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    Images Catalogue 2009

    Uploaded by

    Mary
    This document is a festival program guide that provides information about various aspects of the festival. It includes sections on ticket information, membership information, the program calendar, a quick guide, party guide, staff and board, awards, the jury, letters of welcome, and information on various festival events and programs like artist talks, education programs, and community partners. It also includes indexes of artists, titles, distributors, and advertisers as well as a map of festival venues. The guide acknowledges support from various public and private funders and partners and thanks the many individuals and organizations that contribute to the festival.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Images Catalogue 2009

    Uploaded by

    Mary
    193 views112 pages
    This document is a festival program guide that provides information about various aspects of the festival. It includes sections on ticket information, membership information, the program calendar, a quick guide, party guide, staff and board, awards, the jury, letters of welcome, and information on various festival events and programs like artist talks, education programs, and community partners. It also includes indexes of artists, titles, distributors, and advertisers as well as a map of festival venues. The guide acknowledges support from various public and private funders and partners and thanks the many individuals and organizations that contribute to the festival.

    Original Description:

    1–9

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    © © All Rights Reserved

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    This document is a festival program guide that provides information about various aspects of the festival. It includes sections on ticket information, membership information, the program calendar, a quick guide, party guide, staff and board, awards, the jury, letters of welcome, and information on various festival events and programs like artist talks, education programs, and community partners. It also includes indexes of artists, titles, distributors, and advertisers as well as a map of festival venues. The guide acknowledges support from various public and private funders and partners and thanks the many individuals and organizations that contribute to the festival.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    193 views112 pages

    Images Catalogue 2009

    Uploaded by

    Mary
    This document is a festival program guide that provides information about various aspects of the festival. It includes sections on ticket information, membership information, the program calendar, a quick guide, party guide, staff and board, awards, the jury, letters of welcome, and information on various festival events and programs like artist talks, education programs, and community partners. It also includes indexes of artists, titles, distributors, and advertisers as well as a map of festival venues. The guide acknowledges support from various public and private funders and partners and thanks the many individuals and organizations that contribute to the festival.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 112

    Table of Contents

    Ticket Info 4

    Membership Info 5

    Program Calendar 6

    Quick Guide 8

    Party Guide 9

    Staff + Board 11

    Awards 13

    Jury 13

    Letters of Welcome 17

    Ifpod 24

    Artist Talks 24

    Education Program 25

    Membership Form 26

    Live Images + On Screen 31

    Off Screen 69

    Community Partners 94

    Artist Index 103

    Distributor Index 103

    Title Index 105

    Advertisers’ Index 109

    Map of Festival Venues 112

    1
    THANKS
    The festival acknowledges the ongoing support of our partners in the public sector:
    Youssef El Jai, Michèle Stanley, Kelly Langgard, Marie-Christine Feraud (Canada Council for the
    Arts, Media Arts Section); Karla Hartl & Jeffrey Matt (Department of Canadian Heritage); Carolyn
    Vesely, Mark Haslam & Lisa Wöhrle (Ontario Arts Council); Agnes Zak, Patricia Jarosz and
    Alejandra Sosa (Telefilm Canada); William Huffman & Beth Reynolds (Toronto Arts Council);
    Ernest Labrèque (Department of Foreign Affairs and International Trade); Cecilia Ramirez
    (National Film Board of Canada), Victoria Jackman (Hal Jackman Foundation); Mima Casola
    (Ontario Ministry of Culture); Ann Webb & Alia Toor (Canadian Art Foundation); Jutta Brendemühl
    (Goethe-Institut Toronto), Remco Volmer (Royal Netherlands Embassy), Joël Savary and
    Pervenche Bourier (Consulat Général de France à Toronto); the Australian Government through
    the Australian Council for the Arts, its arts funding and advisory board; The Ian Potter Cultural
    Trust; the Australian Network for Art & Technology (ANAT) with assistance from the Australia
    Council for the Arts and Arts SA.

    Special thanks to our corporate & award partners:


    Carmen Arbour & Diane Langevin (VIA Rail Canada), Sharon Bower (The Globe & Mail), Sue
    Holland & Peter Lennon (EYE WEEKLY), Chris Goddard (Steam Whistle Brewing), Brandon
    Sawh (Xtra! Magazine), Christina Zeidler, Chris Mitchell & Penny Rose (The Gladstone Hotel),
    Susan Shackleton (Super 8 Hotel Downtown Toronto), Sara Budnark (Technicolor), Rob
    Sandolowich (Westbury National Show Systems), Rhonda Silverstone (Toronto Film & Television
    Office), Jamaias DaCosta (CIUT 89.5 fm), Tony Barnes (CKLN), Kevin McLaughlin & Tom
    Devenishek (AutoShare), Justin Lovell (Frame Discreet), George Harris (GIFTS), Silvana Marsella
    (Kodak Canada), Sara Diamond (OCAD), Deirdre Logue (Vtape), Brenda Longfellow (York University),
    Marilou Cruz (Ryerson University’s G. Raymond Chang School of Continuing Education Film
    Studies), Clodagh Moss (Pelee Island Winery), Greg Davis (Soundscapes), Marc Glassman &
    Greg King (Pages Books & Magazines), Fadi Hakim (Lakeview), Stephen Chan (Bright Pearl
    Restaurant), Marcello Barone (bar_one), Lynn McNeill and Will Munro (The Beaver)

    A HUGE thanks to our indispensable local and national colleagues:


    Vicky Moufauwad-Paul & Rebecca McGowan (A Space), Philip Monk & Emelie Chhangur
    (AGYU), Todd Eacrett & Deborah de Boer (Antimatter Film Festival), James Missen (Available
    Light), Terry Lau (Beehive Design), Christof Migone (Blackwood Gallery), Kate Monro & Amish
    Morrell (C Magazine), Lauren Howes, Larissa Fan & Jeff Crawford (CFMDC), Greg Woodbury &
    Ross Turnbull (Charles Street Video), Mark Peranson (Cinemascope), Andréa Picard (Cinematheque
    Ontario), Trudy Mascher (Clarke-Way Travel), Jennifer Waring & Josh Grossman (Continuum
    Contemporary Music), Benjamin Diaz (Diaz Contemporary), Kari McQueen (EMMEDIA & M:ST *
    Mountain Standard Time Performative Arts Festival), Charlotte Mickie (Entertainment One),
    Margaret Wagner (Exclusive Film), Josefa Radman (Factory Hamilton), Shannon Cochrane
    (FADO Performance Art Centre), Denise Rossi (Film Comment), Heather Haynes & Izida Zorde
    (FUSE Magazine), Lise Beaudry & Melissa Bennett (Gallery 44), Anne Golden & Liliana Nunez
    (GIV), Kim Simon (Gallery TPW), Janet Cramp (General Printers), Patrick Macaulay, Marlee
    Choo & Laura Nanni (Harbourfront Centre/York Quay Gallery/World Stage), Sean Farnel, Gisèle
    Gordon, and Jonathan DeSilva (Hot Docs), Jennifer Dorner & François-Xavier Tremblay (IMAA),
    Danis Goulet, Kerry Swanson & Kerry Potts (imagineNative), Scott Ferguson, Jason St-Laurent
    & Winnie Luk (Inside Out), Dana Samuel, Jennifer Cherniack & Jess Brouse (InterAccess),
    Annette Hurtig (Kamloops Art Gallery), Ben Donoghue & Renata Mohamed (LIFT), Ric Amis
    (MacTweek), Jeremy Rigsby & Oona Mosna (Media City), Camilla Singh, David Liss & Gina
    Facchini (MoCCA), Jonny Dovercourt & Dewi Minden (the Music Gallery), Cecilia Ramirez,
    Lindsay Wright & Kristine Collins (NFB), Tom Taylor (Pleasure Dome), Scott McLeod & Jayne
    Wilkinson (Prefix ICA), Helena Reckitt, Christy Thompson & Jon Davies (The Power Plant),
    Nicholas Brown (Red Bull), Heather Keung, Deanna Wong, Christina Sit Yee & Chris Chin (Reel
    Asian), Lorne Bly (Russell A. Farrow Customs Brokers), Tricia Martin (Saskatchewan Film Pool
    Cooperative), Haema Sivanesan (SAVAC), Penny McCann (SAW Video), Madi Piller (TAIS), Roy
    Mitchell, Jason Ebanks & Aubrey Reeves (Trinity Square Video), Sara Maclean (twig design),
    Sylvie Roy & Denis Vaillancourt (Vidéographe), Kim Tomczak, Lisa Steele, Wanda Vanderstoop,
    Erik Martinson, Deirdre Logue (Vtape), Gabriel Schroedter (Video Out), Irene Packer (WARC),
    Kevin Parnell (Wavelength Music Arts Project), Anita Aenishaenslin, Lisa Brown, David Sweeney
    & Mike Twamley (Workman Arts), Lynne Wynick (Wynick/Tuck Gallery), Serena Lee (XPACE), Ana
    Barajas (YYZ), and the following individuals: Lise Brin, Brett Burnell, Terence Dick, Elle Flanders,
    David Frankovitch, Kim Fullerton, Dara Gellman, Lesley Grant, Martin Heath, June Kim, Lev
    Levner, Isabelle Noël, Leslie Peters, Carol-Ann Ryan, Andres Salazar-Villafane, Peter Sandmark,
    Alok Sharma, Tess Takahashi, Jowi Taylor, Margie Zeidler, Michael Zryd and all of our faithful and
    hard working festival volunteers and interns.

    And thanks to the following international organizations and individuals:


    Andrew Lampert & Wendy Dorsett (Anthology Film Archives, New York), Geoff Andrews,
    Elisabetta Fabrizi, Will Fowler and Julie Pearce (British Film Institute), Chi-Hui Yang (Center
    for Asian American Media), Shai Heredia (Experimenta India), Jean-Pierre Rehm (Festival
    international du documentaire de marseille), Claartje Opdam & Pim Zwier (Filmbank, NL),
    Rebecca Meyers (Harvard Film Archive), Takashi Sawa (Image Forum, Tokyo), Arjon Dunnewind
    and Marc Boonstra (Impakt), Mark Webber (London Film Festival), Gerhard Wissner & Kati
    Michalk (Kasseler Dokumentarfilm und Videofest), Stefanie Schulte Strathaus & Nanna
    Heidenreich (Arsenal Experimental, Berlin), Christophe Bichon & Emmanuel Lefrant (Lightcone),
    Ed Halter and Thomas Beard (Light Industry), Mike Sperlinger (LUX), Kevin McGarry and Nellie
    Killian (Migrating Forms), Theus Zwaknals, (Montevideo, NL), Sally Berger (Museum of Modern
    Art), Gavin Smith (New York Film Festival), Karen Mirza and Brad Butler (no.w.here), Patrick
    Friel (Onion City/White Light Cinema), Kathy Geritz, Susan Oxtoby, and Steve Seid (Pacific
    Film Archive), Kristan Kennedy and Erin Boberg (Portland Institute of Contemporary Art/TBA
    Festival), Steve Polta (San Francisco Cinematheque), Ralph McKay (Sixpack Film Americas and
    Filmbank), Christopher May (TIE, The International Experimental Cinema Exposition), Dewayne
    Slightweight and Brigid Reagan (Video Data Bank, Chicago), Chris Stults (Wexner Center for
    the Arts), Ian White (Whitechapel Gallery). And the following individuals: Steve Anker, Rebecca
    Baron, Paul Chan, Brett Kashmere, Irina Leimbacher, Sharon Lockhart, Scott MacDonald, Mark
    McElhatten, Aki Onda, Ben Russell, Astria Suparak and Lonnie van Brummelen

    Special thanks to the Founding Board of Directors of the Northern Visions Independent
    Film and Video Association: Richard Fung, Marc Glassman, Annette Mangaard,
    Janine Marchessault, Paulette Phillips, Kim Tomczak and Ross Turnbull.

    2
    MANY THANKS
    TO OUR FUNDERS
    AND SPONSORS

    3
    GETTING
    YOUR
    TICKETS
    Buy tickets online at imagesfestival.com Ticket Prices
    from March 11. Regular Ticketed Screenings and Performances
    $10 general admission
    No service charges — use a credit card or $8 students/seniors/members*
    PayPal account!
    Single tickets for the following select events are available in Live Images programming (Prices vary. Please see
    person from Soundscapes (572 College Street) and Pages individual programs for exact ticket costs)
    Books and Magazines (256 Queen Street West) starting $6 - 15 general admission
    March 13: Opening and Closing Night Galas and Live Images $4 - 12 students/seniors/members*
    3, 5 and 6.
    Opening Night Gala and Closing Night Gala
    Please note that advance tickets are not available for Free or $15 general admission
    Pay What You Can (PWYC) events. $12 students/seniors/members*

    Same Day Tickets Lav Diaz Screening


    Same day tickets will be available at the appropriate venue $13 general admission
    starting one hour before the event. Cash only. $8 Images/Cinematheque Ontario members

    Festival Passes Pay What You Can Events


    Festival Passes are available only as part of the “16mm” and $5 - 8 suggested donation
    “35mm” Images Memberships (see p. 5 for details). Please
    note that advance tickets are not available on these Festival Youth Workshops and Screenings, Artist Talks
    Passes—tickets will be held for passholders until 15 minutes
    before the start of event. The Festival Pass does not guarantee
    and select ‘Talk to the Pie’ series (See p.24 for
    a seat at PWYC events (which are first come, first served). more details)
    FREE
    To reserve spaces for your class or group, contact
    images@imagesfestival.com.

    *Appropriate ID required.

    All ticket prices include GST.

    STATEMENT ON AGE RESTRICTION


    Admittance to all screenings (except Youth Screenings) is restricted to those 18 years of age or older. The Images Festival believes
    in freedom of artistic expression and is against discrimination on the basis of age. However, under the Ontario Theatres Act, film and
    video festivals are required to adopt a blanket adult rating in order to hold public screenings without having to submit all works for prior
    classification. Film and video are the only forms of expression subject to this kind of censorship system in Ontario. The Images Festival
    complies with the Ontario Theatres Act under protest.

    4
    MEMBERSHIP
    The 2009 Images Festival Membership Program is generously supported by the following generous donors:

    Balfour
    BOOKS

    35mm Membership – $300


    MEMBERSHIP PROCLAMATION! Ideal for members who want to share the festival with a friend
    Sign up today and begin enjoying the benefits of membership All the benefits of 16mm, PLUS
    immediately! • Additional Solo Festival Passport for a DUAL FESTIVAL PASSPORT: Includes
    redeemable vouchers for two free admissions to all ticketed On Screen
    See more and save more as an Images Festival Member while programs and Live Images programs;
    • additional voucher for total of 2 free admissions to select year-round Images
    helping support Canada’s largest integrated media arts festival.
    Festival events;
    For 22 years, the Images Festival has been bringing challenging • copy of additional Images publication for total of 3, such as copy of The
    and innovative film, video, installation and live performance to Sharpest Point: Animation at the End of Cinema;
    Canadian and international audiences. Make sure you’re first • Complimentary limited edition festival t-shirt;
    to hear about our programs and first to attend by becoming a • 2 additional chances to win in the Festival Draw, for total of 6;

    member today!
    16mm Membership – $100 ($75 for students and seniors)
    For those who can’t bear to miss a thing
    For more information on membership call 416 971 8405, email All the benefits of Super 8, PLUS
    membership@imagesfestival.com or visit the Advance Box Office • SOLO FESTIVAL PASSPORT: Includes redeemable vouchers for 1 person
    during the festival. Memberships may also be purchased via for free admission to all (5) ticketed On Screen programs and all (6) Live
    Images programs;
    our online store at imagesfestival.com without service charges!
    • 1 voucher for free admission to select year-round Images Festival event;
    You can pay with Visa, Mastercard, American Express or with a • Copy of additional Images publication, such as Richard Fung monograph
    PayPal account. Like Mangoes in July for total of 2;
    • 2 additional chances to win great prizes in the Festival Draw (for total of 4);

    Super-8 Membership – $45


    YOUR SEATS ARE WAITING... Perfect for members who just want to catch a few shows
    • Member discount on all On Screen and Live Images events ($2 off);
    • Member discount on select year-round Images Festival events;
    • Redeemable vouchers for one ticketed On Screen program and one Live
    Images Event
    • Copy of Images Festival publication, either Richard Fung monograph Like
    Mangoes in July OR Philip Hoffman monograph Landscape With Shipwreck
    • Festival catalogue mailed directly to your home;
    • 20% off all YYZ Book titles (purchased in person from YYZ Artists’ Outlet);
    • Complimentary festival tote-bag;
    • 2 chances to win great prizes in Festival Draw.

    *Some restrictions apply. Please see Ticketing Information on page 4 for further details.
    Vouchers redeemable beginning March 13 at the Images Festival office until April 1 and
    beginning April 3 at the Advance Box Office. Vouchers not redeemable via the Images
    Online Store. While your admission with voucher is FREE, it doesn’t guarantee you a
    seat. Please arrive at the venue 30 minutes before program begins to ensure entrance.

    Entry deadline for festival draw is April 11, 2009. Contest open to residents of Canada,
    excluding Québec. Images Festival staff and board members are ineligible. Odds of
    winning will depend on number of entrants.

    Tax receipts will be issued for a portion of all memberships. Please ask for details.
    Our charitable registration number is #12741 8762 RR0001. The Images Festival
    Membership Program is non-voting.

    5
    ON SCREEN

    OFF SCREEN

    PROGRAM CALENDAR LIVE

    TALK/EDUCATION

    PARTY
    START
    Sunday March 29 Friday April 3 Saturday April 4 Sunday April 5 Monday April 6

    1 PM 5 PM 2 PM 2 PM 3 PM
    Special Bonus Screening! Talk to the Pie 1: Notes on Live Images 2 Crossing Over Talk to the Pie 4:
    Melancholia by Lav Diaz Composing (p. 24) Make Me Stop Smoking (p. 34) (Under Your Skin) (p. 38) Louise Bourque (p. 24)
    (p. 32) Join the filmmakers and the Rabih Mroué Curated by Arjon Dunnewind. Join Canadian Spotlight Artist
    North American premiere of composers from our opening Harbourfront Centre A selection of videos from the Louise Bourque for a conversation
    Diaz’s stunning new eight hour night program for a talk about $15/$12 Netherlands and beyond that with Chris Gehman.
    feature! their process. look at issues of immigration Gladstone Hotel Art Bar
    Jackman Hall, Art Gallery of Harbourfront Centre 2 – 5 PM and movement in the EU. FREE
    Ontario FREE Off Screen Launch Joseph Workman Theatre
    $13/$8 Participating galleries in the $10/$8 7 PM
    8 PM 401 building, as well as Diaz On Screen Program 2
    Live Images 2 Contemporary are officially open! 4 PM And to Perfection All Our
    Make Me Stop Smoking FREE Talk to the Pie 3: In the Room Efforts We Devote (p. 45)
    (p. 34) (p. 24) A new video by Akram Zaatari
    Thursday April 2 Rabih Mroué 2 PM and 3 PM Artists Sung Hwan Kim and dogr and Deborah Stratman’s
    North American premiere of new Off Screen Gallery Tour (p. 25) in conversation with Helena Reckitt. monumental new 16mm film
    8 PM solo performance by this Beirut- Join Terence Dick and Carol- Gladstone Hotel Bar O’er the Land.
    Opening Night Gala!! based actor and artist. Ann Ryan for a guided walk FREE Joseph Workman Theatre
    Live Images 1 Harbourfront Centre through all of the exhibitions in PWYC $
    Notes on Composing: 5 $15/$12 the 401 building. 6 PM
    Collaborations in Film and Meet at the Images Festival On Screen Program 1 9 PM
    Music (p. 33) 9:30 PM office, 401 Richmond Street A Human Drawing Blood On Screen Program 3
    Newly commissioned films and Live Images 3 West, Suite 448 From a Bound Prisoner, an Siting Cinema (p. 46)
    scores with live music by Con- In the Room 3 (p. 36) FREE Anthropomorphic Cat Doing Films by Oliver Husain, Emily
    tinuum and Malcolm Goldstein. Sung Hwan Kim, dogr and the Same (p. 40) Wardill, Andrew J. Paterson,
    Isabel Bader Theatre Byungjun Kwon 4 PM New films by Jim Trainor, Karø Christine Lucy Latimer, Jorge
    $15/$12 A performance incorporating Talk to the Pie 2: And Then Goldt, Mary Billyou, Mika Kiburz, Lorenzo, Steve Reinke and
    electronic music, drawing, and There Were None (p. 24) Neïl Beloufa and Julika Rudelius Isabell Spengler.
    both live and pre-recorded Artists Larissa Fassler and Rich- Joseph Workman Theatre Joseph Workman Theatre
    10 PM – 2 AM video, making up simple actions ard Schütz in conversation with PWYC $ PWYC $
    Opening Night Party that take on magical qualities. curator Stephanie Rogerson.
    DJ Isabelle Noël and some well Gallery TPW InterAccess Electronic Media 8:30 PM 10 PM — 1AM
    deserved dancing. $10/$8 Arts Centre Canadian Artist Spotlight: Images Festival Lounge at
    The Gladstone Hotel FREE Louise Bourque (p. 41 – 43) InterAccess (p. 8)
    PWYC or free with ticket stub or A survey of recent and not FREE
    Festival pass 10 PM 6 PM so recent work by Bourque
    Partytime! Live Images 4 including the premiere of her
    You bring the party. We bring Talking Points and Talking new film!
    the cheap refreshments. Ponies (p. 37) Joseph Workman Theatre
    InterAccess Electronic Media Ben Coonley $10/$8
    Arts Centre A Power Point film theory lecture
    FREE followed by video treats. 10 PM — 1AM
    Harbourfront Centre Images Festival Lounge at
    $6/$4 InterAccess (p. 8)
    The Images Festival Lounge is
    8 PM open at InterAccess! Meet your
    Live Images 2 fellow festival-goers for a drink!
    Make Me Stop Smoking (p. 34) FREE
    Rabih Mroué
    Harbourfront Centre
    $15/$12

    9:30 PM
    Live Images 3
    In the Room 3 (p. 36)
    Sung Hwan Kim, dogr and
    Byungjun Kwon
    Gallery TPW
    $10/$8

    10:30 PM
    Off Screen Launch Party
    Come party with a set of super
    special karaoke videos set to
    everyone’s favourite rarified
    video art object!
    6 XPACE
    FREE
    Tuesday April 7 Wednesday April 8 Thursday April 9 Friday April 10 Saturday April 11

    7 PM 6 – 9 PM 6 – 9 PM 2 PM 1:30 PM
    On Screen Program 4 Performance Bus Tour (p. 25) Blackwood Bus Tour (p. 25) Talk to the Pie 6: 43 After Curse! (p. 62)
    The Limits of What We Know Free bus to The Communism of Free bus tour to awashawave at 66 (p. 24) A commission and residency in
    (p. 47) Forms exhibition at the AGYU. Blackwood Gallery, University of Althea Thauberger and Ian partnership with Charles Street
    Toronto premiere of Amy Departing at 6 PM from OCAD Toronto Mississauga. Departing White will discuss the archival Video featuring new works by
    Bodman’s lyrical feature and returning at 9 PM. Special at 6 PM from the Gladstone and intergenerational dialogues Guillermina Buzio, Steev Mor-
    documentary about land and performance guest on the bus! Hotel and returning at 9 PM. initiated by each of their projects gan, Lesley Loksi Chan, Sarah
    people in Zimbabwe. FREE FREE at the festival. Shamash and Penny McCann.
    Joseph Workman Theatre Gladstone Hotel Art Bar Joseph Workman Theatre
    PWYC$ 7 PM 7 PM FREE PWYC
    Talk to the Pie 5: Saving On Screen Program 6
    George Kuchar’s Generous 43 After 66 (p. 52) 7 PM 3 PM
    9 PM Cinematic Corpus (p. 50) Althea Thauberger’s double Live Images 5 On Screen Program 8
    On Screen Program 5 Jeff Lambert, Haden Guest and screen 16mm film Chelsea Girls Art Since 1960 (According to Hotel Diaries (p. 63)
    Various Small Fires and Ice Andrew Lampert discuss and and Ian White’s performance the Internet) (p. 56) British filmmaker John Smith’s
    (p. 49) screen recently restored films by Ibiza: A Reading For “The Flicker” Hanne Mugaas & Cory Arcangel recently completed feature
    Films by Francisca Duran, George Kuchar. Theatre Centre An informal multimedia lecture length series of short video
    Stephanie Barber, Duncan Joseph Workman Theatre PWYC $ that examines the alternate works shot in various hotel
    Campbell, Peter Miller and $10/$8 discourse on contemporary art rooms around the globe.
    Alexander Stewart. 9 PM that is unfolding on the world Joseph Workman Theatre
    Joseph Workman Theatre 9 PM On Screen Program 7 wide web. PWYC $
    PWYC $ S is for Student (p. 51) I Want to Wrestle with Your Theatre Centre
    A program of excellent new film Mind in the Long Grass $10/$8
    10:00 PM — 1 AM and video entirely curated and (p. 53) 6 PM
    Images Festival Lounge at made by students from Canada New works by Erica Eyres, Penny 9 PM On Screen Program 9
    InterAccess (p. 8) and beyond! Lane, Zak Tatham, James Saturn Returns (p. 60) The Landscape as a Collective
    FREE Joseph Workman Theatre Fritzgerald Craig, Ariel Smith, A screening and launch for Memory Device (p. 64)
    Loren Hartman, Gary Kibbins the journal INCITE! curated by Films by Heidi Phillips, Adele
    and Judith van der Made. Brett Kashmere. Includes work Horne, Naomi Uman, Michelle
    10:30 PM Theatre Centre by Tasman Richardson, Cory Smith, Elvira Finnigan and more.
    Student Party PWYC $ Arcangel, Ben Russell, Seth
    Come celebrate the next Price and Leslie Supnet. 9 PM
    generation! 11 PM MoCCA Project Space Closing Night Gala
    The Beaver Super 8 Late (p. 55) PWYC $ Live Images 7
    FREE Curated by Chris Kennedy and Cloud Eye Control & Ammo
    featuring work by François 11 PM Factory (p. 65)
    Boué, Steve Polta, Jason Live Images 6 Combining pop music, live per-
    Halprin, Karen Johannesen, Feedback Loop (p. 61) formance and video projections,
    Takehiro Nakamura and Bryant / Migone / Parant / Cloud Eye Control and Ammo
    Philippe Cote. Lemieux and Ben Russell Factory present a new take on
    Theatre Centre A double-bill of cinema beyond multimedia performance at this
    PWYC $ the screen featuring 16mm closing night extravaganza.
    projection performances by Ben Theatre Centre
    Russell and Karl Lemieux. $15/$12
    Theatre Centre
    $10/$8 10:30 PM
    Awards Ceremony and
    Closing Party
    Theatre Centre
    FREE

    END

    7
    Quick Guide Images Festival
    Mediatheque
    April 3 – 12, open daily 12 – 6 PM
    The Gladstone Hotel
    1214 Queen Street West, Room 204
    IMAGES ON SCREEN Free admission

    The Mediatheque contains viewing stations and a


    video library of works in the festival, available to all
    festival-goers free of charge. Starting April 3, the
    Mediatheque is open every day 12 – 6 PM.
    Drop by to watch your favourite film or video
    or catch up on screenings you missed.

