-Night Wedding Der Fototermin

16mm, 6 min, 1995-2005 16mm, 3 min, 1999 35mm, 2 min, 2000 35mm, 3 min, 2004 16mm, 3 min, 2009 16mm, 3 min, 2009 16mm, 3 min, 2009 16mm, 3 min, 2009 16mm, 3 min, 2009 16mm, 3 min, 2009 16mm, 3 min, 2009


Program includes:


Friedl vom Grรถller (Kubelka): Hen-Night (top) and Delphine de Olivera (lower)

Barbara Meter

Netherlands, video, 17 min, 2009

A day in the life of an old Ottoman bath, from dawn till dusk. The light, the mirroring in the water and the visitors figure alongside the protagonist: the bath itself. BARBARA METER made her first short film in 1967 and co-foundedElectric Cinema (a bastion of Dutch experimental film) in the early 70s. Since then she has made dozens of experimental films and documentaries that have been widely screened internationally, including at Media City in 2004 and 2006. She also works as a curator of film programs and as a teacher and freelance lecturer on film. She lives in Amsterdam.





Summer Grass 2/10 Mie Kurihara

Japan, S8mm, 10 min, 2008

A hot and quiet summer once again arrives. Only 20% of ants actually do any work. MIE KURIHARA works exclusively on Super 8mm; her films have been shown worldwide at numerous events devoted to small-gauge cinema. Her film Level Blue (1999) was screened at the 6th edition of Media City in 2000, winning an Honourable Mention, and subsequently presented by the festival in special programs at the Ann Arbor FF and at Pleasure Dome in Toronto. She lives in Yokohama.


Cédric Gaul-Berrard

France, 16mm, 11 min, 2008

Thirteen fragments studying time using various techniques such as step filming, matte-boxes and superimposition. CÉDRIC GAUL-BERRARD lives in Paris. Prolegomena has previously screend at the International Kurzfilmtage Oberhausen, at Scratch Projection (Paris) and other venues. This is his first appearance at Media City.





Burning Bush Vincent Grenier

Canada/USA, video, 9.5 min, 2010

“In Eastern Orthodoxy a tradition exists that the flame Moses saw was God's Uncreated Energies/Glory, manifested as light, thus explaining why the bush was not consumed. Hence, it is not interpreted as a miracle in the sense of an event, which only temporarily exists, but is instead viewed as Moses being permitted to see these Uncreated Energies/Glory, which are considered to be eternal things; the Orthodox definition of salvation is this vision of the Uncreated Energies/Glory, and it is a recurring theme in the works of Greek Orthodox theologians.” —New World Encyclopedia.


VINCENT GRENIER has been making films since the early 1970s. His films and recent video works have been exhibited at venues including the Centre Georges Pompidou (Paris), the NY MoMA 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. A Québec City native, he now lives in Ithaca, New York and is Chair of the Cinema Department at Binghamton University.

Karen Johannesen

USA, S8mm, 5 min, 2009

“...light itself comes in packages... and is emitted and absorbed not continuously, but in small units of quanta... traveling through space at high velocity.” —The Dancing Wu Li Masters KAREN JOHANNESEN studied at the University of Illinois at Chicago. She has made twelve 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 small-gauge retrospective “Big as Life” organized by the Museum of Modern Art New York in 2001. Her film Light Speed (2007) won Third Prize at Media City 15 in 2009. She lives in Chicago.


Daylight and the Sun



Point Line Plane (for PP) Simon Payne

England, video, 8 min, 2010

A multidimensional video in which shifting grids continuously reframe perspective, and increasing layers illuminate the viewer. (Multidimensional cinema= luminance, the x and y axes + an illusionary axis consisting of depth, time, sound and the auditorium.)

SIMON PAYNE studied at the Royal College of Art, London. His video works have been exhibited at venues including EXiS (Seoul) the IFF Rotterdam and the Serpentine and Tate Modern galleries in London, for which he also curated the program “Colour Field Films and Videos” in 2008. His video Iris Out was also screened at Media City’s 15th edition in 2009. He lives in London and teaches at Anglia Ruskin University.


Recent Canadian film and video Strips



Montréal, 35mm, 5.5 min, 2010

Félix Dufour-Laperrière

n. M; shortened form of striptease. From strip, to remove, to take away, and tease, to entice, to tempt. And then all this in plural.