    O’er the Land by Deborah Stratman Self Portrait Post Mortem by Louise Bourque

    Ten nights including almost one hundred films and videos! The meat and potatoes of the Images
    Festival featuring NINE ON SCREEN PROGRAMS at the Joseph Workman Theatre and the Theatre
    Centre. All Pay What You Can (PWYC), featuring a dizzying array of new films and videos from fifteen
    countries from around the globe. In addition we present EIGHT SPECIAL SCREENINGS including a
    CANADIAN ARTIST SPOTLIGHT on Louise Bourque, guest-curated programs by Arjon Dunnewind
    and Brett Kashmere, Super 8 Late curated by Chris Kennedy, and a special screening and talk on
    the restored films of George Kuchar.
    Images On Screen pg. 31 — 65

    IMAGES OFF SCREEN

    LIGHT READING: california sunset by Elizabeth McAlpine Cinematic (The Log Enchanter) by Pedro Paiva & Joao Maria Gusmao

    SIXTY-ONE INSTALLATIONS by Canadian and international artists at eighteen local galleries, artist-run
    centres and public locations. The fastest growing section of the festival, OFF SCREEN stretches from Queen
    Street West to Harbourfront to North York. Opening receptions, bus tours, walking tours, performances and
    artist talks scheduled throughout the festival at the 401 Richmond Building, InterAccess, Gallery TPW,
    Diaz Contemporary, AGYU and Harbourfront Centre among others.
    Images Off Screen pg. 69 — 89

    8
    LIVE IMAGES Images Lounge
    at InterAccess
    Sunday April 5 – Tuesday April 7,
    10 PM – 1 AM
    9 Ossington Avenue

    Head to the InterAccess Lounge following our


    evening events and meet your fellow festival-
    goers for a drink!

    Memory Data Register by Bryant/Migone/Parant/Lemieux

    LIVE IMAGES continues its ascent as the most popular section of the Images Festival,
    with programs opening AND closing the festival this year! Armed with multiple projectors,
    laptops, found footage and huge musical ensembles, these filmmakers, musicians and
    visual artists perform behind projectors, on instruments and in front of the screen to
    present seven live spectacles pushing the boundaries of sound and vision.
    Live Images pg. 31 – 65

    Final Space by Cloud Eye Control

    Party Guide
    Videodrome
    Saturday April 4, 8 PM
    MoCCA
    952 Queen Street West
    Opening Party Video battle event with Jubal Brown
    Thursday April 2, 10 PM – 2 AM
    The Gladstone Hotel Off Screen Launch Party
    1214 Queen Street West Saturday April 4, 10:30 PM
    PWYC or free with ticket stub or Festival pass XPACE
    58 Ossington Avenue
    InterAccess
    Friday April 3, 10 PM – 1 AM Images Lounge
    9 Ossington Avenue Sunday April 5 — Tuesday April 7
    See above
    Off Screen Launch at participating galleries
    Saturday April 4, 2 – 5 PM Student Party and Awards
    A Space Wednesday April 8, 10:30 PM
    Diaz Contemporary The Beaver
    Gallery 44 1192 Queen Street West
    Prefix Institute of Contemporary Art
    Trinity Square Video Awards Ceremony
    Vtape Saturday April 11, 10:30 PM
    WARC Theatre Centre
    Wynick/Tuck 1087 Queen St. West
    YYZ
    Closing Party
    Saturday April 11, 10:30 PM
    Theatre Centre
    1087 Queen St. West

    Performance Creation Canada:


    What Has Changed?
    April 2 – 5, 2009
    Various venues and times
    Performance Creation Canada (PCC) is a nationwide network dedicated to the nourishment,
    management and study of performance creation in Canada, and the ecology in which it
    flourishes. The meeting is aimed at creating a discussion between artists in dance, theatre,
    music, film and visual arts who are interested in the well being of Canadian performance
    creation. The conference is designed to open conversation and open minds. This year, the
    Images Festival is pleased to join forces with Harbourfront Centre, Small Wooden Shoe,
    Buddies In Bad Times Theatre, The Theatre Centre, Dancemakers and SummerWorks
    Festival to host this biannual gathering of artists and programmers from across Canada.
    For more information and to register visit: pcctoronto.wordpress.com or email:
    pccregistration@theatrecentre.org

    9
    STAFF PHOTO (LEFT TO RIGHT)
    Meg Hale, Scott Miller Berry, Pablo de Ocampo, Liz MacInnis, Rebecca Gimmi, Milada Kovacova, Jacob Korczynski and Amy Rouillard PHOTO BY Henry Chan

    BOARD OF DIRECTORS PROGRAMS


    Tori Allen (Co-Chair), Jody Shapiro (Co-Chair), Desmond Lee (Secretary), Competition Jury: Arjon Dunnewind, Kari McQueen and Dean Otto
    Rose Bellosillo (Treasurer), Giselle Basanta, Sara Chan, Emelie
    Chhangur, Chris Gehman, Janet Geisberger, Kathleen Mullen and Guest Curators: Nick Brown, Arjon Dunnewind, Brett Kashmere,
    Andrea Slane Chris Kennedy, Stephanie Rogerson (InterAccess), Earl Miller,
    Fernando Oliva and Marcelo Rezende (AGYU), Christof Migone
    ADVISORY BOARD (Blackwood Gallery), Michèle Thériault (Prefix ICA)
    Sara Diamond (Toronto), Atom Egoyan (Toronto), Marc Glassman
    (Toronto), Shai Heredia (Bangalore), Mike Hoolboom (Toronto), Canadian Screening Committee: Jean-Paul Kelly, Jennifer Matotek
    Andrew Lampert (New York), Janine Marchessault (Toronto), and Kathryn McKay
    Charlotte Mickie (Toronto), Serge Noël (Montréal), Andréa Picard
    (Toronto), Michael Snow (Toronto), Stefanie Schulte Strathaus (Berlin), S is for Student Jury Members: Liya HyunJoo Choi,
    Karen Tisch (Toronto) and Mark Webber (London, UK) Owen Sheppard, Matthew Williamson

    STAFF DESIGN
    Executive Director: Scott Miller Berry Festival Creative and Design: Terry Lau, beehivedesign.com
    Artistic Director: Pablo de Ocampo Illustrator: Jean-Paul Kelly
    Operations Manager: Rebecca Gimmi Trailer: Jonathan Culp
    Programmer: Jacob Korczynski Web Programmer: Sara Maclean, twig design, twigdesign.ca
    Print Production Coordinator: Liz MacInnis City Set Photography: Laura Velasquez

    Advertising Sales: Milada Kovacova


    Venue and Volunteer Manager: Amy Rouillard
    Publicity: Planet3 Communications
    (Joanne Smale, Marli Bennett, Jessica Charbonneau)
    Programming Assistant: Meg Hale
    Technical Coordinators: Antonella Bonfanti, James King
    Sound Technician: Ben Mayer THE IMAGES FESTIVAL
    Guest Coordinator: Marco Cheuk 448-401 Richmond Street West
    Year-Round Interns: David Frankovitch, June Kim, Toronto, Ontario M5V 3A8 Canada
    Andres Salazar-Villafane, Brett Burnell T: 416 971 8405
    Year-Round Volunteer: Lev Levner F: 416 971 7412
    Auditor: David Burkes, C.A. E: images@imagesfestival.com
    Printer: General Printers W: imagesfestival.com

    The Images Festival is produced by the Northern Visions Independent


    Film and Video Association, a registered charitable organization since
    10 June 1988. Charitable # 12741 8762 RR0001

    2009 Images Festival materials are


    printed on FSC and Rainforest Alliance
    Certified paper.

    11
    Tom Berner Award: This award, sponsored by LIFT (The Liaison

    AWARDS
    of Independent Filmmakers of Toronto), commemorates the late
    Tom Berner, who for many years supported and nurtured Canadian
    filmmakers. The award is presented annually to an individual who
    has provided extraordinary support to the cause of independent
    filmmaking in Toronto. In 2009 the Tom Berner Award is presented
    to Mike Hoolboom.
    Images Prize: Presented and sponsored by the Images Festival,
    this is our grand prize, awarded in recognition of the Best “In addition to his exceptional work as an artist, Mike Hoolboom
    Canadian Media Artwork in the festival. The recipient receives has made irreplaceable contributions to independent movie making
    a $500 cash prize. through his critical writing. In his magazine writing and books,
    Mike has created a sustained analysis of independent movie
    National Film Board of Canada Award: This prize is sponsored activity ignored by mainstream arts coverage. For his contributions
    by the NFB to the Best Emerging or Mid-career Canadian film/ as a writer, Mike Hoolboom is a very worthy recipient of the 2009
    video maker in the festival. The winner receives $5,000 in services Tom Berner Award.” – Mark Wihak
    through the NFB Filmmaker Assistance Program.

    Technicolor Cinematic Vision Award: This prize is sponsored The 2009 Images Festival Awards Ceremony is free of charge and
    by Technicolor and honours excellence and innovation in the visual will take place at our closing night party at 10:30 PM on Saturday
    realization of work by a Canadian film or video artist. The recipient April 11, 2009 at The Theatre Centre.
    receives $2,500 of 35mm lab or post-production services in the
    Toronto office donated by Technicolor.

    International On Screen (film) Award: Presented and


    sponsored by the Images Festival, this award honours the
    strongest new international film in the festival. The recipient
    receives a $300 cash prize.

    International On Screen (video) Award: Presented and


    sponsored by the Images Festival, this award honours the
    strongest new international video in the festival. The recipient
    receives a $300 cash prize.
    Jury
    OCAD Off Screen Award: Sponsored by the Ontario College of
    Art and Design (OCAD), this award honours the strongest new Arjon Dunnewind (born in Ommen, The Netherlands, 1967) studied at
    Canadian or international installation or new media work in the the Utrecht School of Arts. In 1988 he was co-founder of the first Impakt
    festival. The recipient receives a $300 cash prize. Festival. Since then, Impakt has grown to a full-size organization that
    organizes multiple events related to video art, with Dunnewind as the
    Steam Whistle Homebrew Award: Sponsored by Steam festival director and artistic director. Impakt aims to offer a platform for
    Whistle Brewing, this award honours excellence and promise in a innovative and interdisciplinary audio-visual arts, both nationally and
    local artist. The recipient receives a $500 cash prize and a Steam internationally. Apart from the Impakt Festival Arjon Dunnewind produced
    Whistle Prize Package. tv series about video art and experimental film and he worked as an
    adviser for the Dutch Film Fund, department Research & Development.
    Overkill Award: This award was established by the Images Festival He puts together programs for international museums, galleries and
    in 2000 to honour former Executive Director Deirdre Logue (1996 festivals, regularly gives guest lectures at universities and art academies
    through 1999 festivals), and is presented annually to a film, video and is an experienced member of juries at festivals and concourses.
    or installation artist whose work approaches extremes of incorrigibility
    through form and/or content and challenges our notions of edgy, Kari McQueen graduated from ACAD in 1992, and completed her BFA
    experimental practice. Sponsored by an anonymous donor, the in 1998. She has been active in the cultural sector as a visual and media
    recipient receives a $300 cash prize. artist, arts educator and programmer in the Southern Alberta region
    for over 16 years. She is currently Program & Outreach Coordinator at
    Marian McMahon Award: Presented and sponsored by the EMMEDIA Gallery & Production Society, and co-founder of the Calgary
    Images Festival with generous support from Kodak Canada, this Underground Film Festival (CUFF) and Mountain Standard Time
    award is given to a woman filmmaker each year to honour strong Performative Art Festival Society (M:ST). She also co-chaired the steering
    work in autobiography, the complexity of “subject” and the spirit committee for Performance Creation Canada (PCC), Calgary (October
    of late filmmaker and sociologist Marian McMahon. The recipient 2008). Screenings include: the Calgary International Film Festival, Alberta
    is invited to attend the Independent Imaging filmmaking retreat, Scene Albertaine (Ottawa), Prairie Tales Touring Program (Metro Cinema),
    held each June in Mount Forest, Ontario, and facilitated by WNDX (Winnipeg), The Glenbow (Calgary) and Red Deer & District
    Philip Hoffman. Museums, Festival International du Film sur l’Art and Canada Council
    for the Arts’ Definitely Independent curated DVD Program. She recently
    York University Award for Best Student Film: Presented and completed Springboard’s interdisciplinary, dance based residency,
    sponsored by York University’s Department of Film and Video, the Interrarium, at the Banff Centre and is currently working on a collaborative
    recipient receives a $300 cash award generously donated by the six part video and sound based project titled Tekhne.
    Department of Film and Video, a Gulf Islands Film and Television
    School scholarship covering tuition for any one-week Media Dean Otto (Walker Art Center Film/Video Associate Curator) has been
    Intensive Program of their choice and $250 worth of Super 8 to active in film and video programming for 22 years. Over the past 14 years
    video transfer services courtesy of Frame Discreet. The recipient at Walker he has programmed the 19-part Rainer Werner Fassbinder film
    is determined by audience vote. series, managed the international tour of the series Magnetic North at
    17 sites, and coordinated the residencies of Arthur Dong, Cheryl Dunye,
    Vtape Award for Best Student Video: This longstanding award Christian Marclay and Craig Baldwin. For the past three years he has
    is presented by Vtape, Toronto’s video art distributor, and includes co-curated the Expanding the Frame series at Walker and the last edition
    a $300 cash prize and $250 worth of Super 8 to video transfer included new work by Bruce McClure and a visit by experimental film-
    services courtesy of Frame Discreet. The recipient is determined maker Pat O’Neill. He curates the Walker’s annual Queer Takes program
    by audience vote. after serving as the programmer for the Minneapolis/St. Paul LGBT Film
    Festival for several years for Minnesota Film Arts. He also served as president
    Ryerson University Award for Best Emerging Canadian of the board of Midwest Media Artists’ Access Center in St. Paul during
    Film/Videomaker from the Greater Toronto Area (GTA): his two-year term. Otto is co-curator of the MNTV series on Twin Cities
    Now in its second year, this award provides the recipient with Public Television and co-directed the short Minnesota Mean with Marjie
    a continuing education course (valued at $500) in the Chang Thieman that premiered at the Flaming Film Festival in May 2001.
    School’s Film Studies program at Ryerson University.

    13
    Welcome to the 2009 Images Festival! I’m often asked, “What’s the theme of the festival this year?” and my
    We are so excited to share a slice of well-researched and programmed usual cheeky answer is “Showing good work.” And it’s true, sort of. In
    contemporary media art with you! We invite you to discover vanguard the year leading up to each festival, we survey a wide field of media-
    developments from Canadian and international media artists at 24 based art and stitch together programs that we hope will push the
    venues throughout the Greater Toronto Area during the month of April. boundaries, challenge our preconceived notions and showcase the
    best of the bunch. That’s the plan anyway.
    Media art is exploding in every direction. The infiltration of moving
    image culture into daily life via PDAs, public screens, galleries, not But to say there is no theme is a bit misleading; common ideas always
    to mention inclusion in theatre and dance productions is enthralling. appear as we go through piles of tapes and these unspoken and
    How are contemporary media artists working today? What are the unintentional nuances become a throughline, pulling all of the various
    conditions that nurture and sustain healthy media art ecology? How components at the festival together. This year, we’ve decided to
    does technology continue to affect production and what are the foreground those undercurrents by “naming” the 22nd edition of the
    burning issues affecting media artists today? These are some of the Images Festival “Print Generation.” This was inspired (in a round-about
    questions that we hope this festival continues to address through way) by the 1973 film of the same name by American structural filmmaker
    our programming, commitment to dialogue and audience engagement J.J. Murphy. In the film, Murphy took a one minute segment of 16mm
    via artist talks and educational programming. footage and then printed and reprinted the shot 50 times until the image
    completely deteriorated. Ben Coonley, more recently, created an online
    The Images Festival is thrilled to be hosting the 2010 International video, J.J. & Murphy’s .flv Generation, using a 12 second clip pilfered
    Experimental Media Congress during next year’s festivities. We invite from YouTube of a dog named J.J. chasing a dog named Murphy around
    you to get involved by completing the brief survey at experimental- in circles, re-encoding it 1000 times over. The results of this process are
    congress.org and look forward to hosting you at this exciting 4-day on view at www.imagesfestival.com starting April 2.
    intensive symposium where media artists, theorists, activists and
    programmers will engage in critical discussions with each other and By naming the festival in this way, we acknowledge the way in which
    the public. the history of art and cinema has itself become a subject or framework
    for making new work. Contemporary artists are reengaging the canons
    The theme “Print Generation” at this year’s Festival celebrates the of modernism and the avant-garde: from Althea Thauberger’s Chelsea
    abilities of young artists to celebrate and respond to the histories of Girls, subtly making a nod to Warhol’s film of the same name in its
    avant-garde tradition and to encourage us to reflect on these histories. documentation of a 1970s social housing building in Victoria, to Rosa
    By doing so, they bring us closer to a clearer vision of what it means Barba’s installation Western Round Table 2027, which re-examines a
    to be creating experimental media art in the 21st century. From Ben Modernist meeting of the minds in the California desert.
    Coonley’s infiltration of YouTube [catch his videos on our website!] to
    Ming Wong’s re-enactment of The Bitter Tears of Petra von Kant, these For every remake of a classic experimental film you might find in this
    landmark approaches to media art defy categories and embrace a year’s festival, you are sure to find several more that engage with an
    fluidity that highlights the central role of media artists in defining our entirely different set of histories and ideas: from Wafaa Bilal’s cannibalization
    past, present and future. of über-nationlistic videogames in his installation at MoCCA, to Amy Bodman’s
    The Limits of What We Know, a documentary 15 years in the making about
    I hope you will take advantage of our Pay What You Can pricing on our land and people’s relationship to it in Ethiopia. It is of course impossible
    On Screen programs and note that the festival continues to prioritize to give a shoutout to everything you will encounter over the next 10
    presenting media art to new audiences — please take in our artist days in these 473 words, but therein lies some of the fun. Experiencing
    talks, gallery installations, live programming. Don’t forget to visit our a festival like Images is in large part a process of discovery, of venturing
    Mediathèque, free and open to the public during the festival at the into the great unknowns that these 194 artists have charted in their work.
    Gladstone Hotel, where you can watch works featured in the festival. I’m looking forward to figuring out where this festival takes me this year
    Kindly contemplate becoming an Images member — each and every and hope to see you at some stops along the way.
    membership greatly contributes to our operations.

    In case you are wondering why our audiences are restricted to those
    18 years and older: we are forced by the Film Classification Act of the
    Ontario Film Review Board to adopt a blanket 18+ audience restriction
    as a result of our refusal to submit films and videos for ratings in
    advance. Images endeavours to expand our audiences and share
    artist film and video with audiences of all ages, but under this draconian
    Act we are forced to limit our audiences to 18+.
    Pablo de Ocampo
    Many thanks to our government funders, corporate sponsors, community Artistic Director
    partners, members and audiences. Last but not least: congratulations pablo@imagesfestival.com
    to all of the artists — thanks to all who have submitted their projects to
    us — you keep us inspired!

    We welcome your feedback, ideas and suggestions always.


    Bon festival!

    Scott Miller Berry


    Executive Director
    scott@imagesfestival.com

    17
    The Canada Council for the Arts is proud to once again support The Images Welcome to the 2009 Images Festival.
    Festival – Canada’s largest annual event to celebrate independent and
    experimental film, video, installation, performance and new media. Through their fascinating works, new media artists renew the arts by
    going beyond the boundaries of creative experimentation.
    Media arts encourage dialogue around issues of race, culture, gender
    and sexuality. Their multiplicity challenges our definitions of art and the The Images Festival gives independent Canadian media arts creators
    boundaries that separate artistic disciplines. Yet these same qualities the opportunity to become known and to share new concepts with their
    mean that works by independent media artists are not likely to be peers. The Festival contributes to Canada’s artistic and cultural growth
    “coming to a theatre near you.” As a result, The Images Festival plays and promotes the professional advancement of artists with a promising
    an important role in providing access to the rich diversity of work being career.
    produced in Canada and internationally.
    On behalf of Prime Minister Stephen Harper and the Government of
    Congratulations to everyone involved with the 22nd edition of The Images Canada, I thank the Images Festival for showcasing the talent of our
    Festival – and enjoy. artists. Our Government is proud to support activities that promote the
    vitality of this country’s arts and culture.

    Le Conseil des Arts du Canada est fier d’appuyer encore une fois
    l’Images Festival – le plus grand événement annuel célébrant le cinéma Bienvenue au Images Festival 2009.
    indépendant et expérimental, la vidéo, l’installation, la performance et les
    nouveaux médias au Canada. Par leurs œuvres fascinantes, les artistes en nouveaux médias renouvellent
    les arts en dépassant les frontières de l’expérimentation créative.
    Le propre des arts médiatiques est d’encourager le dialogue sur des
    questions de race, de culture, de genre et de sexualité. Leurs multiples L’Images Festival donne aux créateurs indépendants canadiens en arts
    facettes, qui nous font remettre en question nos définitions de l’art médiatiques l’occasion de se faire connaître et de partager avec leurs
    et les frontières séparant les disciplines artistiques, signifient par contre pairs de nouveaux concepts. Le festival contribue à l’expansion artistique
    qu’il est peu probable de voir les œuvres créées par les artistes des arts et culturelle au Canada et favorise l’avancement professionnel d’artistes
    médiatiques indépendantes « dans un cinéma près de chez vous ». à la carrière prometteuse.
    Par conséquent, l’Images Festival joue un rôle crucial dans l’accès du
    public à la riche diversité des œuvres produites au Canada et à l’étranger. Au nom du Premier ministre Stephen Harper et du gouvernement du
    Canada, je remercie le Images Festival de faire découvrir le talent de
    Je félicite cordialement tous ceux et celles qui ont rendu possible cette nos artistes. Notre gouvernement est fier d’appuyer des activités qui
    22e édition de l’Images Festival et souhaite beaucoup de plaisir à tous encouragent le dynamisme des arts et de la culture au pays.
    et à toutes.

    Robert Sirman The Honourable / L’honorable


    Director of the Canada Council for the Arts James Moore
    Le directeur du Conseil des Arts du Canada Minister of Canadian Heritage

    18
    The Ontario Arts Council (OAC) is pleased to support the spirit of creative Telefilm Canada is a proud partner to the Images Festival because it
    independence that has characterized the Images Festival for 22 years. offers a unique window to experience highly original Canadian films.
    Through its thoughtful and challenging programming the festival introduces
    its audiences to avant-garde media works from across the province and As a federal cultural agency dedicated to developing and promoting
    around the world. It inspires critical dialogue about contemporary media the Canadian audiovisual industry, we are pleased to have provided
    arts that includes the local arts community and extends beyond. support for many of the productions and talented Canadians being
    spotlighted at the Images Festival.
    The arts contribute significantly to the quality of life, the cultural
    identity, as well as the economic prosperity of Ontario’s communities. Indeed, the Canadian imagination is continuing to strike a chord with
    In 2007-2008, Ontario Arts Council funded 1,300 individual artists international audiences. Our country’s creators have built a reputation
    and 874 organizations in 252 communities across Ontario for a total for storytelling that, while distinctively Canadian, resonates with people
    of $40 million. of all backgrounds.

    Our congratulations to the Images Festival and continued success! We are also pleased to be associated with Images because it is a
    venue for the industry to come together to discuss today’s innovations
    and challenges, and to explore creative opportunities.

    Congratulations to the organizers, volunteers and community whose


    hard work has helped make the 2009 edition possible.

    Le Conseil des arts de l’Ontario (CAO) est heureux d’appuyer l’esprit


    d’indépendance créative qui caractérise le festival Images depuis 22
    ans. Par sa programmation judicieuse et stimulante, ce festival initie le
    public à des œuvres médiatiques avant-gardistes de toute la province et
    du monde entier. Le dialogue critique sur les arts médiatiques contem- Téléfilm Canada est un fier partenaire d’Images qui offre une occasion
    porains qu’il favorise englobe le milieu des arts local et se déploie bien unique de voir des films canadiens d’une grande originalité.
    au-delà.
    En tant qu’organisme culturel voué au développement et à la promotion
    Les arts contribuent de façon significative à la qualité de vie, à l’identité de l’industrie audiovisuelle du Canada, nous sommes heureux d’avoir
    culturelle et à la prospérité économique des collectivités ontariennes. En apporté notre soutien à un grand nombre des productions et des
    2007-2008, le CAO a octroyé des subventions totalisant 40 millions de talents canadiens à l’affiche d’Images.
    dollars à 1 300 artistes et 874 organismes répartis dans 252 collectivités
    de l’Ontario. En effet, l’imagination créatrice des Canadiens continue de toucher des
    auditoires du monde entier. Nos créateurs ont acquis la réputation de
    Toutes nos félicitations au festival Images, et bonne continuation ! savoir raconter des histoires qui, bien que distinctement canadiennes,
    interpellent des gens de toutes les origines.

    Nous sommes d’autant plus heureux d’être associés au Images


    qu’il constitue une tribune où les membres de l’industrie peuvent se
    rencontrer et discuter des innovations et des défis d’aujourd’hui tout
    en explorant les possibilités qui leur sont offertes sur les plans de la
    création.
    Martha Durdin
    Chair, Ontario Arts Council Félicitations aux organisateurs, aux bénévoles et aux membres de la
    La présidente du Conseil des arts de l’Ontario communauté dont le bon travail a rendu cette édition possible.

    S. Wayne Clarkson
    Executive Director, Telefilm Canada
    Directeur général, Téléfilm Canada

    19
    It is my privilege to extend greetings to the artists, organizers, staff and For over two decades, the Images Festival has been a cutting-edge
    volunteers of the 2009 Images Festival on behalf of Toronto Arts Council. showcase for experimental and independent moving-image culture.

    The 22nd edition of the Images Festival is sure to be marked by another For 70 years, the National Film Board of Canada has shared your passion
    year of innovative programming and engaging artist-audience dialogues. for innovative media, bringing groundbreaking works to all Canadians.
    TAC salutes Images Festival’s mandate to ensure the visibility of independent
    and emerging artists working in film, video and the digital arts, as well in To help celebrate this milestone, we’re presenting the NFB Award for the
    new media, multi-media and installation. Best Canadian Film or Video Maker here at Images.

    To its growing audiences, the Images Festival’s responsiveness to cultural We’ve also created a new national Screening Room <NFB.ca>: an
    forms outside of dominant media programming continues to provide a exciting new way to watch and share over 700 NFB productions online,
    vital forum for challenging, critical engagement with contemporary media enabling Canadians to connect with their country’s cinematic heritage as
    art. To artists and practitioners, Images creates space for professional never before.
    development and opportunities for forging lasting international connections.
    Enjoy the festival!
    Here’s to another year of success!

    Depuis plus de vingt ans, le festival Images est une vitrine privilégiée pour
    promouvoir la culture du cinéma expérimental et indépendant.
    Karen Tisch
    President L’Office national du film du Canada nourrit lui aussi une passion pour les
    Toronto Arts Council Board of Directors médias novateurs, comme en témoignent les œuvres audacieuses qu’il
    propose depuis 70 ans à l’ensemble de la population canadienne.

    Nous sommes donc heureux de rendre hommage à la créativité en


    décernant, dans le cadre du festival Images, le prix ONF de la meilleure
    réalisation canadienne – film ou vidéo.

    Toujours à l’avant-garde, l’ONF a d’ailleurs créé son Espace national de


    visionnage en ligne, <onf.ca>, lequel propose aux Canadiens et aux Ca-
    nadiennes de regarder et de partager plus de 700 productions en ligne
    et de s’approprier ainsi le patrimoine audiovisuel de leur pays de façon
    nouvelle et captivante.

    Bon festival à tous et à toutes!

    Tom Perlmutter
    Government Film Commissioner and
    Chairperson of the National Film Board of Canada

    Commissaire du gouvernement à la cinématographie et


    président de l’Office national du film du Canada

    20
    2009
    www.imagesfestival.com/ifpod

    iFpod is an ongoing experiment in disseminating Canadian video art NEW For 2009!
    through mobile devices, available to view or download on any screen! The Images Festival has partnered with Trinity Square Video and
    Bleecker Street Coop to run a series of free youth workshops to
    iFpod History produce a new series of short videos for iFpod. Funded by the Canadian
    Launched in 2007 and expanding each year, the iFpod project was Art Foundation Youth Bursary and facilitated by Dara Gellman and
    started to provide an opportunity for the insatiable media junkie to Leslie Peters, the workshops aim to increase accessibility to video
    watch or download remarkable video art projects which subvert the techniques and technologies while fostering a new generation of
    ubiquitous small screen with artists’ visions. video artists.

    In 2007 with the assistance of Vtape Distribution, we inaugurated the Participants learn about the process of video art making through the
    iFpod with 11 projects, five of which were early video art from the creation, exhibition and distribution of their own artworks. They develop
    1970s, conceptually sophisticated and strangely suited for the mobile their talents and learn new technical, conceptual and critical skills, while
    screen; the other six contemporary projects brought form and content investigating the history of video art, its practitioners and its various
    together to challenge our trust in the human subject. In 2008 we manifestations as a contemporary art form.
    added a few projects from our festival including works by our Canadian
    Spotlight artist Nelson Henricks. Most of these videos can be found on The resulting projects will be added to the iFpod player, offering the
    YouTube and have traveled to thousands of sites around the world. participants a unique opportunity to display their work. Please visit
    imagesfestival.com/ifpod to view and/or download these exciting
    As the interest in artists’ film and video continues to explode, traditional new projects!
    venues such as media arts festivals like Images are expanding
    programs to showcase work in this platform. Screenings are now Special thanks to the Canadian Art Foundation, Trinity Square Video,
    also increasingly taking place in alternative theatrical spaces, galleries, Dara Gellman and Leslie Peters, twig design and to Telefilm Canada for
    microcinemas and in a variety of new media settings, with rapidly startup support.
    growing audiences in each who are developing a new vibrant culture
    around artists’ film and video. The iFpod download distribution of
    artists’ projects will work with these new forms of exhibition to rapidly
    develop this vibrant arm of alternative media art culture.

    Free Artist Talks


    FREE ARTIST TALKS Talk to the Pie 4: Louise Bourque
    (with the exception of the George Kuchar panel and screening) Monday April 6, 3 PM
    Gladstone Hotel Art Bar, 1214 Queen Street West
    Talk to the Pie 1: Notes on Composing Join Canadian Spotlight Artist Louise Bourque for a conversation with
    Friday April 3, 5 PM Chris Gehman about her newest projects in relation to her ongoing film
    Harbourfront Centre, 235 Queens Quay West practice.
    Join the filmmakers and the composers from our opening night pro-
    gram for an open conversation on the process of collaborating across Talk to the Pie 5: Saving George Kuchar’s Generous Cinematic Corpus
    mediums. Wednesday April 8, 7 PM
    Joseph Workman Theatre, 1001 Queen Street West
    Talk to the Pie 2: And Then There Were None Admission: $10 general/$8 students, seniors, members
    Saturday April 4, 4 PM Jeff Lambert (National Film Preservation Foundation) is joined by Haden
    InterAccess Electronic Media Arts Centre, 9 Ossington Avenue Guest (Harvard Film Archive) and Andrew Lampert (Anthology Film
    Artists Larissa Fassler and Richard Schütz will be joined by curator Archives) for a panel discussion on issues related to archiving and
    Stephanie Rogerson to discuss the deconstruction and reconstruction preserving experimental cinema, along with a screening dedicated to
    of public space in their exhibition And Then There Were None. the recently restored films of George Kuchar.

    Talk to the Pie 3: In the Room Talk to the Pie 6: 43 After 66


    Sunday April 5, 4 PM Friday April 10, 2 PM
    The Gladstone Hotel Art Bar, 1214 Queen Street West The Gladstone Hotel Art Bar, 1214 Queen Street West
    Artists Sung Hwan Kim and dogr (aka David Michael DiGregorio) will Althea Thauberger and Ian White will discuss the archival and
    discuss the performative impulses in their multi-disciplinary practices. intergenerational dialogues initiated by each of their projects
    Moderated by Helena Reckitt. at the festival.

    24
    Educational Programming
    Images is continuing our commitment to Educational Programming The Avant-Garde Remake with Ben Russell
    with a fresh set of programs for youth and adults, co-presented by An all inclusive production course with LIFT’s April artist-in-residence,
    loyal local partners. Ben Russell.
    LIFT (1137 Dupont Street)
    All events are FREE and open to the public (unless otherwise noted). Monday April 6, 6 – 10 PM
    Monday April 13, 6 – 10 PM
    Adult Workshops at the National Film Board Saturday April 18, 10 AM – 6 PM
    Monday April 27, 6 – 10 PM
    of Canada LIFT artist-in-residence Ben Russell will lead participants through
    National Film Board of Canada Toronto Mediatheque (150 John Street)
    revisiting and remaking pieces of avant-garde cinema history.
    For the fifth consecutive year the NFB Mediatheque is pleased to expose
    The hands-on workshops will be technically and conceptually
    new audiences to their rich resources and diverse collection with a series
    rigorous, exploring both skills and authorship topics.The magic of
    of hands-on animation workshops for adults. In partnership with the 2009
    cinema, remade.
    Images Festival, the NFB presents:
    $340 LIFT members / $380 non-members
    Take Two: Animation Remix Workshop for Adults
    Enrollment is limited to 10
    Monday March 23, 6:30 – 9 PM
    www.lift.on.ca
    Ages: 18+
    Find inspiration in Oscar Peterson’s soundtrack from Norman McLaren’s
    award-winning experimental film Begone Dull Care and create your own
    interpretation! Using the tools and techniques pioneered by the legendary
    filmmaker, create your own short film by drawing, painting and scratching
    A Guided Walking Tour to the Images Festival’s
    directly onto 35 mm film. How will your masterpiece measure up? Off Screen Projects in 401 Richmond
    Saturday April 4, 2 PM and 3 PM
    Animate This! Grown-up Edition Led by Terence Dick and Carol-Ann Ryan
    Tuesday March 24, 6:30 – 9 PM Meet at the Images Festival office, 401 Richmond Street West, Suite 448
    Ages: 18+
    Craving to crash a kids workshop? Well, here’s your chance...Get
    your hands dirty with modelling clay and create your own stop-motion
    animated film! Using professional tools bring your ideas to life with the Performance Bus
    guidance of NFB facilitators. All films will debut in the NFB Cinema Art Gallery of York University, Wednesday April 8, 6 – 9 PM
    alongside a screening program highlighting new and award-winning Please join us on the free performance bus to The Communism of
    stop-motion films from the NFB, including Sainte Barbe, The Necktie, Forms exhibition at the AGYU. Departing at 6 PM from OCAD
    and the Norman McLaren classic, A Chairy Tale. (100 McCaul Street) and returning at 9 PM. Special performance
    guest on the bus!
    24 Frames per Second
    Monday March 30, 6:30 – 9 PM Blackwood Bus
    Ages: 18+ Blackwood Gallery, Thursday April 9, 6 – 9 PM
    Unleash your inner Norman McLaren! Using tools and techniques pio- Please join us on the free bus to awashawave at Blackwood Gallery.
    neered by the NFB, experiment with pixilation, painting on glass, drawing Departing at 6 PM from the Gladstone Hotel (1214 Queen Street West)
    and scratching on film, and stop-motion to bring your ideas to the big and returning at 9 PM.
    screen. Move from station to station as your experimental masterpiece
    comes to life. Watch your films in the NFB Cinema along with a collection
    of films highlighting each technique, including A Chairy Tale, Pas de Deux,
    and Le Merle. Student Programming and Mentorship
    Youth Videomaking Workshop
    All above NFB Workshops are FREE for Images Festival guests. NEW! For 2009, the Images Festival has partnered with Trinity Square
    Video and Bleecker Street Co-op to run a series of free youth workshops
    These workshops are designed as an introduction to various animation to produce new short videos for iFpod. Funded by the Canadian Art
    techniques and are not professional filmmaking workshops. Foundation Youth Bursary and facilitated by Dara Gellman and Leslie
    Peters, the workshops aim to increase accessibility to video techniques
    Please register in advance by e-mail: nfbmediathequeonf@nfb.ca or by and technologies while fostering a new generation of young video artists.
    phone at 416 973 7114. www.imagesfestival.com/ifpod

    For more information about the NFB Mediatheque please visit S is for Student
    www.nfb.ca/mediatheque The Images Festival annual student On Screen program presents films
    and videos from local, Canadian and international art and film schools.
    A three-member student jury gains valuable experience curating and
    organizing the program. The screening is followed by a celebratory
    Gunilla Josephson student party and presentation of the York University Award for Best
    Trinity Square Video (401 Richmond Street West, Suite 376) Student Film and Vtape Award for Best Student Video.
    Gunilla Josephson will be teaching a Master Class in Ecstasy and Despair For full details see page 51.
    Saturday, April 11, 1 – 3 PM
    Outer and Inner Space
    $20 TSV members / $25 non-members NEW! For 2009, the Images Festival has developed an Off Screen
    Contact Trinity Square Video to sign up for the class: 416 593 1332 exhibition featuring local and Canadian art students. Presented at
    www.trinitysquarevideo.com XPACE Cultural Centre.
    For full details see page 85.

    These exhibitions complement our ongoing training and mentorship


    programs through Year-Round and Festival Internships.

    25
    Yes! I want to become
    an Images Festival
    Member today!
    Fill out and return to the address below or drop off at our
    Advance Box Office to begin enjoying your membership
    benefits now!

    Choose one of the following:

    35MM Membership – $300


    Ideal for members who want to share the festival
    with a friend

    16MM Membership – $100 ($75 for students and seniors)


    For those who can’t bear to miss a thing

    Super-8 Membership – $45


    Perfect for members who just want to catch a few shows

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    check here.

    26
    Delivering all the pieces

    great audiences

    vibrant city
    excellence in
    making films

    Contact Rhonda Silverstone, Manager


    Tel: 416 338-FILM (3456) / Fax: 416 392-0675
    filmtoronto@toronto.ca • www.toronto.ca/tfto
    Canadian Filmmakers Distribution Centre

    THE CFMDC CONGRATULATES

    Filmmaker Member
    Louise Bourque
    ARTIST SPOTLIGHT – IMAGES FESTIVAL 2009

    For the past 42 years the CFMDC has distributed the work
    of 750 filmmakers to exhibitors around the world.

    You make it. We’ll move it.

    www.cfmdc.org
    Subterranean Heart by Cloud Eye Control, Photo: Ken Aaron The Presentation Theme, Jim Trainor

    31
    +
    E!
    PREMIER
    ERICAN
    NORTH AM
    CR EENING!
    BONUS S Lav Diaz
    ch o l ia b y
    Melan
    arch 29
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    eral/$8 S
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    A lia
    Melancho
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    Lav Diaz ines, 2008, video, 4 any, but su
    The Philip
    p b e d au nting to m e most singular
    film may one of th
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    fica e un are .
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    t. mmercial st film, M
    movemen ate any form of co miere of Diaz’s late
    vi
    lengths ob North American pre ancholia is
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    p
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    reveals the fight a bloody war s to a world of maddnapped by military
    has gone
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    making us ap eg
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    st o
    a political as much as it is a la e Diaz’s bleakest w ise rock band, The
    ) b no w
    operatives Melancholia may ic interlude by his tric guitar and fello
    le us ec
    world. Whi k, and features a m a), with Diaz on el on the “Orrizonti”
    ck ing
    as it is pun amed after Lino Bro yboards. The film w distinction honour
    a
    Brockas (n vn De la Cruz on ke nice Film Festival, f the Venice Film
    director K
    ha st year’s Ve As Paolo Bertolin o rapturing and
    award at la t. en
    (Horizons) in film form and spiri ves once again the captures you from
    ro at
    innovation es: “Melancholia p s cinema, a spell th film’s fluvial length,
    at z’
    Festival st g power of Lav Dia you throughout the emotional and
    in s
    mesmeriz t frames and carrie ical dramas of great
    rs lit
    the very fi ing the viewer in po ard
    ic
    by envelop nce.” – Andréa P
    na
    lyrical reso

    32
    OPENIN
    G NIGHT
    Live Ima GALA!
    ges 1
    Notes on
    C omposin
    Thursda
    y April 2 g: 5 Coll
    8 PM aboratio
    ns in Film
    Isabel Ba
    der Thea and Mus
    Admissio
    n: $15 g
    tre (93 C
    harles Str
    eet West)
    ic
    eneral/$1
    2 studen
    ts, senio
    rs, Image
    Talk to th s /Continu
    Join the e Pie 1: Notes
    um mem
    fi o bers
    conversa lmmakers and co n Composing
    ti m
    Friday Ap on about collabo posers for an o
    p
    See p. 2 ril 3, 5 PM at Harbrating across me en
    4 for deta ourfront diums.
    ils. Centre

    In partne
    rs
    Canadian hip with Continu
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    the proje world premiere th ate new works, e Music, Images h as @ Sea
    c a a
    Images F t’s North Americ is fall at the prestig ch scored in colla s commissioned
    estival. an premie io fi
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    For this s ff the 22n w aan ‘t IJ in Amst mposer.
    p d edition erdam,
    ensemble ecial presentatio of the
    n
    solo by c of flute, clarinet, , the films’ score
    o vi s
    of film an mposer/violinist olin, cello, piano will be performe
    d M d
    different music is realign alcolm Goldstein and percussion, live by Continuu
    w e w
    with that, orks. Most of th d in five different . In these projects ith one piece pe m’s
    e c rf
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    o is e la
    as far ap the parties involve ns represented s ts had never me sses resulting in tionship
    a d o t fi
    method, rt as Toronto and . The result of this mething of a lea or worked togeth ve very
    Behind th temperam R e p in er,
    e Shado
    ws ent, and otterdam, or Win ngagement—som faith, or a dare and
    Toronto-b still the in nipeg an e betwee on the
    d iv id ual voice d A rn hem—re n co lla
    Oscar v ased filmmaker a . flects dis borators
    a n tance,
    the filmm n Dillen’s 2 Cam d poet Clive Ho
    a ld
    Island co ker’s father on h eras @ Sea focus en and Rotterd
    a is e a
    Vera Fre stal landscapes, growing up on th s on the waves: m composer
    n fr
    the focus kel’s ONCE NEAto recordings of th e Irish coast, to om reflections b
    fo y
    NEAR W on water. Collab R WATER: Notes e North Sea off th otage of Vancou
    A o ver
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    m To s in
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    disarmamps as the film un , holed up in a de hard Ayres. Glo hort by Guy Ma in
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    The orga olin, cello, piano, presents conce C and through re in its concert se mposers
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    s e
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    informati C m st f
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    ONCE N FREE wit Noël een Stre
    EAR WAT
    ER: Notes fro h ticket s et West rty
    m the Sca tub or pa
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    rchive

    33
    as Und er Study
    s2 ntat ion of Ide
    Live Ima
    ge A Prese
    S top S moking:
    Make Me
    roué
    Rabih M
    pril 3
    Friday A
    8 PM
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    2 PM an t Centre (235 Queen nts, seniors, membe
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    Admissio

    it,
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    c o lle c ti n d p re se rv th a t re la te t th a t I d or this re This will
    a ve b e e n ng it, a n l a rc h iv e e th e fa c lf fro m . F
    Ih exi a spit e ht.
    ting it, ind ssess a re pace, de erate mys f its weig
    documen , or let’s say I po f my domestic s which I cannot lib blic I can get rid o bih Mroué
    a rc h iv e co rn e rs o e , a n d g it p u — R a
    an different austing m kin erase its
    elf.
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    f docume n and ex st few de le monolo Mroué’s
    e rg in g modes o oing investigatio r much of the pa ’s work is a simp al in their scope, tructed from
    M g é s
    roué’s on country fo art, Mrou dly politic ng is con ous
    Rabih M has plagued the nd performance rks. Though broa Me Stop Smoki , videos and vari ring
    tr ife th a t s vi d e o a vid e o w o s . M a ke to g ra p h s is sin g d u
    s as well a ir narrative o
    ages and iews, ph o went m stigates
    of theatre photographs, im ding point for the l archive of interv to the citizens wh performance inve present
    ro je c te d a g ro u n p e rs o n a k H a ri ri M ro u é ’s s o f th e
    p s n fi , n
    ersonal a rtist’s ow tion of R
    a
    et lamps gh the le
    use the p rawn out of the a m the assassina anholes and stre m the past throu
    d o o
    material rials. Jumping fr photographs of m d occurrences fr
    te
    other ma ese Civil Wars to erstand events a
    n niversité
    a at the U .
    n
    the Leba member and un
    d
    H e st u d ied dram nd videos in 1990
    . d
    how we .
    re in B e iru t in 1967 , performances a na, Brussels an
    lo
    and future right born in his own plays an, Basel, Barce Who’s Afraid of
    nd playw g ; ill
    n ac to r, director a ng and performin nna, Tunis, Amm ool’s Joke, 2007 ome in Sir, we w
    ie
    roué is a g, directi Paris, V an April F , 2000; C g short
    Rabih M and began writin in Beirut, Cairo, Everything Was 1; Three Posters riting and directin
    n t
    Libanaise have been show ncy Wished Tha ce A/Face B, 200 5, he has been w
    s a a 9
    His work d include: How N hraphia, 2002; F , 1997. Since 19
    k 9
    Berlin, an tation, 2005; Bio and Extension 1 TV in Beirut.
    ;
    Represen u Outside, 1998 ntaries for Future
    e
    Wait for yofilms and docum
    animated

    34
    Live Images
    3
    In the Room 3
    Sung Hwan K
    im , dogr (aka Da
    vid Michael D
    Friday, April iGregorio) an
    3 d Byungjun K
    9:30 PM won
    Saturday, Ap
    ril 4
    9:30 PM
    Gallery TPW (5
    6 Ossington Av
    Admission: $1 enue)
    0 general/$8 st
    udents, senior
    s, mem bers

    Talk to the Pi
    e
    Artists Sung Hw 3: In the Room
    impulses in th an Kim and dogr discuss
    eir th
    Helena Reckitt multi-disciplinary practices e performative
    . . Moderated by
    Sunday April 5,
    See p. 24 for 4 PM
    details.
    Incorporating Photo: Nina Ca
    ele nell
    weaves in and ctronic music, performance
    out of a dream , dr
    own internal rh -like state of m awing, and both live and
    ythm and logic. em pr
    vase, fills it wi
    th Here seeming ory and imagination, oper e-recorded video, In the Ro
    rustles with th ping pong balls and milk, an ly simple actions take on m ating in a world that subscr om 3
    e
    are simultaneo wind from a body walking d stirs until the drawing dis agical qualities: a man draw
    ibes to its
    usly projected pa ap s
    into the center st; a man draws faces with pears; a wall of coloured tis on a glass
    of a room; he m su
    I see a girl’s pr
    ofi tells a strange arker and spit as his intimat e paper
    ask her, and as le, and from far away, it loo story: e images
    all around her k her, “Where’d you get that ks like she is wearing a beau
    he
    from all of her ad; and when she’s sad sh tiara?” And I realize that it is tiful pearl tiara. So I go up to
    eyes, making
    herself very we e cries from one of her eyes not a tiara, but her eyes, all her and
    t. , and when sh co
    The visual, text e’s very sad sh nnected,
    ua e cries
    between Sung l and sonic storytelling th
    at
    form and stru Hwan Kim and dogr, whos makes up In the Room 3 gr
    cture. e collaborative
    practice moves ows out of an ongoing exch
    across disciplin ange
    Korean artist Su es to create its
    over a period ng Hwan Kim is currently unique
    of four years, based in New
    developed in during which York. Previously
    th tim , he lived and
    was awarded e Netherlands and has been e he was fellow at the Rijks worked in the
    Ne
    th ak
    award Hermes e 2nd prize of the prestigiou exhibited and performed at ademie. His In the Room therlands
    Korea Missuls s Prix de Rom STEIM and W series was
    ang (Hermes e fo r co ntempo itt e de With. In
    Korea Prize fo
    dogr (aka Da r Contempora rary Dutch artists and the 2007 he
    vi ry Art). Korean
    background in d Michael DiGregorio) wa
    Ba
    dogr is a perfo roque, choral gospel and s born in Boston in 1979 an
    rming musician ele d is
    Korean Wilds
    an and compose ctro-acoustic music, as we now based in New York.
    include Établis d Villages, is due for relea r who sings layered and sp ll as experimental 16mm fi With a
    se se at lm
    2007; De Appe ment d’en face projects, Br on Sonig Records, German ial songs. His upcoming alb making,
    us
    org or http://wwl, Amsterdam, 2007; STEIM sel, 2009; Insa Art Space, y, April 2009. Recent perfo um, In
    w.last.fm/mus , Am Se rm
    ic/dogr or http sterdam, 2006; BAK, Utre oul, 2007; Gallery 27, Uiwangances
    Byungjun Kw ://www.myspa cht, 2006. Mor , Korea,
    on ce .c om /dognap e at : http://www.do
    albums ranging started his musical care gr.
    er
    collections, co from alternative rock to mini in early the 90s as a singe
    ntemporary da m al ho us e. He cr r/s on gw rit er and
    have been pres nc
    ented in many e, theatre plays and interdis eates music for records, sohas released seven
    international ve ciplinary even und tracks, fa
    nu es . He lives and wo ts . Re ce nt shion
    In the Room
    3 is presente rks in Amsterda works and performances
    be on view at d in conjunct m.
    Gallery TPW io
    from April 7 n with Sung Hwan Kim’s
    to May 2. Se exhibition In
    e page 76. the Room w
    hich will