Strips is the 7th film of FÉLIX DUFOUR-LAPERRIÈRE. His work has screened at international venues including the IFF Rotterdam and the Annecy Animation Festival, winning several awards.

Sometime. Somewhere.

Zohar Kfir

Montréal (Israel), S8mm on video, 6.5 min, 2009

If I were silent, I’d hear nothing. But if I were silent all the other sounds would start again.


Israeli artist ZOHAR KFIR is currently completing an MFA at Concordia University in Montréal. Her video works have screened at festivals such as Transmediale (Berlin), the New York Underground FF and the International Kurzfilmtage Oberhausen.

Refraction Series

Chris Gehman

Toronto, 35mm, 8 min, 2008

An experimental approach to optics, using simple materials and techniques to generate a range of pure light and colours in motion.

CHRIS GEHMAN is a filmmaker, writer and curator who was Artistic Diretor of Toronto’s Images Festival from 2000-2004. His film Contrafacta (made with Roberto Ariganello) was shown at Media City 7 in 2001.

Sea Series #7



Toronto, 35mm, 3.5 and 5 min, 2010

John Price

#7– Naufragé aux Îles de la Madelaine. Watching a ferry disappear into the horizon on a frigid winter day. #5– Georgian Bay: a survey of littoral recreation. In-camera experimentation as the sun set in a beautiful part of the world with loved ones close at hand.

The films of JOHN PRICE have screened at many international venues including the IFF Rotterdam, the “Wavelengths” program at the Toronto IFF and the previous three editions of Media City.


Refraction Series



Trees of Syntax, Leaves of Axis Daïchi Saïto


Montréal, 16mm, 10 min, 2009

A collaboration with musician Malcolm Goldstein. Patterns, variation and repetition, using trees in a park as the main visual motif.

DAÏCHI SAÏTO is a founder of the Double Negative Collective, a group dedicated to exhibition and production of artist’s film in Montréal. Hisfilms have shown at venues including the New York FF and the SF MoMA.

The Wheel

Ottawa, 16mm on video, 3 min, 2009

Pixie Cram

A mother breastfeeds her child. A woman peels an orange.

PIXIE CRAM makes animations, music videos and documentaries and is a member of The Windows Collective, a group devoted to film-based installation projects.


Solomon Nagler & Alexandre Larose

Halifax/Montréal, 16mm, 6.5 min, 2009


A dig into the orphaned trash cans of cinema archives, transposing old celluloid into a poem on need, affection and solitude. —VideoEx

Toronto, 16mm, 5.5 min, 2008

Chris Kennedy

Spatial oscillations provide a permutating play of figure, ground and space, imaging the possibility of being two places at once.

CHRIS KENNEDY’s short experimental films have screened at over 75 film festivals worldwide. He programmed film, video and live performance for Toronto’s Images Festival from 2003-06 and he has presented film programs in Egypt, Belgium, Germany, the US and Canada.

Puccini Conservato Toronto, video, 10 min, 2008

Michael Snow

A visual and sonic commentary to La Bohème.

In 2007 MICHAEL SNOW was made a Companion of the Order of Canada "for his contributions to international visual arts as one of Canada’s greatest multidisciplinary contemporary artists."

———————————————————————————————— ← j. is the first collaboration of ALEXANDRE LAROSE and SOLOMON NAGLER; the film has previouly screened at prominent international venues such as EMAF (Osnabrück), VideoEx (Zürich) and the Jihlava IDFF.


Simultaneous Contrast

Simultaneous Contrast



Gregor Alexis Jana Debus

Germany, 16mm on video, 20 min, 2009

“The locations chosen for this portrait (a desolate apartment and a wasteland littered with abandoned machinery) are indicative of the condition of someone potentially as vulnerable as the insects that collect on his windowsill.” —Mark Webber, London FF

JANA DEBUS has made seven films since 2003 while working in London, England as a photographic assistant. Her films have been screend at venues including EMAF (Osnabrück), the IFF Rotterdam and the International Kurzfilmtage Oberhausen, winning the the Grand Prize at the 2009 edition of the 25 FPS Festival (Zagreb) for Gregor Alexis. She currently lives in Cologne where she is studying at KHM. This is her first appearance at Media City.