    36
    ges 4 ing P onies
    Live Ima & T a l k
    o ints
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    nl
    Ben Coo
    y April 4
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    t)
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    37
    Crossing Ove
    r (Under Your
    Curated by A
    rjo
    Skin)
    n Dunnewind
    , Impakt Festi
    Sunday Apri
    l5 val, The Neth
    2 PM erlands
    Joseph Workm
    an Theatre (100
    Admission: Pa 1 Queen Street
    y What You C West at Ossin
    an gton)
    Fascinated by
    th
    Breathe his br e other, we want to crawl
    ea un
    which was pres th, taste his sperm, live his der his skin. To be just like
    him
    selection of wo ented as a part of the SHIFTlife. Crossing Over (Under Yo , feel like him and look lik
    e
    of new cultura rk focused more specifically Festival in Amsterdam and ur Skin) is a follow-up to Ne him.
    l and religious on To igh
    values are chan the ways in which immigr ronto earlier this year. That bours,
    ging Dutch so ation, integratio
    ciety. n and the posit
    ion

    Your Blood is
    Julika Rudeliuas Red as Mine
    The Netherlan s
    ds
    A white woman , 2004, video, 17 min
    where she talks spends some time in a bla
    ck community
    and about the to people about the colou ,
    photos that sh r of
    they respond. e makes of th their skin,
    They ask; she em. She asks
    identity, the m responds, in an ;
    ea
    ‘white’. The ph ning of and the clichés arou investigation of
    oto sessions fo nd
    uses her phot
    o rm the starting ‘black’ and
    camera ‘regis camera to portray her mod point. Rudelius
    ters’ this partl els , and the film
    sometimes fu y staged, som
    nn etim
    rapher is crea y process, so that a portrait es uneasy,
    ted at the sam
    colour, and be e time. This is of the photog-
    fo ab
    and ideology. re long also about the perc out skin and
    One of the mod ep
    Your Blood is
    as Red as Mine says that she
    se els turns the iss tion of mankind
    Borders test study. Photog es her, just as she sees th ue round: she
    ra em
    (v
    Thierry Geof ersion complet) European men pher becomes model, as en , as an object of
    ta
    Denmark, 2002 y
    fro Esma Moukhta lity. —Netherlands Media voy of the white
    r Art Institute,
    Thierry Geoffro , video, 3 min
    y
    indigenous Da (aka Colonel), interviews im Cultural Exch
    anges
    ne
    understood in s on the streets of Denmar migrants and Thierry Geof
    froy
    his very imperfe k, making him De nmark, 2002,
    his projects pr ct English. Th self video, 5 min
    es
    complet), The ented here including Bord e interviews in all
    Walraff Metho ers test (version At t tänka tankar
    Cultural Exchan d, I want to loo man inte vill
    k like you and
    social niceties ges manifest a directness don’́t want to
    ) tänka (To thin
    k things you
    . th
    individuals resu The brief encounters he arra at dispenses with Joanna Ryte
    l
    lt in ve ry fo rthright vox po ng es betw een Sw eden 2004, vid
    Geoffroy’s inter p ex
    ve
    national televisi ntions were broadcasted changes. It’s a journey ins eo, 24 min
    on. primetime on gets to know, ide a white Swedish woman
    fa
    The Romania black man. It’s lls in love with, has sex with ’s head while she
    a wa and
    Heidrun Holz
    ns (Live like
    a king) th e ones on the ot ndering on the underworld splits with a
    feind no t a journey in he r sid e of ou of thoughts,
    Austria, 2002 r political co
    , vid
    Peter Plesa lef eo, 14 min dark sides of hu our obscure thoughts thou rrectness. It’s
    m gh ,
    t
    Romania to Au Romania in 1990, walking suppressed an anity – it’s a journey into ou neither in the
    d
    str all
    with his wife Au ia. Since 1991 he has lived the way from as a complex sublimated selves, with “s r collectively
    socio-historica elf
    portraits two “w
    relia in my gran
    dfather’s hous
    there together to ld in a diary form l construction ” understood
    ell int eg e. Th e at an d is . The storyline
    Their capitalist ra te d” immigrants Ro m anians wo man’s racial ab ou t the ambig is
    de wi
    with their form sires and apolitical views th common aims. voicing out a thoughts and desires for a uity of a white
    er ar hig hly sensitive bla ck man. By
    when they firs life in Romania and the dif e put in contrast artist does no
    t try to set us problem, such as racism, th
    t arrived in Au
    stria.—Heidrun ficulties they faced rather expose
    s ou
    into a liberating
    ex pe
    e
    The Walraff M
    Holzfeind barriers that hin r common fears and our rience. She
    de r us from re co ns tructed
    Thierry Geof ethod Gradually and
    boldly she reve aching towards each other.
    fro
    Denmark, 2002 y same time ab
    us er s
    als to us that
    we all
    and victims of
    , video, 4 min —Joanna Ryte
    l our social prec are at the
    onceptions.
    I want to look Att tän
    Thierry Geof like you
    ka tankar man int
    e vill tänka (To
    fro thi nk
    Denmark, 2002 y
    things you do
    n’́t want to)
    , video, 4 min

    38
    rogram 1 Prisoner,
    On Screen P ro m a B o u n d
    wing Blood F e
    A Human Dra orphic Cat Doing the Sam
    an Anthropom
    l5
    Sunday Apri Ossington )
    6 PM 001 Queen Street West at
    an Theatre, (1
    Joseph Workm an
    y What You C
    Admission: Pa I Deeply Regr
    et
    Karø Goldt y, 2008, video
    , 2 min
    rd now.
    Austria/German it’s so hard now, trying ha ng strong now.
    w, tti
    Trying hard no w, won’t be long now, ge fly...
    no fly,
    Getting strong flying high now, gonna fly,
    Gonna fly now,
    eth
    Cleopatra’s Te
    Mika Kiburz nt Egypt.
    mm, 17 min with the famed ruler of ancie l oral
    USA, 2008, 16 se ss ion s and ge ne ra
    n’s ob vities
    An oral historia e letters, dental decay, ca ument to the great
    lov on
    A montage of the cavity and erecting a m a, this
    13 Common Er
    1—9
    disease. Filling upon the excavation in 81
    nd
    Kempinski Cleopatra. “A lete.”
    so
    text will be ob

    Kempinski
    Neïl Beloufa rkness.
    enveloped in da s to
    video, 14 min village in Mali,
    France, 2007, ht in a sm all re sc ent tu be
    at nig by fluo
    We are outside acters emerge illuminated esent? “Today
    we have
    A series of ch
    ar
    t th e fu tu re . Or is it the pr d a few satellites soon
    abou an
    give testimony . We will launch space ships ion about the other
    at
    a space station to have much more inform communicate with
    us t
    that will allow , how we mus
    her stars.” Oh
    stations and ot
    the future!

    t
    I Deeply Regre
    n Theme
    The Presentatio

    tion Theme
    The Presenta
    lture
    Jim Traino r the Moche cu
    mm, 14 min nographies of a
    USA, 2008, 16 er from various myths and ico Theme is a visual artifact,
    n ern
    Cobbled togeth Trainor’s The Presentatio Moche lived along the north best
    Jim e rhaps
    of early Peru, ory that has no words. Th an d are pe
    st th centuries rate
    narrative for a tween the second and nin work, as well as their elabo e is
    coast of Peru
    be
    ed pottery and gold os t sc ho lar s, ther
    accomplish cording to m rly
    known for their grisly myths and rituals. Ac h of what is known of the ea
    eth
    Cleopatra’s Te
    of
    and sometimes Moche language, thus muc ey left behind. The goblet a
    e th r,
    no record of th n from the visual artifacts hooded priestess. A mothe
    aw a
    civilization is dr birds. A fanged man and
    ing
    blood. Humm encounter with the father.
    child. A sexual

    1–9
    Mary Billyou eo, 10 min dies erased,
    gures. Their bo t background,
    USA, 2008, vid y footage of convulsing fi ak es hif
    ur ainst a m hers:
    Early 20th cent ited out. A medium shot ag in the frame, uniformed ot
    rs
    covered up, wh le variation. There are othe in the trouble.
    litt
    repeating with s, police, soldiers? Trouble
    rlie
    doctors, orde
    Adrift
    Adrift s
    Julika Rudeliu , 2007, video, 6 min drones over a
    ds echanical room eir
    The Netherlan bal chant or the hum of a m le are asleep, or at least th e
    A song like a
    tri
    in a ro om . The peop ly sw ay in tim e with th
    le waitin g to gent d?
    scene of peop Together their bodies seem state or forcibly hypnotize
    d. is
    eyes are close ey been gently lulled into th
    sound. Have th

    40
    Canadian Arti
    st Spotlight: L
    Sunday Apri
    l5 ouise Bourqu
    8:30 PM e
    Joseph Workm
    an Theatre (100
    Admission: $1 1 Queen Street
    0 general/$8 st West at Ossin
    udents, senior gton)
    s, Images/Cin
    ematheque O
    ntario m embers

    Just Words
    1991, 16mm,
    10 min
    Fissures
    1999, 16mm,
    3 min
    Imprint
    1997, 16mm,
    14 min
    Self Portrait
    Po
    2002, 35mm, st Mortem
    3 min
    Jours en fleu
    rs
    2003, 35mm,
    4 min
    L’éclat du m
    al
    2005, 35mm, / The Bleeding Heart of
    8 min It
    For our 22nd
    ed
    by Louise Bour ition, the Images Festival is a little prayer (H- Going Back
    Ho
    twenty years, que. In her films that have br pleased to present this surv 2000, 16mm, me
    E-L-P)
    she often man ou gh ey screening of 1 min
    however, her ipulates the m t he r int er national recogn films
    pr at
    premiere of he oduction is becoming incre eriality of film as a site for dia ition for the last a little prayer
    her process of
    r most recent
    project, a little
    asingly interdis
    ciplinary as ev ris tic re fl ec tio n; 2009, 35mm, (H-E-L-P)
    reshaping the pr ide 8 min
    found image. ayer (H-E-L-P), which deplo nced by the world
    ys digital video
    Impossible Tr into
    ip
    By Michael Si s Back Home: The Film
    cinski s of Louise Bo
    urque
    Apart from the
    or the saturate va rie d textures of ph
    d ysical de
    aspect of Louis hues that result from tintin cay and worry on the filmst
    e Bo ur que’s cinema, g or parti rip, or the
    Bourque’s hous the iconic imag ally cameraless exposure, th fractured swaths of paint,
    space, with re es are complicated precise e to which sh
    e return
    e single most
    charac
    sp ly
    Bourque’s film ect to iconography of the because she places them s again and again, is the ho teristic
    s usually involv domestic. Thes at a juncture,
    and tactile man e some form of e houses hove or within a ble use.
    ipu nd
    about her work lations, so we never get “th found footage which is thenr at a dense twilight of repr ed, liminal
    es
    her childhood , and sometimes her brief en e house” as a straightforwar subjected to compositional entation.
    , excavating po d credits, that d image. But we processes
    etic resonanc
    es and unseen several of her key films wo know from statements
    This history an emotional valen rk with home
    d mov
    films, and it se its particulars are in no wa ces from Bour
    que’s personal ies from
    em y
    home would on s to me that knowing spec necessary for accessing Bo history.
    ifi
    keeps us on th ly serve to impoverish thes c details about the meanings urque’s work. These are no
    e e t
    The People in outside, and on that repres rich works. But more than evoked for Bourque by her esoteric
    th th ch
    psychological e House (1994) which spen entational cusp. After the ea is, that house, that façade, ildhood
    int rly always
    This is a zone erior—Bourque shuts us ouds a leisurely 22 minutes ex , rather Lynchian dramatic
    wh ploring the ho
    call them forw ere we must not only acce t for the rest of her career me as an arch work,
    ar th itectural and
    ken of individu d; we must also attend to ss our own visceral attachm us far. The “house” is now
    al Bo en clo
    gender codes longing. After all, the inside urque’s activation of a socia ts as the iconicity of the wo sed.
    ar
    (or decentered e learned and transmitted of that house is the domes l dialectic that speaks beyo rks
    ), (o tic nd the
    short circuited where desire is implanted r, hopefully, subverted), wh sphere, where historically
    in some unfore in the individu ere power relat defined
    the later work se en wa y). Bu al ps yc he through the Fr ion s ar e naturalized
    s never allow
    us inside Bour t aside from a few brief gli eudian family
    roman
    que’s house. m
    Instead, the m These are not pses of interior in 1999’s Fis ce (or
    ajo films about “h sures,
    (2000), Fissure rity of Bourque’s works— ome.”
    s L’é
    as a boundary, (1999), and most significant clat du mal / The Bleedin
    ly g
    personal histo both spatial and ideation, be Imprint (1997)—maintain th Heart of It (2005), Going Ba
    rie e ck
    memories of a s inevitably inform our reac tween the public and the pr exterior space of the private Home
    collective child tio iva re
    signposts, are hood, earlier re ns to Bourque’s works, ch te. The various ways in wh sidence
    also framed by cording modes arged as they ich our
    the inscription th e so cia l and , a los t su burb ar e wi th th e aff
    of
    Mortem (2002) gender. Throughout Bour historical legacies the films an promise, and other ge ective
    , qu ne
    wielded by Da we witness girls and wom e’s films, including her adm depict. Some are fairly broa rational
    dd en d,
    Fissures, for ex y. Bourque’s thicket of reph learning how to behave in irably incriminating Self Portr such as
    front of a cam
    the home mov ample, offers a perfect form otographed effects pulled era lens, parti
    ait Post
    ie’ al fro cu
    profilmic spac s subjects play with the cam correlative to the subtle ga m the jostled, off-track film larly one
    e era-eye. Fissu m st
    Z-axis, frameli (the domestic sphere of th res is a brief bu e of seduction and peek-a rip in
    ne e t -b
    but Bourque sp s, sprocket holes and all. amateur films) with film as riveting articulation and disar oo that
    elunks for signs In some respec sp tic
    and wonders ts Fissures reseace, its twisting movement ulation of
    right in her ow mbles the wo ac
    n backyard. rk of Peter Tsch ross the
    erkassky,

    41
    The windowed
    like “the family, façade of the Bourque fam
    ” ily
    the films them “domesticity,” “the heartla home recurs as a barrier be
    se nd
    The large hous lves. As such, it’s possible ,” and the radical specificit tween a social understand
    e to y ing of ideas
    rather tradition is both anonymous and so read certain of Bourque’s with which each viewer co
    al, family-first own specificit nf
    especially her ideologies it m mewhat imposing, implying ies back into th ronts
    th ay well have fo the large family e films.
    even rhapsodic ick, gritty manipulations of st
    colour, surface ered in its suburban atom it contained and the
    front of the ho plane, which could speak , an d su pe rimpo iza tio n. Bo ur que’s films,
    us to
    procedure in th e and, through painterly alt her background as well. A sition, operate on a dram
    er fi at
    mottled coagulais film is to overlay colour fi ation, vivifies it, turns it int lm such as L’éclat du mal ta ic, at times
    eld o
    Laura Marks’s tion of blood reds and bruis s via optical printing, and a damaged body. Bourque’skes the
    cr alt
    the filmmaker itical category) is a fragile ed blues are the dominant hough her palette is quite primary
    re en to va
    density of L’écla counts a complex, troublin velope, practically an open nes. The skin of the film (to ried, a
    t du mal’s corp g dr wo borrow
    oreal memory eam conflating Christmas timund. Bourque’s sound mix,
    Bourque’s treat mix. e and a battleg in which
    ro un d, adds to the
    waged both on ment of the house, the hom
    e
    respect to expe the personal (female) body space, as a site of drama,
    an tra
    Bourque’s Ac rimental film history in Canada d the social body, all place uma, and a fragmentary
    ad st
    upbringing ha ian-Québecois background . While it would be far too ea her work in a unique positionruggle
    s , sy
    removed from had an impact on her imag Bourque herself has implied to make broad claims rega with
    th er rd
    of Michael Sn e dominant threads of En y. At any rate, Bourque’s vis that the religious environm ing
    ow gli en
    style of Arthur , the wry elegance of David sh Canadian avant-garde pr ceral, embodied visions are t of her
    Lip qu
    Beckett adapta sett or the hesitant cosm Rimmer, the conversationa oduction – the cerebral conc ite
    tio ologies of Jack l editing of Ph
    her lips-only po n Just Words (1991), one Ch am be rs . ilip Hoffman, th eptualism
    ca In e
    language play litical treatise Pierre Vallière n see the fairly direct influencearly efforts, such as Bourqu paranoid
    is s
    otherwise dispa somewhat foreign to Bour (1972), but at the same tim e of Joyce Wieland’s work, e’s Samuel
    qu e, pa
    fuses formalist rate artists as Vincent Gren e. Like certain other French even Wieland’s offbeat hu rticularly
    ier m
    the better-beh investigations with explicitly , Donigan Cumming, and Canadian experimentalists or and
    aved Concep Sy
    tual lineage in dramatic gestures, a full-thr lvie Laliberté come to mind (such
    Canadian art, oa
    If any taxonom can seem down ted Expressionism that, pla ), Bourque
    y right jarring. ced against
    question—tags might prove useful for unde
    to those who and labels are a critic’s brea rstanding what Bourque’s fi
    wa lm
    true cinematic tch or those who produce),d and butter but frequently s do (and of course, this is
    “c a
    while retaining o-production,” Bourque ha it may pertain to Bourque’s fool’s game and seldom us an open
    its concrete co s int ef
    heritage, has
    be nnection to th been living and teaching in ersectional identity. At pres ul either
    e
    distance may en affected by hybridity an image of home and the cir Boston for years, and so he ent a
    we d cu
    as raw material ll have provided the nece distance. On the one hand mstances of her Acadian r work,
    ss , -Q
    one of the mos . But even more than this, he ary remove which allowed the geographical as well as uébecois
    t int r Bo ur te
    “tendency” (fo eres tin g an d most produc wo rk seem s less tied a trend qu e to tre at her own sp mporal
    r at
    in favor of expli lack of a better word) has to tive tendencies in recent ex or scene, and more indica ial history
    cit pe
    and the Struct ly theatrical effects. This do with a general renunciat rimental film and video pr tive of
    ur is ion of austerity ac
    “certain tenden alists but taken them in fu a cinematic mode that has for its own sa tice. This
    nd int ke
    Jeanne Liotta cy” in many ways, connectin amentally different directio ernalized the lessons of Br , often
    , David Gatten, g ns ak
    occasionally ev and others wh her films to those of Phil So . Bourque’s work seems to hage
    en operatic re o have taken sh
    alms. formal proced lomon, Lewis Klahr, Jennife are this
    ures into emot r
    Bourque’s film ive, evocative Reeves,
    s are exacting , and
    the basis of m in their constru
    ys
    exemplifies th tery and presence, anxious ction, but unrelenting in their
    is better than
    façade is ther Imprint, in som to vibrate before you like tu willingness to argue their
    e e ning forks for ca
    to the porch, again. It hovers and tremble ways Bourque’s simplest fi the unconscio se on
    and a klatch of s, we see a litt lm us
    clearly in its sh girls huddled le girl on the rig but also, in my opinion, he . No film
    ad in r
    negative, subje ow. Bourque loops this pa a family pose just in front ht hand side of the screen finest. The
    ct ss of ru
    this space met s it to scratches and dust age, whites it out, prints it the house, not quite dwarfe nning up
    ap , d
    the paterfamilia horically “blind,” Oedipali and scrapes the emulsion ouin negative, sandwiches po by it but
    ze sit
    But the camer s), pans up, left, and around d. The shot, handheld by th t of the house’s windows, ive and
    a , e taker of this rend
    ends with a m circles back, down and to into the trees and sky, as home movie (p ering
    edium close-u th if
    from her hat. p of two indist e right, into position once trying to avert his gaze from resumably
    Th inc m
    loop, resulting en, cut. Bourque hole-punc t children, one clearly a gir ore, again and again. The sethis space.
    in a kind of m l
    icroscopic iris hes this and other scenes and the other most likely a quence
    within the scen and gir
    e. (Freud’s rem affixes them to other pass l judging
    ark about child es
    ren as “little de of the
    tectives”

    Going Back Ho
    me

    Imprint
    Jours en fleurs

    42
    Just Words
    L’éclat du ma
    l / The Bleeding
    He art of It
    regarding the
    pr
    record, althoug ivate world of adulthood com Self Portrait Po
    st Mortem
    seemed like whh it is only apparent in retro es to mind.) On the soundtra
    ite no ise fro m the projector sp ec t th at th at’s ck : th e ch -c how,
    structural film
    s.) ’s sound head what it is. (On first viewing ch-chow of a skipping
    , not unlike th ,
    e materialist so this repetitive noise
    By the middle unds one find
    of Imprint, Bo s in many
    sprocket holes urque is optic
    , all
    and out of the bending and twisting in mucy printing the blurred imager
    fra y
    within the fram me altogether. Movemen h the same manner as Fissu of the original strip moving
    e. Figures and t within the im
    and rounded sp ac e m er ge age is redoub res. Framelines slip, the im free of the
    bla into an indistinc led or age
    only for it to re cks. Eventually, developer t set of compo halted by the filmstrip’s m goes in
    tu sp
    multitude of wa rn in numerous hand-tinted ots and thrashed yellow lea sitions in blueprint blues, ovement
    pu
    close proximity ys that a single set of imag configurations. By this point der obliterate the image co re whites
    es , m
    set of maneuve of these iterations will affec can be manipulated, reco Bourque is clearly examini pletely,
    t nfi ng
    or Owen Land rs well within the parameter the viewer’s apprehension gured, and re-presented, an the
    . s of structural of
    experiments, the image’s denotative cont d how the
    such as those
    But then, as th conducted by ents—a
    e Ken Jacobs
    “home” and “fa image is nearly broken ap
    ar
    an old record mily” are on the verge of to t by collaged fragmentatio
    of ta n
    of the image ha Enrico Caruso singing “A l disintegration, Bourque int and bulbous white areas, an
    Dr ro
    molten-alchem s become feverish and mor eam.” By this point in Impr duces a new, final elemen d the
    y work, as we e int t.
    But Imprint is ll as David Ga agitated, evoking Brakhage , Bourque’s work on the su We hear
    dif tte rfa
    Brakhage’s, giv ferent from all of these. Bo n’s environmental-distress ’s hand-painted films, Solom ce
    ur fi
    impastos and ing Imprint the raw feel of an que’s painting style is scra lmstrips such as What the on’s
    ph tc W
    “inside” it. Impr ysical accumulations are excavated artifact. Unlike Sohier and more weatherbea ater Said.
    int is clearly a perceived as ex lomon’s cine- ten than
    of the object. wo
    And, unlike Ga rk of additive and subtract isting on the surface of the metallurgy, Bourque’s
    elements that tte ive filmstrip, and
    affect Imprint, n’s films, Bourque employs sculpture, not a wholesale not somehow
    left buried for an ch
    a period of tim d most of her other films direct images and maintains emical reconfiguration
    explicitly enga e, is an except as well. (Self Po control over th
    ge ion rtr
    repetition in th with the plangency of song .) Nevertheless, Imprint sh ait Post Mortem, which Bo e
    e ar
    the film’s inter viewer’s psyche, in order to , the density of recorded m es an urgency and a willin urque
    nal time. attain a transpo emor gnes
    rtive experienc y, and the unconscious gli s to
    e, an “elsewh tc
    And this, I think ere” or an outs h of
    makers I’ve dis , sums up what is special an ide to
    cu
    history, ground ssed above, Bourque ha d valuable about Bourque’s
    ed herself in pr s moved throug films as a whole
    way to somet
    hing new. Wat actices and traditions that h numerous strands of expe . Like the other film-
    now, with the co ching Imprint, once seemed rimental film an
    Fis inc
    to attend to film ncrete materiality of the filmstr sures, or L’éclat du mal, we ompatible, and is now po d video
    int
    not imitation.” ’s own parameters best su ip and the film image. That is, are allowed to exist in the ing the
    But at the sam mmed up by we can satisfy here
    making, to en
    te e time, Bourqu Er nie Gehr: “film the formalist inj and
    She no longer r zones of emotive contem e’s films allow us to move awis a real thing and as a real unctions
    insists that film pla th
    she succumb
    to s actively prev tion, metaphorical connec ay from the surface of their ing it is
    en tion, and yes,
    split your cons the simple gratifications of t spectatorship that mov even narrative own
    ciousness, togg co es you to anot desire.
    ling you back nventional, non-materialist her
    Louise Bourqu and forth betw story-cinema. time or place, nor does
    een where yo Ins
    Her films have e is an Acadian-Québecois u are and wher tead, Bourque’s films
    be e you might ha
    Sundance, Ro en presented in forty coun filmmaker living in the Bost ve been.
    tte on
    London. US br rdam, Toronto, Tribeca, Sa tries in five continents. Scre area where she teaches cin
    oadcasts includ n Francisco, Ke enings at inter em a.
    Robert Flaherty e PBS and th rala, Sao Paolo national festiva
    ls
    exhibitions at Film Seminar and as part of e Sundance Channel. Bour , Hong Kong, Melbourne include
    Mount Saint Vi th e 2006 Whitne qu e’s work was an d
    Ontario, Toront nc
    o; and Hallwall ent University, Halifax; Mille y Biennial. She has also bepresented at the 50th
    s Contempora nnium Film W en featured in
    ry Arts Center, Bu or ks hop, New York so lo
    Michael Sici ffalo. ; Cinemathequ
    ns
    film and video ki is a writer and teacher cu e
    , which he ha rre ntly living in
    a regular cont s
    ributor numer taught at Syracuse Univers Houston, TX. His area of sp
    (Germany). ous publicatio ity
    ns including Ci , Binghamton University, an ecialty is experimental
    nema Scope
    (Canada), Cine d UC Berkeley. He is
    Talk to the Pi aste (USA) an
    d Cargo
    e
    Louise Bourqu 4
    e will be joined
    her film practic
    e. See p. 24 fo by Chris Gehman for a conv
    Monday April r details. ersation on
    6, 3 PM.