Manon de Boer

Netherlands/Belgium, 16mm on video, 11 min, 2010 The dancer Cynthia Loemij improvises for about 10 minutes to Eugène Ysaÿe’s Three Sonatas for Violin Solo. The camera follows her movements. The 3-minute duration of one 16mm film roll interrupts the recording. While the dance continues and the sound of it is audible, the screen is black for the time that is needed to change a film roll. During the moments that the image is in suspense, a game with the audience’s memory is being played. MANON DE BOER studied at the Rijksakademie in Amsterdam. She works in film, video and installation and has had solo exhibitions at the Power Plant (Toronto), the Stedelijk Museum (Amsterdam) and has particpated in the 2007 Venice Biennale, the 2008 Berlin Biennale and in numerous group exhibitions at prominent galleries throughout Europe. Her films have also screened at many film festivals worldwide, including at Media City’s 15th edition in 2009. She lives in Brussels.





Piensa en Mi Alexandra Cuesta

Ecuador/USA, 16mm, 15 min, 2009

Moving from east to west and back again, the windows of a bus frame fleeting sections of the urban landscape of Los Angeles. Images of riders, textures of light and fragments of bodies in space come together to weave a portrait in motion. Isolation, routine and everyday splendour create the backdrop of the journey, while the intermittent noise of traffic contructs the soundscape.

ALEXANDRA CUESTA is an Ecuadorian filmmaker currently based in Los Angeles, where she received an MFA from CalArts. Her films have screened at venues including the Viennale, the London FF and the “Views from the Avant-Garde” program at the New York FF. This is her first appearance at Media City.


Tomonari Nishikawa

Japan, 35mm, 3 min, 2009

All images were shot with a 35mm still camera in Bangkok’s monumental Lumphini Park. Although it may give the sense of an on-site, sync-sound audio recording, the sound arises from visual information on the film’s optical track, the result of directly printing each still photo to the full frame of 35mm motion picture film. “Lumphini” is derived from the Sanskrit word for the birthplace of the Buddha; 2009 is 2552 according the Buddhist calendar. Since 2001 TOMONARI NISHIKAWA has made a dozen films which have screened at venues including the “Views from the Avant- Garde” program at the New York FF, the Berlinale, the Toronto IFF and Media City’s 12th, 14th and 15th editions, winning an Honourable Mention in 2008. He is a member of the Board of Directors at Canyon Cinema (San Francisco) and works as a guest curator for the Yebisu International Festival for Art and Alternative Visions in Tokyo. A Tokyo native, he is currently teaching as a visiting artist at Binghamton University in Ithaca.


Lumphini 2552



In the Park and A Walk Ute Aurand

In the Park

Germany, 16mm, 6 and 4.5 min, 2008

In the Park of the Rietberg Museum in Zürich, with its collection of Asian, African and Indian art. A Walk through the winter of Engadin and Bergell in Switzerland.

“Aurand's oeuvre draws deeply from her daily life, travels and friends. (Her) films find a spontaneous interaction with the here and now. Her filmmaking has a constant, improvisatory engagement with the profilmic events before her camera and pulls its energy from a rapid-fire shooting scheme. (The films) carry forth a decidedly joyous present tense, the flooding imagery of the now.” —Chris Kennedy: In Present Tense: Films of Ute Aurand, 2009

For biography of UTE AURAND see page 22.


Ben Rivers

England, 16mm, 30 min, 2009

A drive way off the beaten path on an automotive pilgrimage, seeking out the hidden trails and solitary places of autonomy and concealment beyond the public domain. En route to the Isle of Mull, Rivers encounters geologists, beekeepers and forest clearers, as well as confronting the elements of anomalous weather and daily surprise. —Mark McElhatten, NYFF BEN RIVERS studied at Falmouth School of Fine Art. In 1996 he cofounded the Brighton Cinematheque, serving as its programmer for several years. He has made more than a dozen short films which have screened at numerous festivals including 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 at Media City 15 in 2009, winning an Honourable Mention for his film Origin of the Species (2008). He lives in London.


I Know Where I’m Going



Vampire(s) Arnaud Gerber

France, 16mm on video, 29 min, 2008

In the late twenties in Düsseldorf, terror had a name: Peter Kürten, the Vampire. Today, the confessions of the serial killer that inspired Fritz Lang’s M (1931) are still haunting the streets of the city. Today like yesterday, society has only one answer: “He is not human!”

ARNAUD GERBER has made eight experimental and documentary films since 2005, with screenings at venues including the Locarno FF, the Centre Georges Pompidou (Paris) and Mediawave (Györ). This is his first appearance at Media City. He lives in Paris, where his affiliated with Etna, an experimental cinema studio.