    43
    On Screen P
    rogram 2
    ff o r ts We De vote
    tion A ll Ou r E
    And to Perfec
    l6
    Monday Apri Ossington)
    7 PM 00 1 Q ue en Street West at
    Theatre (1
    ph Workman
    Jose an
    y What You C
    Admission: Pa

    O’er the Land

    Nature Morte i
    Akram Zaatar , video, 11 min uple of
    g takes of a co
    Lebanon, 2008 imarily consisting of two lon The elder of the two,
    pr .
    rkened room e, Mohammad Abu
    A quiet video
    working in a da nc
    men diligently r of the Lebanese Resista video All is Well On the
    be
    a former mem appeared in Zaatari’s 1997 es, while the younger
    siv
    Hammane (who e foreground making explo edle and thread. The
    th
    Border) sits in mending his jacket with a ne th Hammane exiting
    wi
    sits behind him ent actions of the men end cumentary nor fiction,
    do
    focused and int b on his shoulder. Neither tension between two
    m ent of silent
    the house, bo ilitary
    captures a mom t ambiguous m
    Zaatari’s video en, infusing this simple, ye ict in Lebanon.
    of m co nfl
    generations sistance and
    e history of re
    action with th

    O’er the Land an


    tm
    Deborah Stra m, 51 min , presents a
    m O’er the Land
    USA, 2008, 16 an’s epic new 16mm film, d national identity. Ever
    ra tm s an
    Deborah St vated threat e story of Colon
    el William
    militarism, ele
    meditation on scope, the film begins with th ed from his fighter plane
    its eje ct
    expansive in o, in 1959, out the
    Force pilot wh tes tossed ab
    Rankin, an Air d spent the next 45 minu finally making it back
    et an fo re
    at 48,000 fe a fierce thunde
    rstorm be
    t To Be Here,
    Stratman
    stratosphere by in her 2002 film In Order No questions through the
    . As se s
    to land alive say that po ole.
    n-narrative es make up the wh
    Nature Morte constructs a no a series of documents that and Revolutionary War
    juxtaposition of jumps to Ci vil and
    crash, the film , firefighter drills
    From Rankin’s high school football games ng to, nor harshly
    en ts , cr ibi
    re-enactm Neither subs her lens, Stratm
    an’s
    conventions.
    machine gun triotic NRA fervor in front of to project our view
    e pa pa st
    criticizing th
    gaze on the pr
    esent an d ns, freedom,
    atise on natio
    film focuses its future, an open-ended tre
    e
    forward into th
    terror and fear.

    45
    rogram 3
    On Screen P
    Siting Cinema
    l6
    Monday Apri Ossington)
    9 PM 00 1 Q ue en Street West at
    Theatre (1
    ph Workman
    Jose an Film Noir (100
    % Black Film
    1)
    y What You C
    Admission: Pa
    o
    Jorge Lorenz mm, 5 min, silent cks the light
    om. But the , 35 ue film that blo
    outside the ro Mexico, 2007 ock is an opaq . For almost five minutes,
    an y im po rta nce takes place n.” This quote from Robert tic so un d st
    35mm magne from casting onto the screen er, in its absence on the
    at’s of nditio
    tions of our co Andrew V. Uroskie, introdu of
    cing
    “Everything th of the projector screen is eliminated. Or ra
    th
    us of the limita n
    room reminds s the essay Siting Cinema by the contemporary exhibitio e
    the frame of th e frame border the audienc
    e?
    r t only
    Smithson open ct of locating a context fo g, with forms of cinema no lude screen, does
    th
    oje
    the author’s pr Here, siting implies a doublin through strategies that inc Daughter)
    . ed
    film and video cinematic experience quot and written word. d (Descartes’
    e en The Diamon
    located, but th toriography and the spok ll
    Emily Wardi m, 11 min ndering
    choreography
    , his m embodied wa
    UK, 2008, 16 escartes’ Daughter) is a dis ond protected by lasers;
    (D m
    The Diamond from a film including: a dia a homemade version
    in
    through scenes playing on a Nintendo Wii uld dress his subjects
    l
    images of a gir that Étienne-Jules Marey wo ic experiments; and
    e log
    of the costum ting Chromophotography; refracting light, the
    in when cond
    uc r lik e a cr ystal gments
    Words shat te up: sentence fra to jump
    Ready Maids. eling off of the text breaking though trying
    e re as
    dispassionat voice skipping
    amended, the
    are repeated, error.
    a programm ing

    The Pitch
    gler
    Isabell Spen , video, 17 min make this
    ing to try and
    Germany, 2007 , thanks for coming. I’m go ve much time. Um,
    12 x 26
    um n’ t ha
    Mount Shasta “Okay, well, t because I kn
    ow you do ll you the
    d um, let me te
    short and swee e got this idea for a film an put any money on it...”
    , I’v nt to
    so but, yeah you can decide if you wa
    story and then “Narrative of
    elanie Klein’s
    is : An Ab rid gement of M
    Boy/Analys is”
    a Child Analys
    Steve Reinke video, 6 min Child
    , Narrative of a
    Canada, 2008 t of Melanie Klein’s seminal y-three sessions
    m en l nin et
    An abridge The origina
    colour plates. min Britten.
    Analysis with te en . Music by Benja
    to six
    winnowed

    ughter)
    (Descartes’ Da
    The Diamond

    it—is ending
    as we know
    e sc re en ) th e universe—
    th
    (Just beyond Latimer
    cy pse looming
    Christine Lu video, 4 min digital apocaly
    ,
    Canada, 2008 eo hybrid depicts a rainbow y.
    wa
    This film and vida floating cinema entrance-
    directly outside

    Mount Shasta t know it—is en


    ding
    a part of a scrip iverse—as we
    Oliver Husain 16mm, 8 min screen) the un
    na da , 20 08 , re is a previsualisation of ne of the scenario (Just Beyond
    the
    Ca he yli
    ow presented e pitch the stor
    “The puppet sh at the moment. First, let m
    I’m wo rk ing on
    to you...”

    12 x 26
    terson
    Andrew J. Pa video, 6 min ated between
    08 , mber 26. Situ s
    Ca na da , 20
    se ct ion s all involving the nu s of Paterson’s word poem
    A project in 12 sing title sequences, a serie sequences of 26 images.
    e
    opening and clo 26 letter alphabet. 26 fram its the forms of structural
    e vis
    run through th 12 parts. A project that re
    in eo.
    A soundtrack nology of contemporary vid
    film via the tech

    46
    On Screen P
    rogram 4
    The Limits of
    What We Kno
    Amy Bodman w
    Tuesday Apri
    l7
    7 PM
    Joseph Workm
    an Theatre (100
    Admission: Pa 1 Queen Street
    y What You C West at Ossin
    an gton)

    The Limits of
    Amy Bodman What We Know
    Canada, 2008
    , video, 94 min
    In 1993, Amy
    Bo
    to it. Over the dman took a small crew to
    co Zim
    18 hours of 16 urse of nearly two months, babwe to make a film ab
    m ou
    returning to Ca m film and conducting int the four-person crew trave t the land and its people’s re
    nada, Bodman erviews and fi led throughout lationship
    worked on the eld re the
    The end result film on and of cordings amounting to 40 country, shooting
    f over the cour ho
    is
    Drought and Th constructed around a serie se of the next urs of sound. Upon
    s 15 years.
    of the country e Language of Trees—each of chapters—The Great Zim
    , th ba
    trees, or the he e making of clay pots, the of which explores issues bo bwe Monument, The Com
    construction of th posit
    than the accu arts of giraffes. The entire fi dams, as well concrete and ephemeral: th ion of
    m lm
    the natural an ulation of the whole. Throug , however, is less about th as the communication syst e history
    d e ems of
    environmenta the man made—The Limits h juxtapostion of all these ele particulars of each of these
    l critique. of What We Kn ments—the tra chapters
    ow is at once dit
    Though perhap a documentary, ional and the modern,
    a travelogue an
    period betwee s circumstantial by design, d an
    n m
    direction and ov her shooting in 1993 and uch of the power of Bodm
    er all resonance of its completion in an ’s film is develop
    from four year the work. Bo 2008, which ed through
    s
    state of relative of terrible drought and was dman visited Zimbabwe at has had a huge impact on the interim
    pe bo th in a period a time when the the shape,
    the land and th ace. As such, the Zimba
    bwe of the film of environmental and clim country was emerging
    is now framed e foliage alive and fertile, th ap pears, both ac tic rebirth as
    by the last de e people activ
    strife fueled by ca e and engage literally and metaphorically, well as in a
    conflicts in race de in the country’s history, d in their day- like sp
    and battles ov
    er land owners
    wh ich has seen a
    ne
    to -d ay lives. Yet this ring:
    Bodman’s sim
    ple hip. w er a of ec onomic and po footage
    and David Mac yet lyrical film is reminisc litical
    Do ugall, creatin en t of ethnogra
    conversation
    framing a shar g a filmic document that phic filmmakers such as Ro
    We Know stan p and univers is both humble bert Gardner
    d al an or
    specifics of th as documents: quiet portr analysis. The scenes and ch d generous to its subjects, Judith
    is time and pla aits of a peop ap te rs that make up with the
    upon which th ce as it is abou le and their en The Limits of
    ey subsist. It is t vironment. It is
    guide. a film that loo a broader disconnect betw a film as much What
    ks at tradition een civilization about the
    as a model fo
    r future develops and the ecosystems
    Amy Bodman ment, and his
    tory as a
    Institute, and was born in Detroit and mov
    in 1986 her firs ed
    City, the Montre t film, Tree Tale, to Toronto in 1980. She
    st
    of Life and Ot al Film Festival, the Videotro screened at the Independe udied film at Ryerson Polyt
    he n nt ec
    Fair of Young Fil r Tales from the Grimms sc Youth Festival and Cinemathe Film and Video Alliance in hnical
    re Qu
    Festival in Toro mmakers in Spain, the Hallw ened at the Vancouver Int que Ontario. Her next film Th ebec
    nt alls Contempo er
    the Athens Fil o, the Yorkton Short Film rary Arts Centre national Film Festival, the Int e Duration
    m Fe
    The Duration Festival in Ohio, the Emerso stival in Saskatchewan, th in Buffalo, the International ernational
    of e St
    of Colorado. Bo Life and Other Tales from th n Umbrella for the Arts, an Canadian Film Celebration orytellers’
    d in
    Toronto. The Limth of these films are availab e Grimms was also on Stan the Gaslight Theatre in Mas Calgary,
    its of What W le th Br sachusetts.
    e Know is Am rough the Canadian Filmm akhage’s curriculum at the
    y Bodman’s fi University
    rst feature-len akers’ Distribution Centre
    gth documen (CFMDC),
    tary.

    47
    On Screen P
    rogram 5
    Various Small
    Fires and Ice
    Tuesday Apri
    l7
    9 PM
    Joseph Workm
    an Theatre (100
    Admission: Pa 1 Queen Street
    y What You C West at Ossin
    an gton)
    The formal div
    isi
    temporality of ons between film and phot
    th og
    of Peter Wollen ese films and videos, com raphy dissolve in the Bernadette
    ing to light in th
    serialized imag ’s essay Fire and Ice. Here, e shadow Duncan Cam
    pbell
    e, th
    in the cinema. occupying a context depe e temporal image is a UK, 2008, vid
    eo
    functions in tim
    As Wollen note
    s, this is just on
    ndent upon its
    appearance When the North , 37 min
    circulation of th e. The other occurs on this e way that an image Devlin was pr ern Irish Republican politica
    oh l
    e republished
    image.
    page, in the cu
    rrency and Sunday, she pu ibited from speaking in parlia activist Bernadette
    regretted she nched the home secretary ment after Bloody
    “didn’t get him and proclaimed
    obviously hard by the throat”. she only
    here fully reco to historically pin down, a fa The firebrand Devlin is
    gn ct
    with mediated ises in his celebration of he that Duncan Campbell
    im r
    footage with an ages of her, he mixes fact political spirit. Working
    an
    portrait of a co imation and scripted voiceov d fiction, documentary
    mmitted indivi er to create an
    dual. intriguing
    On the Logic
    of Dubious Hi
    Peter Miller storical Acco
    an unts, 1969-1
    USA/German d Alexander Stewart 972
    y,
    Between 1969 2008, 16mm (18fps), 5 min,
    film bodies on an d 1972 NASA silent
    th astronauts
    way to cut do e moon, bringing only the left 12 Hasselblad 500C
    wn fi
    sort of thing. – on unnecessary excess welm back with them as a
    Alexander Stew ight; if you be
    art and Peter lieve that
    Miller

    The Inversion,
    Transcription,
    Evening Track
    ractorand Att
    Retrato Ofici
    al
    Francisca Du (Official Portrait)
    ra
    Canada, 2009 n
    ,
    Retrato Oficia video, 5 min
    l animates the
    great liberator desimulation an
    of
    Bernardo O’Hi Chile, nineteenth century d reconstruction of the
    ggins, and the re
    dictator Augu historical reach volutionary and republican
    st
    Raul Ruiz’s es o Pinochet. Based in part onof the late twentieth century
    sa
    Patricio Guzm y “Images of Images” and a conceit borrowed from
    an on Septem or
    exploration of ber 11, 1973, iginal footage shot by
    th th
    of video and st e mediated image and the e short video is an Bernadette
    ill image techno mne
    logies. —Fran monic possibilities
    The Inversio cisca Duran
    n,
    Stephanie Ba Transcription, Evening Tr
    rb ack and Attra
    USA, 2008, vid er ctor
    A mechanized eo, 13 min
    voice relays ap
    over a series of proximately 25
    sta
    photographs collages constructed by Ba tements about photograph
    of well known y
    Candida Hofe artists (Uta Ba rber that recreate the
    r, rth
    subtle superim Deborah Willis), each imag , Kohei Yoshiyuki,
    position of the e ac
    original photog companied by the
    raph.

    On the Logic
    of Dubious His
    torical Accoun
    ts, 1969-1972

    Retrato Oficia
    l (Official Portra
    it)

    49
    n a n d A ccess: orpus
    T h e P ie 5 s e r v a t i o e m a t i c C
    Talk to
    G a r d e F ilm Pre G e n e r o us Cin
    Avant- eorge Kuchar’s
    Saving G il 8
    day Apr
    )
    ssington embers
    Wednes S tre e t West at O th e q u e Ontario m
    7 PM atre (100
    1 Queen s/Cinema
    man The rs, Image
    ork ts, senio
    Joseph W 8 studen
    n : $ 1 0 general/$
    Admissio

    ress
    I, An Act VD
    n’s two-D
    a ti o n F oundatio classics of
    I, An Actress Preserv eo debut of 26
    tional Film id st avant-
    re le a s e of the Na 7-1986, a home-v merica’s foremo lm.
    -a w a it e d F ilm , 1 9 4 w o rk o fA ri m e n ta l fi
    t the long an Avant-Garde e
    cases th on needs of exp
    e
    h brough ric s IV show ti
    This Marc easures IV: Ame aking. Treasure special preserva me of the or
    Tr m
    box set, experimental film ws attention to th
    e s offer so F
    a va n t- g arde film their own work.
    ,
    American archives and dra p o o r c
    g
    onditions d with preservin hly flammable film
    de r e ig
    garde film tored un lmmakers concern nitrate film, the h te’s nonflammab nt
    le
    d often s
    a s ho e string an to archives and fi ost exclusively on shown that nitrasession will prese
    Made on sing challenges oncentrated alm ssing years have problems. This t years.
    s c a n n
    most pre preservationists fortunately, the p rious deterioratio s evolved in rece
    , n a ental
    decades d before 1950. U , has its own se rvation agenda h n instrum
    e lm
    stock us , acetate safety fi ate how the pres
    e
    a ls w h o have bee reservation
    individu r, National Film P irector,
    substitute es and demonstr ith three to t (D
    u cussion w rt (Assistant Direc and Haden Gues from Kuchar’s
    these iss b e a talk a n d d is
    ff L amb e h iv e s); e d film s
    ill Je A rc prese rv
    gram w films:
    Antholog
    y Film
    g of three
    g the pro e Kuchar’s
    Beginnin rvation of Georg ert (Film Archivist, will be a screenin
    se
    in the pre n); Andrew Lam mpanying the ta .p lk funded
    program
    o
    Foundati ilm Archive). Acc 60s, 70s and 80
    o s
    G a rd e Masters
    n t- n.
    F
    Harvard ork spanning the h the Ava ation Foundatio
    d throug rv
    body of w b w e re preserve tional Film Prese Archive a
    nd
    N ig h t o f the Bom istered by the Na w it h H arvard Film
    pri and admin operatio n
    Motel Ca Foundation and hive in co
    by the Film e P a c ific Film Arc
    d by th
    preserve
    ess was
    I, An Actr uchar.
    George K
    mnation.
    apri a soul da
    Motel C 6, 16mm, 18 min murder to spare
    8
    USA, 19 Superior commit
    s stitute.
    co Art In
    A Mothe
    r
    t th e S a n Francis as set up the
    mine a ent w run
    dents of the heavy equipm es ten minutes to
    tress r five stu
    I, An Ac 7, 16mm, 9 min utes with four o s. By the time all 00 feet of film tak out.
    7 in s s
    USA, 19 as shot in ten m r a girl in the cla minutes. Since 4 n’t stop till it run
    w fo n o
    This film e a screen-test ll we had was te ust start it and d
    b a J
    It was to just about over; was the answer:
    s t
    class wa e camera ... tha ages.
    through
    th le for the
    te a c a u tionary ta
    b rea
    the Bom bine to c
    the Bom
    b Night of 3, 16mm, 18 min delinquence com
    of , 1 9 6 n g e d
    N ig ht USA dera
    lust and
    Teenage obyl of Comedy.
    C h e rn
    The ar)
    rge Kuch
    lm n o te s by Geo
    (all fi

    50
    April 8
    Wednesday
    9 PM Street West)
    an Th ea tre (1001 Queen
    ph Workm

    fo r S t u den t Jose
    Admission: Pa
    y What You C
    an

    S is
    Curated by L iy a H y u n J o o Choi (Univers
    it y o f
    son (Onta
    T o ro
    ri
    n
    o
    to), Owen Sh
    C o ll e g e
    eppard
    of Art & Desig
    n)

    it y ), a n d M a tthew William
    (York Univers Annual Repo
    rt
    a
    Cristina Brag rtugal
    University of Po video, 5 min
    , fixed to their
    Portugal, 2008 ic gorillas with numbers af tailed and
    w m an y pla st is ye ar ? Th is de
    Ho
    nced for you th the daily
    asses have da otion almanac counts down
    lig ht fu l st op -m
    de
    Verbal Burglary
    goings-on.
    me
    Morning Will Co et
    The Red Carp
    er
    Joerg Homm Berlin
    ts
    University of Ar , video, 5 min
    ariot, and let
    Germany, 2008ed, step down from your ch ants, let there
    rv
    “Now my belov y lord, touch the Earth. Se ed to see,
    m ct
    not your foot, re the house he never expe Agamemnon
    .”
    be spread befo ds him in, a crimson path
    lea
    where Justice
    by Aeschylus
    tch Us)
    Will Never Ca
    t igen (They
    Nu hander de rg and Gabriel Watson
    Us) Frank Aschbe in
    ll Never Catch em
    t igen (They Wi Diagonal Akad video, 5 min
    Nu hander de , of slow motion
    The Red Carpe
    t Sweden, 2008 re! Perhaps the best use
    wa
    Gentlemen be her year.
    in this or any ot
    ry
    Verbal Burgla i
    Mani Mazinan of Art and Design
    Ontario College video, 4 min Wu-Tang
    ,
    Canada, 2008 tionary get put through the ree of video
    Pages of the dicd come out as a smooth pu
    Clan blender an
    Child
    mayhem.
    Crazy Insides Insides
    Those
    Those Crazy
    Ben Wheele nt University
    In Between Nottingham Tre , 7 min h animated
    eo
    Mischa Lein
    kauf ne UK, 2008, vid oscope were this sexy... lusvegetarian.
    ad em y of M edia Arts Colog icr
    If only a real m yet another reason to be
    a
    Ac in
    , vid eo , 9 m journey is the textures provide
    Germany, 2008 r tests the old adage “the
    ra ilw ay ha nd ca hy sical!
    A t’s get (meta)p uis
    destination.” Le I Love (St.) Lo
    yk
    Joe Lachajcz
    when I cry wa
    University of Io m, 6 min
    It only hurts e m th an overactiv
    e
    Da ni el M cI nt yr USA, 2008, 16 t naïve and ambitious, wi o trouble.
    ew ha elf int
    York University 16mm/video, 6 min Lucy is som getting hers th a cartoon
    e goes slowly
    by. d a knack for
    ,
    Canada, 2008 ly even think of him, as tim when I cry... imagination an er, she and Ricky co-star wi
    as ev ch.
    rd
    ...You see I ha nothing’s wrong; it only hu
    rts Charming e Gateway Ar
    ips through th
    I just go on as
    if shark doing fl

    Spinners
    Fern Silva Party
    r the Student
    Bard College the e screening fo
    mm, 7 min s of the past at Join us after th 92 Queen Street West
    USA, 2008, 16 16mm film revisits passion
    l The Beaver, 11
    This old-schoo k.
    FREE
    roller-skating rin

    Child
    Altan Yücel iversity
    Istanbul Bilgi Un eo, 1 min
    vid e.
    Turkey, 2008, d enjoy the rid
    eath, relax, an
    Take a deep br
    Come
    Morning Will adeh Dezfoulian
    riz
    Pouyan Jafa
    York University video, 17 min tween
    , nal tensions be
    Canada, 2008 offer a glimpse of generatio the screen and drift
    es ss
    Haunting imag e for freedom. Swim acro a vase can contain
    sir
    tradition and de of lovers and rivers; see how
    s
    through dream
    the ocean. 51
    rogram 6
    On Screen P
    43 After 66
    ril 9
    Thursday Ap
    7 PM Dovercourt)
    Street West at
    (1087 Queen
    Theatre Centre an
    y What You C
    Admission: Pa Monk
    itself.” — Philip
    an ge s in fi lm ’s return upon ad and Andy
    Warhol are
    “Something ch tu rn of film s by Tony Conr ip. For his performance
    re sh
    contemporary but by way of dual-author ructural
    o projects, the e, of these two st
    With these tw ugh the appropriated imag rger retain the frameworks absent from the originals.
    ro be e
    framed not th Ian White and Althea Thau rms for subjectivities that ar
    ,
    and for her film y them as platfo -signed.
    ing so redeplo co
    films, and in do Chelsea Girls; signed and
    d
    The Flicker an

    Chelsea Girls

    r”
    g for “The Flicke
    Ibiza: a readin

    Flicker”
    ing for “The
    Ibiza: a read Flicker are
    1966 film The
    Ian White rm an ce , 40 min cin og en s of Tony Conrad’s n about the real: an asser-
    rfo llu iza is a questio ergy, a response to a
    UK, 2008, Pe ory and the image-less ha
    st in a face-off. Ib en
    A real life true aneously, like parallel lines with nonetheless some good e. Not Ibiza, but the room
    es en te d sim ult pe les sn es s ag ina ry sp ac
    pr ho im
    e or a kind of al history and
    tion of differenc d a specific time, a person
    ec ific pla ce an
    sp
    White
    we’re in. – Ian

    Chelsea Girls rger 66 Andy


    ct takes the 19
    Althea Thaube2 x 16mm, 64 min Vi ct or ia, Th au berger’s proje oduce a portrait of a
    , r pr
    Canada, 2008 by the Art Gallery of Greate parture to collaboratively ents. Living on site for
    de
    Commissioned e same name as a point of tical issues affecting the residand visual recordings that
    th
    Warhol film of complex and the socio-poli th the inhabitants, the audio ion format as Warhol’s
    wi ct
    Victoria housing der to work collaboratively side in the same dual-proje
    or
    two months in uced are presented side byrallel lives.
    od
    Thauberger pr the plural experiences of pa
    g
    film, suggestin

    52
    rogram 7 in the Lo ng Grass
    On Screen P Y o u r M in d
    stl e with
    I Want to Wre
    ril 9
    Thursday Ap
    9 PM Dovercourt)
    Street West at
    (1087 Queen
    Theatre Centre an
    y What You C Holy Smokes
    !
    Admission: Pa an
    Loren Hartm eo, 12 min ous
    -paced, humor
    USA, 2007, vid Gilles Deleuze in this fast r tongue. A vitriolic
    ts he
    Rip Taylor mee of masculinity and the mot ultiple personae
    m
    deconstruction Loren Hartman) presents donment of language
    a
    Larry Pirata (ak and pratfall toward an aban and queer politics,
    r er
    that rant, swea as the location of transgend movement and
    and biography tead the nebulous space of
    investigating ins es a talking horse!
    lud
    utterance. Inc
    Consciousnes
    How to Lose
    Consciousnes Gary Kibbins video, 17 min g incisive, frequ
    ently
    How to Lose ,
    Canada, 2008 th language and text, craftinical language games
    wi
    Holy Smokes! Kibbins plays s akin to poetry or philosoph ious belief, torture and
    lig
    humorous gem mptive constellation of re
    de
    in this “non-re .”
    rm
    Commercial
    s meaningless fo
    Erica Eyres video, 7 min services such
    , products and
    Canada, 2007 k advertisements for various ncement tapes and the dino
    r Made
    A series of moc s, Uplift self-confidence en
    ha Judith van de , 2008, 16mm, 30 sec ration of
    ds a surreal illust
    an
    as Psychic Je ll. The Netherlan -motion aesthetics, dino is conversation. Sorry,
    op wanders fro m
    fake pet Fur Ba Using lo-fi st
    when your mind
    that moment st say?!
    Women u ju
    Men Seeking what did yo
    Pe nn y La ne “men seeking
    eo, 5 min ents a series of
    USA, 2007, vid erated “average male” pres morous, and at times
    en , hu
    A computer-g und on Craigslist. An ironic
    women” ads fo ent on the “personal” ad.
    m
    disturbing com
    ter
    Close Encoun
    t
    Zak Tatham video, 7 min y work withou
    , does not reall
    Canada, 2008 and give advice to yourself ’s not just physical.
    h at
    Trying to touc angle or a good workout th
    an edgy love tri
    ’s Girlfriend I‘ve Loved Be
    fore
    Someone Elserald Craig To All the Boys
    James Fritzge video, 2 min ppella
    , ulti-voice, a ca
    Canada, 2008 r 8 footage and a found, m portrait of an unknown
    pe ul
    Using found Su gerald Craig creates a wistf title, combined with the
    itz ’s
    soundtrack, Fr out into the ocean. The film lnerability of the human voice
    g
    woman wadin footage and the haunting vu real and metaphorical.
    rry th
    degraded, blu s gone by—bo
    ies of summer
    evokes memor
    Before
    ys I’ve Loved
    To All the Bo
    Ariel Smith
    , video, 4 min the phone to
    s, waiting for
    Canada, 2008 her gothic fairytale confine lover’s phone call.
    in siv e
    A girl sits with on the elu
    humorous take
    ring... A darkly

    ter
    Close Encoun

    dino
    Women
    Men Seeking

    53
    Super 8 Late Thursday Ap
    11 PM
    ril 9
    Curated by C
    hris Kennedy Theatre Centre
    Admission: Pa
    (1087 Queen
    Street West)
    y What You C
    an

    Aufhebung
    François Boué
    Germany/USA,
    20 07, Super 8, 8
    min
    1997A (Arrival
    Steve Polta )
    USA, 1997, Su
    per 8, 10 min
    Mylar Balloon
    Jason Halprin Rip Off
    USA, 2007, Su
    per 8, 3 min
    Light Speed
    Karen Johann
    USA, 2007, Su esen
    per 8, 6 min

    1997A (Arrival)

    A House Full
    of Dust
    Steve Polta
    USA, 2007, Su
    per 8, 10 min
    Some Days Ag
    Takehiro Naka o (Kajitu)
    Japan, 2008, mura
    Super 8, 5 min
    Des nuages
    au
    Philippe Cote x fêlures de la terre
    France, 2007,
    Super 8, 18 m
    Light Speed in

    On a descriptiv Mylar Balloon


    Rip Off
    station, momene level these films are unam
    ts in an apartment. big uo us
    resonate throug To stop there, —documents of movers, a
    format of Supe h each of these films. It is however, is to
    ignore th
    train entering
    an underg
    r 8, transform ap
    unassuming th ing the smalles propriate that these films ex e expressive undercurrents round
    at its obituary t of frames int ist so lely and singu that
    creates beautifu has long ago o the richest of lar ly on the intim
    l clouds. been written, experiences. Th ate
    but these six is is a form
    filmmakers sh
    Most of these ow that even at so
    filmmakers star evaporation
    home-movie fo t from the com
    through her bli rmat. In Light Speed, Karen monplace, the everyday, re
    nds and the pa Jo co
    of a passagew rallel patterns hannesen creates an extre gnizing the medium’s histo
    ay ry
    Full of Dust find and the chain-link fence she finds in her immediate mely kinetic film from the lig as a
    of vic ht coming
    dust and light s him capturing the detaile her yard. Steve Polta’s ap inity—her fire escape, the
    , while 1997A d pr br
    Takehiro Naka (Arrival) succinc moments of a home, foregr oach is more contemplativ ick wall
    m ou e.
    glass apple, th ura also abstracts his surro tly draws out a beautiful ab nding the passage of shad A House
    e kind that inn undings in So straction from ows,
    apocalyptical ocuously sits m his
    nightmare. on a family co e Days Ago (Kajitu) by shoo morning commute.
    ffee table, disto ting through a
    rting his neigh
    Philippe Cote
    ’s borhood into crystal
    an
    roughly translat film is anything but common
    Mount Blanc. es as the clouds in the fissur place, harnessing instead th
    Through beau
    furious cloud tifully graphic es of the earth, and it finds e energies of high altitudes.
    pa co him traveling up Its
    Mylar Balloon tterns that circulate around mpositions and a stunning the French Al title
    Ri us
    the irony of his p Off watches more sedate the glaciers and peaks of th e of time lapse, he reveals ps to
    title and of his air currents, th em th
    muse. is time man-m ountain range. Jason Halpr e
    François Boué ade, in a subt in’s
    ’s le fi lm th at belies both
    Aufhebung, wh document of New York m
    ov
    philosophical ich is another clue to the te ers lifting large crates up a
    cir ns st
    carrying forth cles it also translates into su ion in these films. The title airwell is given the German
    a lite
    so precariously tradition. Perhaps this is th blation—superseding, putti rally means up-lifting, but title
    e ng an end to, in
    preserves a fu balanced—each projection process at work in these fi but simultaneo
    ture. is a small act ne us
    of destruction ly wrought films, made in a ly
    , but also an ac m
    t that brings fo edium
    rth and

    55
    Live Images
    5
    Art Since 196
    0 (According to
    Hanne Mugaa
    s & Cory Arca
    the Internet)
    Friday April 1 ngel
    0
    7 PM
    Theatre Centre
    (1087 Queen
    Admission: $1 Street West at
    0 general/$8 st Dovercourt)
    udents, senior
    s, members

    How is the int


    er
    participation, net changing our perceptio
    th n
    self-regulating e internet presents an idios of art? In its indiscriminate
    m yn ca
    reinterpretation echanisms of the internet cratic account of art since taloguing and non-hegem
    by its users. make artworks 19 onic
    and art world 60. The democratic and
    Hosted by Plea information ea
    sily accessible
    informal multim sure Dome and the Images for
    edia lecture pr Festival, Art Si
    discourse on esented by Hann nc e 1960 (Acc
    co
    normally gove ntemporary art that is unfo e Mugaas and Cory Arcangording to the Internet) is an
    rn ldi
    users,” states the systematization of art ng on the world wide web. el that examines the alterna
    M ar te
    museum is re ugaas. The academic discip e dismantled by the search “The control systems that
    jec
    are overwhelm ted by internet users post line of art history is bypass algorithms and whims of ho
    ing on art. Ce
    ed
    results when th by the sheer quantity of rtainly institutioned and the curatorial rigour me
    po s of
    irrelevant and is level of discourse is lost? sts by users who ignore th have their websites, but th the
    elitist notions? Are the long es eir ey
    tablished theo methodologies. What are
    ries of art mer th
    Gathering toge ely fusty conc e
    th eits;
    and how they er art images, video and au
    ar
    ideas has resu e contextualized by its user dio, Mugaas and Arcangel
    lted in a variety s. surv
    of contiguities, They offer their view on ho ey the internet’s art collect
    conflations an w this open so ion
    Cory Arcang
    el d co llisions. urcing of art an s
    Check out an is an internationally renown d
    d try out his re
    programming ed digital hacker known fo
    works at www. r his
    Hanne Mugaa beigerecords.c conceptual art projects.
    om/cory/tags
    View her colle s is a curator of art ephem /artwork/.
    ction of audio er
    visual posting a as well as a thought prov
    s at http://hann oking art and
    e-mugaas.com culture pundit.
    /artblog/.

    56
    al INC ITE!
    Saturn R
    eturns
    n ch for the journ
    n d l a u
    Scre ening a e
    Kashme
    r
    by Brett
    Curated
    pril 10 t West)
    Friday A Art (9 5 2 Q u e en Stree
    structure ell
    Canadian pose and ss
    9 PM Contem p o ra ry
    usic as a m e a n s to com er Three, Ben Ru k-out
    s Numb tive frea
    of n mploy m e Trypp ’s collec
    Museum t You Ca Others e Black and Whit a rock audience yers it to the poin e
    t of
    is s io n : Pay Wha image s . In
    n s fo rm in g ll- S m it la
    h p p e d in th
    Adm time, tr a ichael B e elly’s Tr a n’s
    distends ce ritual, while M daptation of R. K sman Richardso
    n a Ta s
    into a tra sure in his dense what you see in ys 80s icons in it nt.
    o lo e
    visual era hat you hear is als oncrète that dep military recruitm
    d
    Closet. W , a video-audio c mote warfare an rming footage
    e re fo of
    The Gam of video games, ilar terrain, trans seething morass d
    n
    mash-up urata explores simFirst Blood into a h Xander Marro a ,”
    d
    Takeshi M 982 film Rambo program ends wit e/whiplash “rewin
    :
    1
    from the abstraction. The gle-frame barrag ll.
    in a
    electronic man’s 01/06, a s t, improvised squ
    k
    Mat Brin artists’ discordan g Thing)
    set to the tty Youn
    PYT (Pre ik
    te
    etal Parki
    ng Lot Tara Ma 4, video, 4 min
    m at ed Heavy M U S A , 2 00
    The Ani y’s
    every f R. Kell
    n o n th at occurs s for C h a p te rs 1-12 o loset Synced
    e C
    l phenom h the time it take in the
    Trapped ed Simultaneou
    sly
    strologica it it
    rn R e tu rn is an a life; coinciding w s” to the degree hold a n d P lay it h
    The Sa tu erson’s t “retu rn jor thre ings Bell-S m
    ars in a p the plane ver a ma Michael 5, video, 4 min
    27-30 ye orbit the sun. As birth, we cross o currently undergo - S A , 2 00
    to e of o u r n is hind , re U
    Saturn at the tim neratio youth be
    e. My ge
    occupied e next stage of lif me when we leaveture. e
    to th e ti e fu 01/06 The Gam ichardson
    and in Return, tholidify plans for th an R min
    t S a tu rn s ta ri a n d T a s m , video, 4
    its firs
    te th e p ast, and x p e ri e n ces via A ntities C a n a da, 2007
    evalua al e ide
    ared virtu ces. We changed concept
    s, we sh (Pink Do
    t)
    in g u p in the 80 ones and post offi bcultures, a novel TV Untitled urata
    Grow g p ayp h a n d su e s , a n d h i M
    d usin styles
    networke ing in and out of rned sounds into Rs put recording
    imag Takes , 5 min
    07, video
    p
    often, slip e. Music videos tu Mix-tapes and V , and sampling
    C USA, 20
    . ls ic
    at the tim r social exchange ands of individua abling new mus ander
    u
    framed o osition into the h duction further, e
    n 01/06 n and X
    x ta p -p ro e d . M a t Brinkma
    and ju of re ook
    d the field the overl logical Marro 6, 16mm, 13 min
    expande from the old and . Techno s and 0
    to e m e rg e n to fa d e e USA, 20
    t a ffi lia ti ons bega traded in our tap m the ps Number
    Three
    l
    cen We fro Tr yp
    erimenta
    s, adoles hanges. guidance nti- Black an
    d White
    al of Exp tics is a
    In the 90 lleled personal c lue in rigor and ging form and a art l E ! J o u rn e
    ra va n e avy Meta INCIT esth
    shifts pa Ds. Some found s pursuit of challe and embrace th . ated He Radical A to the
    bought C e, especially in it ct popular culture ntemporary worl
    d The Anim ot Media & ation dedicated munity
    L p u b lic and c o m
    rd
    avant-ga st stance. To reje treat from the c the bomb.
    o Parking pnet new
    e, culture and
    ri
    consume and 70s was to nd noise rock we
    re re u
    Leslie S 8, video, 2 min discours ental film, video ade
    s a l 0 0 f e x p e ri m g handm d
    e 6 0 l film a ra tio n S A , 2 o M e rg in
    of th tura u
    nce for d avelength
    U ia. ybri
    For a wh
    ile, struc our patie e Trypps new med platforms, this h f
    n iu m , w e’ve lost Snow re-made W in radical la c k a nd Whit a n d online sses the lack o nd
    ille n hae l red B ddre lm a
    e new m Even Mic has ushe over Three journal a ention afforded fi
    Now, in th and jam bands. e time. YouTube n’t trust anyone Number sell 1 1 m in c a l a tt to d a y.
    s
    aesthetic who don’t have th utes (the new “D al, and portable. s.
    o Ben Rus 7, 35mm/16mm, criti ts workin
    g
    th o s e 1 0 m in e , ve rt ic w m o ve U S A , 2 0 0 m edia artis nline.net
    r r ne ite-o
    fo
    othing ove be concis y are the ome ning: H www.inc
    brevity: n ant our media to and simultaneit instream and bec ic ed Liste
    ”) . W e w e n s a ti o n o n e m a tre , m u s P e rf o rm
    30 d g n
    sion, con res have s and ce lson
    Marisa O7, video, 7min
    Compres e time, subcultu eeting of margin abulary of shared 00
    t th e s a m . In th is m a d e vo c U S A , 2
    A
    rms, tags a readym
    search te sageway, offering motional cues. s e The
    is th e p a s o rt h a n d e and mas Messag ric
    p e ri e n ce and s
    h
    ro u n d histories and O li v e r La , 2 min
    x rg d
    e
    both und
    e the soun 07, video
    s p ir a tion from reening sublimate ression. Leslie USA, 20
    g in c p
    Absorbin e works in this s transcendent ex Lot illustrates her All Shine
    On
    h
    culture, th e music to reac vy Metal Parking lassic, remaining g: And We Robinson
    th a c in e l
    Micha 6, 16mm, 7 min
    visualize The Animated He 86 documentary Performed Listen 00
    Supnet’s enes from the 19 . Marisa Olson’s ik’s PYT re-vision ing, USA, 2
    c le g Happy
    favorite s its no-budget sty he, and Tara Mate rnalizing, rearran We orry Be
    faithful to aric’s Message T e 70s and 80s, in l Robinson’s And ile,
    te Don’t W l mix)
    L e h s fu
    H, Oliver tial songs from th ve lyrics. Micha e Happy, meanw ive (stres Ciocci
    n ti ss
    quintesse out their respec ci’s Don’t Worry B singles for expre ing Jacob 005, video, 3 min
    g c it s USA, 2
    and actin n and Jacob Cio a pair of familiar h r his NJS Map, u w
    O e
    All Shine iguous signifiers to silent treatment fo velopment of “N p
    weld amb th Price prefers a e the historical d .
    e NJS Ma e
    c in
    affect. Se diagrams to outl t influential genre
    in Seth Pri 1-02, video, 2 m
    0
    animated g,” a forgotten b
    u USA, 20
    in
    Jack Sw

    60
    Live Images
    6
    Feedback Loo
    Bryant / Migo
    p
    ne / Parant /
    Friday April 1
    Lemieux and
    0 Ben Russell
    11 PM
    Theatre Centre
    (1087 Queen
    Admission: $1 Street West at
    0 general/$8 st Dovercourt)
    udents, senior
    s, members

    A double bill of
    Lemieux. Russ cinema beyond the screen
    ell fe
    Gods, which re (who is currently the Visit aturing 16mm projection pe
    ing
    performance visits a clip from his own film Artist in Residence at LIF rformances by Ben Russell
    ble T) an
    various physica nds the loops from the film Daumë as the basis for a do will present The Black and d Karl
    W
    abstracted field l interventions between len with a soundtrack compose uble-projection performance hite
    s and screen
    of bodily expe
    rience.” to “interrogate d with hand-built synths as . The
    the possibility we
    Over the past of representatio ll as
    se n via the
    performances veral years Montréal-base
    th d
    or four project at redefine the classical av Lemieux has been creating
    ion an
    ranging from old s at a time Lemieux build t-garde tropes of hand-m a body of multi-projector 16
    s an m
    drawing on, sc westerns to educational fi loops from a library of foun ipulated film. Often working m film
    ra lm d
    burn and disint tching, and cutting into th s. Lemieux pushes these footage, stitching together with three
    egrate in the lig e em cellu imagery
    collaborating
    wi ht. Memory Da ulsion as he slows the loo loid loops to their physica
    loops and ele th Christof Migone, Jonath ta Register is a new perfo ps into trance-like flickers l limits:
    ctronics. an Parant and rmance in wh that
    David Bryant ich
    who will be pla Lemieux will be
    Ben Russell ying reel to re
    is el tape
    screened in sp an itinerant photographer,
    ac cu
    Company build es ranging from 14th cent rator and experimental film
    ur /v
    storefronts an ings, police station basemen y Belgian monasteries to 17 ideomaker whose works ha
    d the Sundan
    ce Film Festiva ts to outdoor punk squats th century East Indian Trad ve
    l to the Museu , Japanese cinem ing
    Karl Lemieux m of Modern
    Art. atheques to Pa
    (1998), KI (200 studied cinema at Concordia risian
    1), Motion of Lig University and
    (2008). He is ht (2 00 4) , W ha s crea te d
    a
    and screening co-founder of Double Nega estern Sunburn (2007), Tras veral short films including
    se
    of experimenta tive, a film colle h Th
    l film. ctive based in and no star! (2008) and Pa e Bridge
    Montréal focu ss
    David Bryant sed on the prod age
    is uction
    You! Black Em a founding member and
    pe a
    atmosphere, so ror and Set Fire To Flames driving creative force behin
    . d
    studio in Griffi und landscapes and unorth It was in the latter group th Montréal musical collective
    ntown, Montre odox recording at s
    al. techniques. Cu Bryant developed his obse Godspeed
    rrently, Bryant ss
    Christof Mig runs The Pines ion with
    one is a multidi recording
    bodies, perform sciplinary artis
    t
    retrospective ance, intimacy, complicity and writer. His work and re
    on his work ac an se
    companied by d endurance. In 2006, the arch delves into language,
    a catalogue an Ga vo
    Jonathan Pa
    rant has work d a DVD entitled lerie de l’UQAM presented ice,
    Flames (Alien8 ed with Montré Christof Migo a
    al ne - Tro u.
    the collective recordings) and Feux Thérès music collective Fly Pan Am
    Just’Au Crane e (Constellation (Constellation
    with Montréal (w
    musical collect ith Alexandre St-Onge) an records). He also works as records), Set Fire to
    ives Kantnaga d
    no and Meurtr Pac Pac (with Simon Brow a radical performer with
    e. n). He is now
    working

    61
    CURSE!
    Saturday Ap
    ril 11
    1:30 PM
    Joseph Workm
    an Theatre (100
    Admission: Pa 1 Queen Street
    y What You C West at Ossin
    an gton)

    In 2008, The Im
    year-long resid ages Festival and Charles
    en St
    were submitted cies to five mid-career an reet Video teamed up to of
    d fe
    the awards ce in the spring of 2008 and established artists. Propos r
    re wi als
    “curse”, the wi mony of the 2008 Images nners were announced at
    nning artists we Fest
    this in any wa
    y re left to prod ival. Given the theme of
    results, which they saw fit. One year on, weuce a work that interpreted
    range from Ar
    gentinean altar are presented with the
    s to Greek myth
    ology.

    Altars
    Altars
    Guillermina Bu Curse Cures
    Canada, 2009 zio Believing Mak
    ,
    In Argentina it video, 6 min Steev Morga es it So
    is
    devoted to pe not unusual to come acro Canada, 2009
    n
    op ss
    accidents or so le who have tragically died popular altars ,
    Do you feel cu video, 2 min
    roads you will cial injustices. If you travel because of rs
    Aside from the ed? Research indicates yo
    en alo
    streets of Buen counter a Gauchito Gil alt ng Argentinean u
    and co-worke day-to-day curses of your sp probably are.
    ar,
    others. Consta os Aires is an altar from Crog and in the rs
    fatwas, papal there are the institutional cu ouse, neighbors
    nt
    interventions int ly in flux, these altars act magnon, among bu
    Apocalypse. BA lls and of course the bigge rses, such as
    o public spac as ephemeral st
    e. of curses using NISHIT! provides instant re one of all, the
    lie
    technology. Ge a unique blend of ancient an f from all manner
    Curse Cures t yours now! d post-moder
    n
    Lesley Loksi
    Ch
    Canada, 2009 an Ariadne’s Th
    ,
    The arrival of video, 10 min Sarah Sham ad
    re
    a
    factory. This st new worker causes change Canada, 2009 h
    as
    ory is a reflectio s in
    n on labour an a blue jeans ,
    This experimen video, 12 min
    d transparenc
    y. myth wherein tal short film takes its name
    Ar fro
    The Professo
    r and the Blin to kill the Mino iadne falls in love with Thes m the Greek
    ta eus who seek
    Penny McCan d Girl gives Theseus ur in Daedalus’ labyrinth. s
    Canada, 2009 n a Cl
    way out of the ball of red thread so that ever Ariadne
    , video, 7 min labyrinth after he may find his
    A young soldi the artist/filmm killing the Mino
    er
    War I finds him newly returned from the ba ak
    is each person er is as convoluted as the taur. The path of
    self adrift and ttl
    and unable to alone, traumat efields of World to another, the
    ’s life trajectory. lab
    From one arch yrinth itself, as
    sp ized by the wa
    Professor and eak. A chance encounter r weaves in and red thread leads the viewer itectural maz
    his wi
    his power of sp companion, a young Blind th a strange ou on a journey th e
    intrusive presen t of a dream like state an
    eech and with
    it, his hope fo
    Girl, restores t reality. d an occasiona at
    r the future. lly

    62
    On Screen P
    rogram 8
    Hotel Diaries
    John Smith
    Saturday Ap
    ril 11
    3 PM
    Joseph Workm
    an Theatre (100
    Admission: Pa 1 Queen Street
    y What You C West at Ossin
    an gton)

    Hotel Diaries
    John Smith
    United Kingdo
    m, 20 01-2007, video
    , 82 min
    Made over six
    years in the ho
    connect Smith tels of six diffe
    ’s re
    upon elements personal experience to th nt countries, Hotel Diaries
    e is
    architecture, fu of chance and coincidence, ongoing conflicts in the Midd a series of video recording
    rn s
    linked to majo ishing and decoration becothe hotel room is employed le East. In these works, wh that
    r world events me the means as ich
    . by which the a “found” film set, where th play
    Comprised of filmmaker’s sm e
    se all adventures
    which Smith lau ven short chapters, each are
    wo
    In these extem nches into a sharp and witty rk is a single take lasting be
    poraneous ad monologue m tw
    observations
    in dr es se s, Smith eandering thro een five and fifteen minute
    which leads to the most critical of situatio finds a way to make the m ugh a series of free associa s, during
    ns un
    rier wall that lur the border crossing in Gaza : a triangular-shaped choc dane significant and forms tions.
    ks just outside ; in olate ob
    his window an a hotel room in Bethlehem bar leads to the pyramids lique
    Smith’s videos d the mysterio , his gaze is div in Egypt,
    us ris e and fall of th ide d be
    ar
    that unpacks an e the most subtle of works, e ceiling tiles in tween the bar-
    ne his room.
    stake out a po issue from the side or botto ver approaching an idea dir
    sit m
    time of war. Ini ion for the viewer at the bo , rather than the top. Throug ectly, but instead developing
    tia rd an
    Blair and Bush ted in 2001 and completed er of the conflicts in Palestin h his comedic strategies, Sm analysis
    regimes, captur in e, Ira ith
    ing snippets of 2007, Hotel Diaries stands as q and the general global cli ’s works
    news and even a m
    John Smith wa ts through Sm record of the War on Terro ate at a
    he became inv s born in London in 1952 ith’s insightful ga r and the
    olved in the ac an ze .
    Materialist ide
    as tivities of the Lod studied film at the Royal
    College of Art.
    power of narra that dominated British artis ndon Filmmakers’ Co-op. Af
    tiv Strongly influe ter graduating in 1977
    reality, playfully e and the spoken word, he ts’ filmmaking at that time, nced by the St
    ex plo ring and expo ha s de bu t als o ructural
    film, video and sing the langu veloped a body of work wh fascinated by the immersiv
    the world and installation works that have age of cinema.
    Since 19
    ich reworks an
    d transfo
    e
    aw be
    He teaches pa arded major prizes at man en shown in cinemas, art 72 John Smith has made ov rms
    rt-time at the y int er national fi ga lle rie s and on er fo rty
    University of Ea
    st London wh lm festivals. John Smith livestelevision throughout
    ere he is Profes
    sor of Fine Art. and works in London.