Arianne Olthaar

Netherlands, S8 to 35mm enlargement, 15.5 min, 2009 Interiors of dining cars from the 1960s and 70s, shot on Super 8.

Having dinner here must have been very cozy once, but today the rolling interiors have become rocking time capsules.

ARIANNE OLTHAAR studied at the Royal Art Academy in The Hague. She has made eleven Super 8 films and videos since 1993 which have screened at the IFF Rotterdam, the International Kurzfilmtage Oberhausen, Onion City (Chicago) and many other festivals. Her film Souvenir uit Afrika (2002, made with Marjolijn van der Meij) was screened at the 10th edition of Media City in 2004. She lives in The Hague.


Dining Cars




A Psychowestern gustave morin

Canada, paper film, 2010

The Western Expansion has hit the skids of the Pacific and is now redoubling backwards. Here in lawless big sky country it’s high noon on the outskirts of the quintessential frontier town, the trouble-grabbing Podunk, Tin Falls. The sun is a vicious orb, scorching sand and rock unremittingly, a dress rehearsal for the light that will one day be brighter than a thousand suns. Through this hostile and arid climate, newly appointed deputy Doug Honda is pointing his horse east when he is alerted to the existence of an uranium deposit nestled in the grimy gulch between Boot Hill and the local Potter’s field. The clicking of the black box sets Honda’s brain a-clicking, and with a wild yelp, he rabbitbolts off at a gallop in a frenzied yet nonetheless impossible race to unsplit the atom. The result is a never before seen motion study mutating the original black & white one-horse-town slice & dice shoot-em-up into a horse opera of a different stripe, only this time the bad guys are unnamed and unnamable and the entire rodeo sideshow is lensed sans spaghetti. Starring Lionel Carson as the greenhorn deputy, and featuring his indomitable sidekick Spook the Horse in his 2nd appearance in a paper film written, produced and directed by gustave morin. A Psychowestern is GUSTAVE MORIN’s tenth book. In addition to countless other bedpost scratchings, he has served on the Board of Directors for House of Toast/Media City for the past nine years.

A Psychowestern is the pilot project for the newly-minted


an imprint devised to extend the festival into daring directions in publication. Planned to appear twice-yearly, future volumes will be artist-specific commissions devoted to a host of para-cinematic undertakings, ranging from single-contributor artist book oneshots to monographs with interviews, criticism, and assorted disquisitions on current experimental films and their makers.

Susan Gold

Canada, 2010

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

Documentation to all in August 2010.


Holy Eyjafjallajokull it’s a disco volcano! After the screenings just ooze your red-hot magma next door to Phog Lounge for socializing, drinks and DJs. Itchyscratchy clouds of vinyl particulates are erupted into your nightly flight-path by Gunnfríður J. Fitzgeraldsdottir, Snorri Hargreavesson and other fjoking superstars. Clog my turbines, baby.