    63
    On Screen P
    rogram 9
    ti v e M emory Device
    e as a C o ll e c
    p
    The Landsca
    ril 11
    Saturday Ap on )
    est at Ossingt
    6 PM 1Q ueen Street W
    an Theatre (100
    Joseph Workm an
    y What You C
    Admission: Pa

    Revival

    ver Nothing
    Nothing is O
    an Sc hwartz
    Jonath and others wh
    ere he
    mm, 17 min
    USA, 2008, 16 r places where the lord fell, ks...we found...was
    re ot he lan dm ar
    There we curious d that
    e of the most ed and scarre
    rested; but on built into a house...so seem e human face. One
    st on e nc e to th
    cumented)
    a certain grotesque rese
    mbla
    e that the ston
    es did
    of mechanics
    (is not well do it bore a sort of id, “But there is no evidenc said calmly, “This is
    the generosity gr im s sa re ne . He
    of the pil rfectly se , The
    guide was pe t.” – Mark Twain
    cry out.” The es that would have cried ou
    Quiero Ver one of th e st on
    Adele Horne eo, 6 min ve Desert Innocents Abro
    ad
    on in the Moja mented)
    USA, 2008, vid le gather near Lopez Cany of cameras towards not well docu
    Crowds of pe
    op inting all typ es
    ages they ne ro si ty of mechanics (is
    each month, po ations in the im th the the ge
    on the 13th of pare the abstract light form plo res bo ahl
    Troy Gronsd video, 1 min t. The
    m en t ex
    the sun to co Horne’s document of the ev c rituals and spiritual , wheel alignmen
    . bli Canada, 2008 was in desperate need of a thing shook like crazy.
    have captured ological means of these pu n
    “That old truck was jittery; in fact, the dam e vehicle inspected.
    material and ide steering whee
    l
    int m en t to have th t on this
    transformation
    s. led an ap po cumented, bu
    Harold schedu of mechanics is not well do wheel alignment was
    y a
    The generosit termined that termined that Harold’s
    Revival sion, it was de de
    particular occa Upon further inquiry it was e tremors
    Heidi Phillips 16mm, 8 min e shoulder. Th
    , rious thrift stor
    es in not necessary. e when he raised it above th ry.”
    Canada, 2009 per 8 originals found in va ces of barren arm would shak rold continued to wash cutle
    Su en
    Composed of s’ film brings together sequ g helicopters to had started; Ha
    rin
    Montréal, Philliptstretched hands and hove d rescue.
    an
    landscapes, ou e a sense of isolation, risk v = d/t
    hauntingly evok n Christie
    Amanda Daw 16mm, 8 min distances betw
    een
    Cana da , 20 08 ,
    e po ss ib ilit y of measuring is co m pr ise d
    Kalendar es th dtrack
    This film explor ugh time zones. The soun ail when individuals
    Naomi Uman mm, 10 min loved ones th
    ro t on voicem ple and
    an made while es sa ge s lef
    ts present sim
    USA, 2008, 16 of six recent works by Um recent years. one m
    of personal ph ect, while the visual elemen s.
    on e in
    Kalendar is village in cent
    ral Ukraine
    h the months could not conn ages of antique telephone
    living in a small itative her film cycles throug of the seasons contemplative
    im
    ed ls
    Silent and m menting the timeless ritua early 20th
    e
    of a year, docu e Uman’s family lived in th Path
    er
    in the area wh fleeing to the west. an
    Elvira Finnig video, 3 min in
    century before , e, constructed
    Canada, 2007 Hampton Court Palace maz maze in the world,
    ag e of th e ou s ex ist ing
    Foot aps the most
    fam itoba’s
    found in Man d to limit
    1689 and perh th Anishinabe petroforms e de sig ne
    wi es ar
    is contrasted . The structure of the hedg nged in patterns of
    ra
    Whiteshell area of the Canadian Shield, ar to inspire teaching
    s
    sight; the rock and humans, were created wisdom of colonizing
    e
    turtles, snakes re, Finnigan interrogates th
    and healing. Hed culture.
    versus colonize

    Buried Traces
    ith
    Michelle Sm video, 8 min ive of
    , s upon an arch
    Canada, 2008 four chapters, Smith draw plore the cultural
    ex
    In this video in photographed images to ich the history of
    d
    both found an is identity and the way in wh subsumed within
    ét d,
    hybridity of M main hidden or uncovere
    re
    Quiero Ver its people still tionality in Canada.
    narratives of na

    64
    CLOSING NIG
    HT GALA!
    Live Images
    7
    Cloud Eye Co
    Saturday Ap
    ntrol and Amm
    9 PM
    ril 11 o Factory
    Theatre Centre
    (1087 Queen
    Admission: $1 Street West at
    5 general/$12 Dovercourt)
    students, seni
    ors, members

    Dreaming of Lucid Living. Ph


    This year’s Im oto courtesy of
    ag
    Angeles-based es Closing Night Extravaga
    Holly Andres
    co lle ct ive Cloud Eye nz a feat ures a double
    both of these Contro bill with
    groups repres
    ent a fresh, ne l. Combining pop music, liv Toronto’s Ammo Factory
    w take on mult e an
    Opening the sh imedia perform performance and video projed the Los
    Smith and writt ow is Ammo Factory’s new ance. ctions,
    work The Voice
    on reality as hisen by Liz Peterson, the pie Ov er . Starring
    ce
    along his rout life begins to echo the even tells the story of a strugglin Alex Lukashevsky, directe
    ine paths until d
    he becomes trats of a film that he is hired to g musician who starts to los by Matt
    nsfixed with a ov e
    The Voice Over singing strang er-dub. He walks through his grip
    and Miwa Mat will be followed by two wo er. the city
    re rk
    themes of tech yek’s solo piece Dreaming s from Cloud Eye Control (F
    nology, time, sp of Lu ina
    scientific exca
    va ace and the hu cid Living. These interdis l Space and Subterranean
    aerobics work tion and futuristic dream su man body through fantas ciplinary performances each Heart)
    out dance party cking machines tical ex
    ! . Come for the tales of interstellar advent plore
    performances, ure,
    stay for the int
    Ammo Factor eractive
    y
    work that chall is an experimental theatre
    en collective base
    pieces to explo ges the boundaries and th d in Toronto. Si
    e
    voices that th re issues of censorship in ar cultural placement of theatre nce 2004 they have been
    reaten capitali t, th e cr im inalization of se . Using both narrative and creating
    performances, st power struct xuali non-
    ur
    melodrama ins from a biographical work on es, Ammo Factory has prov ty, and the disenfranchisem narrative
    pired by recent 1920s lesbian en to create tru ent of
    collective has re se arch on String Theo pla yw rig ht Mercedes de ly un iqu e multi-media
    begun to bridg ry. Often pres Ac
    e its own relat entin os ta to a scien
    ionship betwee
    Cloud Eye Co n the media ar g performances in gallerie tific
    nt ts and theatre s,
    Anna Oxyge rol is a Los Angeles-based communities in the
    n m Toronto.
    their work fuse and Chi-wang Yang. Integ ulti-disciplinary performance
    s ra
    been presente screen and stage to create ting animation, experimen collective comprised of Miw
    d ta a
    Platform Inter both nationally and internatio inventive hybrids of animat l theatre, pop music and pu Matreyek,
    national Anim nally. Recent sh ion and perform ppetry,
    ation Festival ow ing s inc an ce . Th eir wo
    and the TBA Fe lud
    stival at the Po e the REDCAT NOW Festiva rk has
    rtland Institute l, 2007
    for Contempo
    Stick around af rary Art.
    Ceremony an te r the perform
    d Closing Ni ance for the Awards
    ght Party!

    65
    66
    Sung Hwan Kim, Installation View, Photo: Mieke van de Voort

    69
    Projects
    Red Bull 381 ite 200
    reet West, Su
    (AGYU) 381 Queen St
    York University 14
    Art Gallery of st Building April 9 – May 6 – 9 PM
    K ee le St re et, Accolade Ea ni ng Th ur sday, April 9,
    4700 Ope
    ects.com
    416 736 5169 redbull381proj
    yorku.ca/agyu
    There.org
    theAGYUisOut
    14
    April 8 – June ay April 8, 6 –
    9 PM
    ni ng R ec ep tion: Wednesd ril 8, 6 PM
    O pe nesday Ap
    an ce Bus Tour: Wed
    Pe rfo rm nday 12 – 5 PM
    ne sd ay 10 AM – 8 PM, Su
    PM, Wed
    ay 10 AM – 4
    Monday – Frid
    ed
    Saturday clos

    Daniel Borins

    Elodie Pong

    os
    ism of Forms of Music Vide Oliva (Brazil) an
    d
    The Commun e + Time – The Strategy ille r (C an ada), Fernando
    ag
    Sound + Im n anada), Ea rl M
    e Chhangur (C eli
    Group Exhibitio olas Brown (Canada), Em n whose
    ch
    Curated by Ni e (Brazil) olving exhibitio
    ze nd M us ic Vi de os is a fluid, ev ect a Toronto context.
    Marcelo Re of refl
    – The Strategy nsidered and updated to issioned for
    Image + Time co ecifically comm
    un ism of Fo rms: Sound + o Paulo, 2006) has been re added, and new pieces sp York University (AGYU)
    The Comm n (Galeria Verm
    elho, Sã t, others Gallery of ation
    rks dropped ou nues—the Art the transform
    first presentatio been edited, with some wo en divided between two ve es Festival. In considering iginal spirit but also
    ha s s be Im ag n’s or
    The playlist n. The exhibitio
    n itself ha this year’s
    of evoking the
    exhibitio of
    ated itself into r “communism
    this presentatio 1 Projects—and has insinu e curators were conscious emselves—to create anothe After Party, and a
    ll 38 he r, th rk s th yT ub e,
    and Red Bu ce to anot
    the strategies
    of the wo play II, M in artists’
    n from one pla Replay I and Re rious themes
    of the exhibitio gies for presentation akin to s—Black Album, Flipside, nctions as an archive of va the genre to form new
    st ra te seven prog ra m s— fu e to
    of finding astro focu ific referenc es with
    YU, a series of ic collective assume vivid ns that diverge from spec d within the venues continu an with
    forms.” At AG by th e nomad ur es ins tallatio be tw een an (L ea rn Germ
    wo rk ct s fe at as h- up n Ka nt
    program of ile Red Bull 38
    1 Proje
    image and tim
    e. The m it Petra Vo rpoint
    rne Deutsch m a filmic counte
    music video, wh e interplay between sound, Festival of Ming Wong’s Le AGYU, not only provides n to the viewers’
    of th ag es itio n at en sio
    reiterations programmed
    by the Im the centre of th
    e exhib s another dim een visual artist Patrick
    t also provide
    an intervention ). Wong’s installation, now in the music video genre, bu ion ed collaboration
    betw
    Ka nt rk ing in co m m iss
    Petra Von by ar tis ts wo
    ition includ es a ne wl y
    taken up
    to the themes e exhibition itself. The exhib asy) for the AGYU Vitrines. hibition that
    th
    experience of ician Owen Pallett (Final Fa
    nt prehensive ex
    d m us of M us ic Vi deos is a com . By centreing on an
    Borjal an – The Strategy parameters of music video video’s privileged position,
    Image + Time e ic
    of Fo rms: Sound + , critiquing or expanding th e exhibition considers mus to addressing
    The Com m un ism nc ing ts , th s. In addition t with memory,
    ar t infl ue nc ed by , re fe re
    us ic vid eo fo rm at pr es en
    cu rre nt co ns umer societie int o co nt ac
    considers the m m of ou r on coming nts:
    the possibilities hyper-capitalis ses how music videos, up eir three primary compone r in
    investigation of er and consequence of the Fo rms addres nin g through th gin g the viewe
    pr od uc un ism of d m ea by en ga
    at once e Comm w form an es multiple read
    ings
    tical milieu, Th , take on a ne
    the socio-poli ectators’ emotional states “communism of forms” evinc
    an d sp eo , th is es .
    nostalgia usic vid ible scen of such art,
    and time. In m ndry stories behind the vis national survey
    sound, image ns tructing su eo th rough an inter ven programs at AGYU — ic
    s of re co us ic vid
    a proces ally analyzes m Who Misses Much. The se reflecting not only the mus
    rms pluralistic s
    ly, Th e Co m munism of Fo 1986 piece, I’m Not the Girl cover a range of tendencie background of the artists
    According ina l s— and
    g wi th Pi pil otti Rist’s sem ns at Red Bull 381 Project also the diverse approach
    beginnin by related insta
    llatio gs but
    ls and meanin
    expanded upon’s bricolage of variant visua
    ra dig m
    video pa

    70
    its ideological
    apitalism and n
    us ic vid eo ’s ties to hyper-c tion. Laura Belém’s and Iai
    m func -fire
    s Su pe r Ele gantes, critique music video’s consumerist ng down traditionally rapid
    as Lo nd slowi and
    e works, such of content beyoeo formats by, for instance, e simultaneous narcissism edium.
    included. Som ile others provide a range ed music vid influence of th in the video m
    du ct s, wh s es ta bli sh ide rs th e clu siv ely
    by-pro Pollard’s work
    alter
    David Blandy’s,
    cons d not ex ilton’s
    tion-based an ile Anitra Ham
    Forsyth & Jane iting. Recent work, such as ojects, the work is installa the music video genre wh functions, such as
    vid eo ed ll 38 1 Pr m en ts of ic vid eo ’s
    music
    of YouTube. At
    Red Bu rmal ele of mus e-inspired
    ludes some fo es. Some shared aspects Weekend Leisure’s karaok ship
    egalitarianism ike Hansen’s new work inc th no im ag , su ch as ac t relation
    Toronto artist
    M l audio track wi other models rk offers an abstr
    rk pr ov ide s only a musica ate its visual language with mages. Consequently, this wo d to raise open-ended
    new wo nfl ho de eo
    ng, while othe
    rs co , which is inten at a music vid
    illustrating a so to music video erning how one defines wh ction and when
    fun
    questions conc ated from its consumerist culture to the
    er r
    is when it is lib paradigm has permeated ou ar.
    cle
    the music video undaries may indeed be un
    point that its bo
    , Bad Beuys
    List of Artists vivid astro focus, Bani Abidi vid Blandy,
    e Da
    AGYU: assum Márcio Banfi, Laura Belém, os Super
    (L
    Entertainment, ll.Miletic, Miguel Calderón Marcelle,
    Bu
    Daniel Borins, on, Marilá Dardot & Cinthia rsyth & Jane
    Elegantes), Co
    co a Ferro, Iain Fo Graham,
    bio Faria, Chelp dney
    Dennis Day, Fa que Gonzalez-Foerster, Ro Kaoru Katayama,
    Pollard, Domini ike Hansen, The Histrionics, Peaches, Elodie
    ,
    Maki Guerzi, M Laibach, Rodrigo Matheus chardson,
    a, Ri
    Yuki Kawamur und, Sara Ramo, Tasman i,
    yo, Corine Stüb
    Pong, Stuart Poorgio Ronna & Matias Agua
    Pipilotti Rist, Gi
    van der Werve
    Tetine, Guido
    + Owen Pallett
    Patrick Borjal
    AGYU Vitrines:
    ong
    ntion: Ming W
    Wo ng AGYU Interve
    Ming
    heus,
    , Rodrigo Mat
    itr a Ha m ilto n, Mike Hansen
    An
    ady Cranfield,
    ifer Marman, Br .
    Da nie l Borins & Jenn Soares, Weekend Leisure
    Proje ct s: ka Toronto.
    Red Bull 381 s, Andrew J. Paterson, Vales tor residing in
    M or ale an d ind ependent cura
    W ag ne r a cr itic , d artist.
    ll 381 Projects, dent curator an
    n is th e cu rator of Red Bu Yo rk Un ive rs ity, an indepen
    Nicholas Brow e Art Gallery of
    /Curator of Th
    ur is th e As sistant Director
    ng ing in Toronto.
    Emelie Chha
    arts writer resid
    ind ep en de nt curator and Paulo.
    Earl Miller is
    an Image in São
    th e M us eu m of Sound and
    at
    a is a curator
    Fernando Oliv São Paulo.
    tor residing in
    nd e is an ind ependent cura
    Marcelo Reze Von Kant)
    Petra
    German with
    Vo n Kant (Learn
    ch mit Petra
    Lerne Deuts mmer
    Berlin in the su iner
    Ming Wong pr ep ar at ion fo r his move to
    nt (1 97 2) by Ra
    07 in
    Singapore, 20 sion exercise of Petra von Ka rstensen goes through
    cultural immer rman film, The Bitter Tears
    te d th is wo rk as a sort of favo ur ite Ge Ge rm an ac tress Margit Ca t only is educating
    ea his ich
    Ming Wong cr himself in the title role of s the climactic scene in wh German dialogue, Wong noneed to articulate his
    ing e
    of 2007. Cast der, Wong carefully re-enact n. In learning and acting th self for the words he may
    tio him
    Werner Fassbin erate emotional disintegra , but potentially preparing
    sp re
    a hysterical de rnerstone of German cultu single, gay ethnic minority. and
    co , s of language
    himself with a oving to Berlin as an aging s th e pe rfo rmative veneer ien in Berlin, The
    m re
    own emotions an
    s practice explo rie and Künstlerhaus Beth ll be representing
    Singapore. Hi wi
    es an d wo rk s in Berlin and exhibited his work at MKgale Media among others. He
    &
    Ming Wong liv the moving image. He has le and ZKM Center for Art
    h na
    identity throug London, the Jakarta Bien of Ontario
    British Library
    in ennale. , the Province
    ye ar at th e 53rd Venice Bi na da Co un cil for the Arts
    Singapore this iversity, The Ca nto Arts Council.
    ted by York Un ro
    of Yo rk Un ive rsity is suppor ty of Toronto through the To
    Ci
    The Art Gallery tario Arts Council, and the
    through the On

    s
    unism of Form
    Bus to The Comm
    Performance the free performance bus Wednesday April 8 from
    on on
    Please join us AGYU. Departing at 6 PM
    e
    exhibition at th rning at 9 PM.
    tu
    OCAD and re

    71
    A Space Galle
    ry
    401 Richmon
    d Street West, March 20 – A
    416 979 9633 Suite 110 pril 18
    Off Screen La
    aspacegallery unch: Saturday
    .org Tuesday – Frid April 4, 2 – 5 PM
    ay 11 AM – 6
    Sunday April 5, PM, Saturday
    12 — 5 PM 12 – 5 PM

    Distracted Bu
    llets
    Joana Hadjit
    Lebanon, 2001
    homas and K
    — 2008
    halil Joreige Khiam 2000 –
    2007
    Joana Hadjith
    om
    generation that as and Khalil Joreige have
    and archives an grew up in Lebanon during been working as filmmaker
    th s
    brings together d the traumatic and destru e civil wars of 1975 to 19 and photographers since th
    four video-bas ctive elements 90 e
    ed works repr of recent Leba , their work is rooted in an 90s. As part of the
    esenting their ne inv
    The centrepiece diverse approa se history. This exhibition, estigation of images
    camp of the sa of the exhibition is their newe ch to image m their first in Ca
    aking. nada,
    me name oper st video Khiam
    minute video at ed by the South Leba 20 00 – 2007 (2008)
    from 2000 alo non Army. This , which focuse
    go back to int ngside a “rem doub s on the
    er ak
    off limits and no view the same six former pr e” of the work shot in 2007 le channel installation situa notorious detention
    pic tu res existed of iso ne rs of th (fo llo wi ng the July W tes their or
    museum by He
    zb it. Followi e ca m p. At the tim ar of 2006) in wh iginal 52-
    the impossibility ollah and then destroyed ng the Israeli withdrawal, th e of the original video, th ich the artists
    of representatio again e ca e cam
    n, interviewing in the war in 2006. Through mp was dismantled and m p was completely
    th es e former priso th es e em or ial
    Accompanying ners about their recordings, Khiam 2000 – ized as a
    With You (200 this piece are three addition history with th
    e former instit
    2007 conside
    rs
    1 – 2008). Dist al video works, ution.
    on five different racted Bullets Distracted Bu
    oc ca sio ns (from the Fe is a sin gle channel video lle ts (2 005), Lasting
    ablaze with th ast of that Images
    e
    Joreige’s uncle explosion of fireworks and the Cross to the re-electio presents five panoramic vie (2003) and Always
    , who was kid gun shots. La n of Emile Laho ws
    oped was noth na sting ud), the video of Beirut. Shot
    ing more than pped during the civil war. Th Images consists of a sin shows the nig
    oddly sentimen fogged white e film was unpr gle Su pe r 8 reel ht sky
    tal slogans us im
    ed in the post ages, from which little can ocessed for 15 years, an shot in the 80s by
    er campaign lea be dis ce rned. La d wh en finally de
    Born in Beirut ding up to Be
    in
    fiction films, do 1969, Joana Hadjithom irut’s parliamen stly, Always With You depicvel-
    cumentaries an as and Khalil tary elections ts the
    kept secret— Joreige are ar in 20 00 .
    and also on th d photographic installatio tis ts an d filmmakers wo
    at a large num eir status in th ns. Their work rking co
    be e fo
    Ramad (Ashes r of film festivals as well as area of the world to which cuses on latency and the an llaboratively on
    ) was selected in nu m er ous art centre th ey be lon g. Their docum ecdotal—i.e.,
    Festival artist fo r th e Cé sar Awards in s and internatio en the thing
    Ra
    Hadjithomas an bih Mroué and Catherine France. Their nal museums. taries have been shown
    d Joreige live Deneuve) scre most recent fe In 2005 their fi
    ened at the To atur ction
    in Paris and Be
    irut. ronto Internatio e Je Veux Voir (starring Imag film
    nal Film Festiva es
    l in 2008.