Nobel Peace Project


In no particular order: Marie Logie and Isabelle Tollenaere at Auguste Orts (Brussels), Carine Gauguin at Medici Arts International (Paris), Oliver Filser at KHM (Cologne), Natalia Trebik at Le Fresnoy (Tourcoing), Dietmar Schwärzler, Michaela Schwentner and Brigitta Burger-Utzer at Sixpack Film (Vienna), Gil Leung at Lux (London UK), Peter van Hoof & Joop van Langen at the IFF Rotterdam, Patrick Huber at VideoEx (Zürich), Liliana Nunez at GIV (Montréal), Ross Nugent at the Milwaukee Underground FF, Christophe Bichon at Lightcone (Paris), Donald Harrison at the Ann Arbor FF, Maureen McGoey at HotDocs (Toronto), Ed Halter at Light Industry (New York), Zach Rottman at Migrating Forms (New York), Pablo de Ocampo & Scott Miller Berry at the Images Festival (Toronto), Andréa Picard & Andrei Gravelle at TIFF (Toronto), Robin Ginsburg (Brooklyn), Ralph McKay at Sixpack Film Americas/EYE New World (Marfa TX), Tom Taylor at Pleasure Dome (Toronto), Martin Heath at Cinecycle (Toronto), Eyan Logan (Toronto), Gilles Hebert at the Art Gallery of Alberta, James Patten at the McIntosh Gallery (London ON), Claartje Opdam and Jaap Schoutsen at EYE FIlm Institute Netherlands (Amsterdam), Larissa Fan at CFMDC (Toronto), Marcos Ortega at ExpCinema, Patrick Friel at the Onion City FF (Chicago), Josh Romphf at Univ. of Western Ontario, Mike Hoolboom (Toronto), David Dinnell (Milwaukee), Ben Donoghue and Renata Mohamed at LIFT (Toronto), Michelle Stanley at the Canada Council for the Arts (Ottawa), Mark Haslam at the Ontario Arts Council (Toronto). Locally: Tony Mosna, Marty Hunt, Veronika Mogyorody, Mandy Slater, Nicole McCabe and Mary Anne Vanwatteghem at the Art Gallery of Windsor, Lori, Paul & Jenny Kimmerly at Standard Printing, Peter Coady and Mark Boscariol from WIFF, Karl Jirgens, Michelle Tarailo and Brenda Pelkey at the University of Windsor, Matthew Kelson & Co. at the Burton Theatre, Carolyn Rourke and Pat Lewis at WEA, Justin Langlois at the ACWR/Broken City Lab, Benny Min, Sandra Braendle & Brian Gray at the Ontario Trillium Foundation, Chris Edwards & Laney McVeity at the DWBIA, Jason and Sarah at klever design, David Asher at S. Funtig & Associates, Rosita Blackman-Smith at Travelodge, Mary Baruth at the City of Windsor, Adam Fox at CJAM Radio, Frank and Tom at Phog, Dan at Vermouth, Angelo at Milk, Thomas McDonald the FedEx guy, MPP Sandra Pupatello, MP Brian Masse, Barbara Peirce Marshall, Tim Swaddling, Gayle Allen, Phil Beaudoin, Grace Manias, Nasseme Albonaimi, Emily Copeland, Cary Platt, Jackie Fitzgerald, Nadja Pelkey, Peggy Dorner, Chris Mangin, Steve Daigle and anyone we forgot. Extra thanks to all hardworking volunteers whose names were not available at press time and to all those who graciously opened their homes to billet visitors.


Erie (Kevin J. Everson) from Picture Palace Pictures, New York. Rihla (Gerbrand Burger), Loutron (Barbara Meter) and Dining Cars (Arianne Olthaar) from EYE Film Institute Netherlands, Amsterdam. Films of Johan van der Keuken from Medici Arts International, Paris. One Bright Day (Jem Cohen) from Video Data Bank, Chicago. Atlantiques (Mati Diop) from Le Fresnoy, Tourcoing. Films of Friedl von Gröller (Kubelka) from Sixpack Film, Vienna. I Know Where I’m Going (Ben Rivers) from Lux, London UK. Strips (Félix Dufour-Laperrière) and Prolegomena (Cédric Gaul-Berrard) from Lightcone, Paris. Vampire(s) (Arnaud Gerber) from Aurora FIlms (Paris). Refraction Series (Chris Geman), Simultaneous Contrast (Chris Kennedy), Trees of Syntax, Leaves of Axis (Daïchi Saïto) and Puccini Conservato (Michael Snow) from CFMDC, Toronto. Sometime. Somewhere. (Zohar Kfir) from Groupe Intervention Vidéo, Montréal. Gregor Alexis (Jana Debus) from KHM, Cologne. Dissonant (Manon de Boer) from Auguste Orts, Brussels. All other films and videos courtesy the artists.

The New Normal

April 10-July 4 at the Art Gallery of Windsor

Guest-curated by Michael Connor and co-organized by ICI and Artist’s Space, New York. The New Normal explores the increasing exposure of the private sphere to public view. Each of the works shown was completed after 9/11, when US Vice-President Dick Cheney described new government surveillance measures as “the new normalcy”. In response, many of the artists featured have used other people’s private information and images as the basis of their work, offering glimpses into the lives of neighbours, strangers and celebrities while revealing the social conventions behind these disclosures. Includes work from Sophie Calle, Corinna Schnitt, Miranda July, Kota Ezawa, Thomson & Craighead and others. Media City is proud to support the AGW’s Educational Outreach activities for The New Normal.


All descriptions of works are provided by the artists unless another source is cited. Running times are rounded to the nearest half minute. The work of Johan van der Keuken and Friedl vom Gröller is exhibited out of competition. Back cover image: Trees of Syntax, Leaves of Axis (Daïchi Saïto)

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