    72
    31
    April 8 – May April 9, 6 – 9 PM
    ec ep tion: Thursday PM,
    Blackwood G
    allery Ope ni ng R , Sunday 1 – 4
    Road North, M
    ississauga
    da y – Fr id ay 11 AM – 5 PM
    M is si ss au ga Mon
    3359 ed
    Saturday clos
    905 828 3789
    lery.ca
    blackwoodgal

    Stolen Waters

    ld Koroshegyi,
    Sup Kim, Arno
    s ve
    Blackwood Bu the free bus to awashawa
    awashawave Antonia Hirsch, Young- ood on PM on
    rt ie r, el ly W Please join us pa rti ng at 6
    Louis Fo , Michael Sn
    ow, K Gallery. De
    at Blackwood from the Gladstone Hotel
    Diane Landry ristof Migone 9
    by Ch Thursday April 9 PM.
    Curated that can be at
    being
    our desire is a Alas! it is the extension and returning
    at the object of .
    We imagine th us, enclosed within a body e that it has occupied
    re tim
    laid down befo all the points of space and pretations of
    of that being to . —Marcel Proust and literal inter
    cu py itio n inv es tig ating figurative study on Proust, Beckett
    oc
    and will , is a group ex
    hib
    gst many. In his t is active, but
    all ite ra tiv e tit le that slips by d shifts of being one amon e spirit, a descent. The artis is exhibition
    with the ions an ion of th eddy.” Th
    awashawave, the resulting perceptual tens tory, immersive, a contract awn in to the core of the wave will epitomize
    d va dr ha
    inundation an only fertile research is exca cumferential phenomena, inherent in the eddy. awas from the fixed to
    e cir ity s,
    stated that “th king from the nullity of extra t to pay attention to the fluid e single image to the serie being flooded,
    th ncept of
    negatively, shrin tegorical declaration and op n, examining the shift from ce ts of th e co
    scope (Landry),
    ca rious fa into a praxino eaker wire and
    will resist such llow in the mud of perceptio dense mass. Examining va m achine turned ite sp
    r, an d wa able po int to a a wa sh ing ou t of wh
    the blu from a discern series of work
    s: from
    ramic objects
    made logy and
    digital techno
    the unmoored, ll present a heterogeneous nals (Snow), to delicate ce anner-camera that fuses ite “sonic” images
    ve wi ra dio sig e- bu ilt sc ck an d wh
    awasha wa twav e a ho m nse bla portraits
    rk utilizing shor es produced by nverted into de of abject self-
    to an audio wo of washing (Kim), to imag hegyi), to audio tracks co stadium (Hirsch), to a series
    ds os y
    diffusing soun otographic techniques (Kor ing the “wave” in an empt
    do
    19th century ph eo projection of someone ec, namely at
    (Wood), to a vid (Fortier). roughout Québ
    ed in wa x lo an d grou p exhibitions th
    render a number of so d l’Œil de Poisson.
    participated in an
    s Fortier has eNéo7, la chambre blanche hibitions in
    Montré al ar tis t Lo ui erous group ex t
    B- 31 2, Pl ein Su d, Cl ar k, Ax
    an d ha s pa rti cipated in num ris, and at the Vancouver Ar
    Galer ie ro ss Ca na da , la vil le de Pa
    ns ac erne de
    d solo exhibitio ns at the Musée d’Art Mod
    h has presente
    Antonia Hirs and Asia, including exhibitio Professor Chris
    tina
    da
    Europe, Cana es and works in Vancouve
    r.
    ion at th e HB K Saar under
    sit
    Gallery. Hirsh
    liv n and compo
    und installatio
    Kim studied so X Seoul. and
    artist Yo un g- Su p
    d SF across Canada
    Seoul-based rticipated in Sonambiente an ta lla tio n. He has exhibited
    d ins
    Kubisch. He pa photography,
    print media an medium.
    ld Ko ro sh egyi works in y different traditions of the , audio sculptu
    res
    Arno man th automation extensively in
    Toronto artist otographic work explores ins ta lla tio ns wi ed
    the USA. His
    ph performances, has exhibited and perform
    signs original e
    ry ar tis t, Di ane Landry de ly based in Québec City, sh
    iplina rrent
    As a multidisc alifies as “mouvelles”. Cu nt living artists
    ,
    and works sh
    e qu
    pe an d Au st ralia. e of Ca na da ’s most importa
    Euro hael Snow is
    on
    Canada, USA, filmmaker, Mic t, composer, writer and sculp
    tor.
    im ed as an experimental , vis ua l ar tis rary Photogra
    phy.
    accla ici an
    Internationally a highly accomplished mus dia n M us eu m of Contempo
    distinguished
    as and the Cana rio.
    llery of Ontario Onta
    ow n he r wo rk at The Art Galives and works in London,
    W oo d ha s sh an d cu rre nt ly
    Kelly 62
    in Toronto in 19
    She was born
    73
    9
    April 2 – May ril 4, 2 – 5 PM
    Diaz Contempo
    rary
    en La un ch: Saturday Ap
    et Off Scre – 6 PM
    100 Niagara St re turday 11 AM
    Tuesday – Sa PM
    4
    416 361 2972 Sunday April 5,
    12 —
    rary.ca
    diazcontempo

    The Hunting andes A looped video y


    Brendan Fern The Hunting. or
    es en ts his installation sibling’s monarchy. The st
    Canada, 2009 ry, Br en
    s pr
    dan Fernande attempt to take over her tu re s kil l their own to
    po ra a sister’s ld cr ea
    az Contem a monarch—th
    ese wi
    exhibition at Di the narrative of
    For his debut eously on two screens tells e dictatorship is governed by
    ult an cieties, wh er
    played sim from hyena so a lone masked
    takes inspiration power in their packs. l at night and about. Clues
    ga in wi th hy en as eating their kil th is st or y is
    obtain an d pe wh at
    a st ar k an d snowy landsca tigates a questioning into inevitably, to the destruction
    footage of ty, and ins yal and,
    posing video the work suggests a hybridi for power, leading to a betra
    Through juxta in isolation, “o ne ’s” desire
    nd er ing o tells a ta le of
    figure wa a narrator, wh stools,
    are provided by . of three prayer
    m un ity th an alt ar /m emorial made mixed with the delicate
    of a com in the space wi s us
    light of the TV hyenas direct
    further created code. The white pulsating thartic and sinister calls of is
    e an d en igm atic setting is O- S in M or se ou nd th e ca l m es sa ge of awareness ”
    An aust er S- ck gr fina a.
    an d TV m on itors that pulse emergency call. In the ba act and treat their own. A ey now. Tha endin is near
    candles s out an animals in yer we
    e candles send ys in which these “primitive” of Pidgin English, reads “F
    flickering of th d the wa in a form em to fuel
    th e vid eo an al te xt , wr itt en namics that se
    back to
    on a wa ll— the nonsensic ge m on y an d the power dy to act in ways that are
    inscribe d tion he d us
    times to ques s of human nature that lea
    ge in uncertain nt
    nt ing se nd s out a messa . It alludes to the undercurre
    The Hu rld’s societal st
    rife
    as.
    much of the wo t so different to wild hyen the Independe
    nt
    inhuman e an d no He completed ity of Western
    to Ca na da in the 1990s. Th e Un ive rs
    des immigrated earned his MFA (2005) fro m
    endan Fernan Council and
    and e Ontario Arts
    Ke ny a of Ind ian heritage, Br m of American Art (2007) es inc lud e grants from th s exhibited internationally,
    Born in Museu . Acco lad . He ha York
    of the Whitney rsity in Canada ad and Tobago Western New
    Study Program BFA (2002) from York Unive national Residency in Trinid hou, China (2008) and the Lower Manhattan
    an d his th e Int er l, Gu an gz in Th e er
    Ontario including Triennia rticipated at Aljira: A Cent
    cil for the Arts ird Guangzhou (2007). Fernandes has pa s, Emerge 10
    Canada Coun ns to participate in The Th ffa lo, NY 00 9) pr og ra m the grad ua te
    tio ry in Bu ency (2 NY, in
    including invita The Albright-Knox Art Galle 8) and Swing Space Resid at The School of Visual Arts, and The New Work
    h 00
    Biennial throug ’s Work Space Residency (2 d was an Artist in Residence ogram at the Bronx Museum
    cil
    Cultural Coun ry Art, Newark, NJ (2008), an will participate in the AIM Pr rk.
    ra he Yo
    for Contempo puter arts (2008). In 2009 ronto and New
    m is based in To
    program for co rvestwork, NY. Currently he
    Residency at Ha

    74
    Gallery 44
    401 Richmon
    d Street West, March 6 – Apr
    416 979 3941 Suite 120 il 11
    Opening Recep
    gallery44.org tion: Friday M
    Off Screen La arch 6, 6 – 9 PM
    unch: Saturday
    Tuesday – Sa Ap ril 4, 2 – 5 PM
    turday 11 AM
    – 5 PM

    there there
    Finder
    Jan Peacock
    Canada, 2009 Account

    One may claim


    demand acco to seek out a terrorist, only to
    un
    There are fore tability from vastly subsidize conspire against a dictator wh
    sts and there ar d
    e trees and wh corporations, while scrutinizin o operates in plain view; on
    ere light is shon g e may purport
    e, the view may meagerly funded arts and to
    be compromise social organizat
    For this exhib d. — Jan Pe ions.
    ition at Gallery acock
    performs a pa 44
    rticular form of , Jan Peacock presents th
    and often cont scrutiny, steppin ree new work
    ra s:
    into the archite dictory aims and methods g away from immediate ev Finder, there there and Ac
    cture of the sp of the “authoriz ents in order to coun
    staged or foun
    d video mater
    ace preempt an ed se arch .” Pr tease out the t. Each work
    rendered absu ial d re pla ce wh oje ct ion s alo ng sometimes ob
    rd by an unsp . These works are rejoinder at is most immediate and loc side small LCD screens em tuse
    for the search oken—and of s to a culture al in th e ga lle bedded
    are slippery. te n unconscious of ry,
    —attitude of se forensic obsession and optic overlaying it with
    The raw video lec tiv e ac co untability. The al prec isi on ,
    m objects of and both
    in the building aterial in Account is captur motives
    tra ed using a fibr
    While the acce des, to supply a physical e-
    ss is both auth accounting of optic videoscope, of the typ
    subject rather th
    than explaining orized and thorough, the ac e work stations and person e usually employed by inspe
    it. count is anyth nel in the galle ctors
    ing but author
    Finder is a large itative, the extrery’s office space.
    rubric of the de -scale projected work whos me detail inven
    ting its
    of found and voted search, what is unco e mode of scrutiny is to exca
    staged actions ve
    called The Co red is variously convincing vate behind and beyond a
    mpetence Arch . Peacock supp ph
    there there, als ive. lies material fro ysical surface. In the
    o m her ongoing
    mapping a wa a projection work, is a co library
    lk from the Righ ntinu
    t Bank to Île St ous fingertip tracing of the
    Jan Peacock . Louis. stone balustra
    is de on the Pont
    North America an interdisciplinary artist wo Marie in Paris
    ,
    ,
    Gallery of Cana Europe and in Japan. Her rking with video, sculpture
    da , the Museum wo rk is found in , pe rfo rm an ce
    at internationa of Modern Art inter an d te
    to the field of
    l festivals. Peac
    oc in New York, an national public and private xt. She has exhibited acro
    video. She lives k is a recipient of the Bell d the Lu collection ss
    and Design. in Halifax, Cana Canada Award dwig Museum in Cologne. s, including the National
    da, where she and the Canada She has receive
    is a professor Co d aw
    in Intermedia uncil Medal for her contribut ards
    at the Nova Sc ion
    otia College of
    Art
    Jan Peacock:
    Join the artist a Retrospective
    fo
    celebrate the r an informal talk and scre
    re ening to
    Saturday April lease of her new DVD.
    11, 4 PM

    75
    Gallery TPW
    56 Ossington April 7 – May
    Avenue 2
    416 645 1066 Special Openi
    ng Performan
    April 3 and 4, ces Friday and
    gallerytpw.ca 9:30 PM Saturday
    Tuesday – Sa
    turday 12 – 5
    PM

    In the Room
    Sung Hwan Ki
    Korea/USA, 20 m
    06–2009
    A prominent th
    read of the 20
    performance 09 Images Fe
    ar st
    each form. W t and how these interdiscip ival is the blurring of bounda
    ithin this framew linary practices rie
    There, looking or k, Images is manifest them s between the worlds of m
    at the relation
    Room, manife ship between partnering with Gallery TP selves in the different exhib edia, visual, and
    st liv W itio
    as an exhibitio ing first as a live performan eness and images. Togeth and their year-long event se n spaces that border
    n developed ou ce er we are thrill
    t of the visual in collaboration with David ed to present ries, You Had to Be
    and narrative Su
    Created while components of Michael DiGregorio and By ng Hwan Kim’s In the
    in the performan ungjun Kwon,
    series is rooted residence in Amsterdam an ce. and then
    performances. in a multi-disciplinary proc d produced in part for his pa
    In ad dit ion to a series es s we aving together rti cip ation in the Pr
    performance, of wall video, m ix de Rom
    th
    (2007). The vid e exhibition installation feat drawings, paper sculpture usic, drawing, as well as liv e, Kim’s In the Room
    eos mimic man ures two video s and staging e and pre-reco
    performance y of the proces wo rk s: Dog Vi ele m en ts that we rded
    wh
    feed of his bo ich employs a video camer ses present in the live presen deo (2006) and From the Co re created for the
    dy with the typ a behind a ple tation including m m an ding Heights...
    the minutiae of e of “live anim xiglass screen Kim’s unique fo
    at .
    elliptical narra day-to-day life (which may ion” often associated with This lo-tech setup allows Ki rm of projection
    tives presente or may not be the use of an m to lay er vid
    d in this work ov
    operate at the anchored in Kim’s own expe erhead projector. Drawn froeo
    Korean artist Su borderline of th riences), the fa m
    ng Hw an Kim is curre e im ag ined and the ac nt as tic stories and
    period of four ntly based in Ne tual.
    years, during w York. Previou
    and performed which time he
    wa sly
    contemporary at STEIM and Witte de With s fellow at the Rijksakadem , he lived and worked in th
    Dutch artists an . In 2007 he wa ie. e Ne
    d the Korean s awarded the His series In the Room ha therlands over a
    award Hermes 2n s been exhibite
    Korea Missuls d prize of the prestigious d
    ang (Hermes Prix de
    Live Images 3 Ko re a Prize for Cont Rome for
    emporary Art).
    In the Room
    3
    Sung Hwan Ki Talk to the Pi
    m and dogr (D e
    Friday April 3
    an avid Michael Di Sung Hwan Ki 3
    See p. 36 for d Saturday April 4, 9:30 PM Gregorio) m
    with Helena Re and dogr in conversation
    details.
    Sunday April 5, ckitt.
    See p. 24 for 4 PM
    details.

    76
    9
    April 3 – May ril 3, 7 – 10 PM
    ia Arts Centre ni ng R ec ep tion: Friday Ap
    ectronic Med O pe 5 PM
    InterAccess El Saturday 12 –
    enue Wednesday –
    9 Ossington Av Sunday April 5,
    12 – 5 PM
    416 599 7206
    g
    interaccess.or

    Blind Trip

    z
    Alexanderplat

    e tz (Germany)
    ere Were Non Richard Schü
    And Then Th ler (Canada/Germany) and er it is a lands
    cape
    Laris sa Fa ss
    nie Rogerson es of pu bli c space. Wheth s depicting
    epha h sit rm
    Curated by St eryday throug ctures of tunnels and platfo
    explore the ev ru
    d La ris sa Fa ssler’s works en ge r se at or labyrinth st .
    tz an pass ity
    Richard Schü across the glass from a car of uncertainty with commun ed wide across
    a
    e dscape project ban European
    seen streaking s, their works invoke a sens co m es a lan
    subway station r window be banality of ur
    shot from a ca hütz uses the ony of sound.
    hü tz’ s sin gle channel video pulses, tinks and beeps. Sc as tools to create a cacoph
    Tr ip (2 00 5) , Sc co m po sit ion of of co ns tru ct ion d an gs t.
    Blind dio es se an
    nied with an au , fences and sit tremendous ea
    wall accompa rolling hills, telephone poles sound straddles between bway stations d
    in
    ds ca pe wi th so na nc e of versions of su
    lan d dis ler’s miniature Kotti (2008) an
    e un ra ve lin g landscape an es s of Fa ss rp lat z (2 00 6) ,
    Th illn
    ntrast to the st like sea-creatures. Alexande suggest the histories and
    s is in sharp co r o e from
    e m om en tu m Schütz build tures sprawl across the floo ranean transportation but alsded by socialist architectur r Tor
    Th pli ca nt sc ulp tiv e of su bt er ion is su rro un an d Ko ttb usse
    ’s re ta at r
    Berlin. Fassler (2005) are not only represen Alexanderplatz subway st re-generative. Hallesches To made and continue
    lle sc he s To r rlin . Th e sit e of se ve re d an d an d sq ua tte rs
    Ha st and West Be as ts, immigrants
    munal space
    contrasts of Ea Berlin, and exemplifies com the former West where artis
    at wa s Ea st er g, an ar ea of
    wh
    ntral to Kreuzb m. Rather the
    stations are ce mes. ial egalitarianis
    m ak e th eir ho rti ali ty by su ggesting spat rongly when staring out the
    to pa st
    fort us with im lpable seclusion, felt most
    does not com
    d Th en Th er e Were None is relational to an almost pa blic transit. A in
    An s mpleted her M
    of these work h a maze of pu rmany. She co e has lived and
    consciousness ing car or hoofing it throug d in Be rlin , Ge Sh
    ov se .
    window of a m n visual artist ba Concordia University in 1999 e for art + architectural
    r) is a Canadia at RAM–initiativ
    r (b or n in 19 75 in Vancouve London in 2003 and BFA es sid or , PR OG Iran (2008); W
    orld
    M
    Larissa Fassle miths College, University of ns include: Le Chamois de am ing Bi en nial of Tehran, Oldenburg,
    lds l Ro t,
    Fine Arts at Go since 1999. Recent exhibitio Jealousy—1st Internationa -Ruß-Haus für Medienkuns ; The 21. Kasseler
    n ith 7)
    worked in Berlin rlin, Germany (2008); Urba ina (2008); Video Visions, Ed zberg/Bethanien, Berlin (200 (2003).
    , Be d
    collaborations day Art Museum, Beijing, Ch Kunstform, Kunstraum KreuGallery of Art, Limerick, Irelan
    M inu te s, To en ge he n als er ick Ci ty
    On e az ier 03 , Lim ies of
    8); WALK! – Sp ; and ev+a 20 the art academ
    Germany (200 - & Videofest, Kassel (2004) tist an d cu ra tor in Berlin. At Since 1987 he has
    ar
    Dokumentarfilm He lives as an ental film and media theory. visual installation,
    kfurt, Germany. rim dio
    tz wa s bo rn in 1965 in Fran arts (MA), philosophy, expe for his work in the field of au
    Richard Schü and Berlin he studied fine ts
    an d rece ive d diverse gran rlin.
    lly
    Kassel, London any exhibitions internationa the project gallery montanabe rson
    m ed media. Roge
    participated in raphy. In 2007 he co-curated rk in ph ot og raphy and relat l of New Media and
    Yo Jour na
    film and photog w
    Visual Arts in Ne , most recently AfterImage be speaking
    the School of siums, and will
    ge rs on ha s an MFA from ral magazines and art journalsmmunity events and sympo Italy. Currently, Rogerson
    Stephanie Ro ributing arts writer to seve iversities, co ly in Venice,
    nt s at several un nference in Ju
    has been a co s participated in conference y at The Arts and Society co
    ha ph
    Criticism. She entation and early photogra tern Ontario.
    iversity of Wes
    on queer repres D in Visual Studies at the Un
    is pursuing a Ph Were None
    d Then There the
    Ta lk to the Pie 2: An d Richard Schütz discuss th
    r a pa rty at InterAccess! Ar tis ts La rissa Fassler annstruction of public space wi
    fo and reco
    Please join us deconstruction
    10 PM – 1 AM nie Rogerson.
    Friday April 3, curator Stepha 4 PM
    4,
    Saturday April tails.
    cc es s Se e p. 24 for de
    at InterA
    ival Lounge ents
    Images Fest nge following our evening ev
    Head to th e lou
    fe st ival-g oe rs for a drink
    fellow
    and meet your
    1 AM
    and a chat! ril 7, 10 PM –
    – Tuesday Ap
    Sunday April 5 77
    Mercer Union
    1286 Bloor St March 6 – Apr
    reet West il 18
    416 536 1519 Opening Recep
    www.merceru tion: Friday M
    nion.org Tuesday – Sa arch 6, 7 — 10
    turday 11 AM PM
    Sunday April 5, – 6 PM
    11 AM — 6 PM

    Magnetic reso
    Pedro Paiva nance on abissologic
    &
    Portugal, 2006 João Maria Gusmão
    experiments
    –2008
    Described as
    “p
    wonders of ps oetic philosophical fiction,”
    eu Jo
    archaeological do-scientific inquiry, offerin ão Maria Gusmão and Pe
    dig. g an odd alche dr
    mical compouno Paiva’s 16mm film installa
    d that is equa tio
    While alchemy l parts silent cin ns delight in the
    arcane science may conjure lofty philosoph ema, land art
    and
    ica
    are set forth by , while wholehearted, is defi l aims and obscure symbo
    th e ar tists, who, wh nit ely inflected by a lic te xts, Gusmão
    Following the alc ile flirting wi 21st centur and Paiva’s
    and reconstitut hemist’s motto of “Solve et th narrative, ultimately esch y mistrust of disciplinary au proximity to that
    ion of matter. Coagula,” or se ew cohesion in th
    rocks, who by Su pa favour of absu ority. Few claims
    the arduous ex ch is the case in Hydraulic rate and coagulate, their fi
    ercise of swall s of Solids, a lms directly de rdity and unsteadiness.
    owing these so portr lve int
    Sucking on st
    on lids, effectively ait of a man seated at a din o the breakdown
    Figures in Gusm e is also an old cowboy tri transmutes th
    em to liquid.
    ner table chew
    ing
    ck
    land artists lik ão and Paiva’s vignettes fre for desert survival, a way
    e Robert Smith qu en tly inhabit empt to qu en ch thirst in the
    protagonists ar son, who chos y terrains absenc
    e e
    universe inhab decidedly goofy rather than the desert as a prime work evocative of the photo-co e of a water source.
    ited by the title ru gg ed. Their abys sit e in th e lat nceptual prac
    inert tree sect ch ar ac ter of Th s is a pla e 19 60 s. Yet Gu tices of
    ion
    impulse that dr s, lent anima by invisible st e Log Enchanter, who conjuce for slapstick play and low smão and Paiva’s
    ives attendance ring, recall the re s tre e stumps into -te ch magic, a
    invitation to na ba
    ïve wondermen at a flea circus, we willingly d props of spirit photogra a levitatin
    t. collaborate in phy. But, infec g ballet. These
    th e filmmakers’ ho te d by
    All of the films
    ar ax, compelled the same
    of the visual. Ul e silent, yet the personae of by their
    tim at ely, these demon te n an im atedly gesture
    as devoted pa strations , comica
    ta
    The artists borro physicians, parodying scien produce enigma rather th lly attempting to convey som
    an proof, reve e
    for their charac w freely from archaeology, getific methods in accordance aling Gusmão spoken explication
    and Paiva’s tru
    fanciful departuters. Yet, these would-be kn ology and ethnography to ge with Alfred Jarry’s verve for e status
    ow im
    interaction of res from logic. The Glaciolog ledge bearers always co nerate behavioural codes an aginary solutions.
    mud and ice, ist is jus t such a person m e up sh ort, relieved of d m od es of address
    of equipment, he appears ea . Occu any au
    th rn
    humans faced e observation of matter, th est in his search, replicating pied by a detailed demon thority by their
    with rock, ice, e union of ide th e 16 th centur st ra tio n involving
    are singular an m as
    d unclassifiab olten metal and landscape . In this mirror world, there y alchemist’s basic toils: th the
    le. — Sarah Ro ; gravity, shad are no machin e testing
    ba yo Sh eridan ow an d movement co es , on ly to
    João Maria Gu
    sm ão nspiring to mak ol-yielding
    collaboratively and Pe e events that
    since 2001. Th dro Paiva met in the late 19
    ey will represen 90
    t Portugal this s as fellow art students in
    year at the 53 Lis
    rd Venice Bien bon and have been working
    nale.

    78
    Museum of C
    ontemporary
    952 Queen St Canadian Art
    reet West April 3 – Apr
    416 395 7430 il 12
    Opening Recep
    mocca.ca tion Friday Ap
    Tuesday – Su ril 3, 7 — 10 PM
    nday 11 AM –
    6 PM

    Welcome to Virtual Jihadi


    th
    Wafaa Bilal (Ir e Terrordome
    aq/USA), Juba The Thrill of Co
    l Brown (Can mbat
    I’ve got so muc ada) and Mar
    k Essen (USA
    h trouble on m )
    y mind...
    From the war
    on terror and
    Bilal, Jubal Br the war in Iraq
    ow to
    ideas from ac n and Mark Essen operat more abstract representa
    ross pop cultu e on the fringe tions of militar
    re. s of mashing ism and powe
    up, deconstru r,
    As the momen cting and reco the works of Wafaa
    tum of the Iraq nstructing imag
    game designe W ar in the US es and
    r
    Hussein. This published Quest for Saddam began to blur the lines of en
    game was qu , te
    hunter and th ickly appropria a first-person shooter-styl rtainment, mar
    keting and pr
    e te e ga
    recently recruit hunted. In Virtual Jihadi, W d by Al Qaeda as The Nigh me that puts the player on opaganda, a US
    ed by Al Qaed afaa Bilal rewo t of Bush Capt th
    use of stereotyp a to join the hu rks the narrativ uring to revers e hunt for Saddam
    es and propag nt. This fully pla e yet again, ca e the roles of
    anda on both ya st ing himself as the
    Using a more sides of the wa ble hacked version of the a suicide bom
    r on terror. game further be
    mechanics an
    indirect engage
    m br eaks down th r,
    d aesthetics of ent with the culture of terro e
    forms, Essen’s gaming. Distille r and war, the
    ga
    a challenge wi games recall the formalist an d to their most basic elem mes of Mark Essen break op
    th en
    of two-dimensio stripped down militaristic d structural sentiments of av ts and set amidst flat, low-reen the conventional
    m
    planes.” Or as nal obstacles and mechaniz issions aboard a helicopte ant-garde cinema. The Thrill solution colour
    Essen describ ed foe. In Scra r, vertically an of Combat pr
    combative go d
    als become ex es in another statement ab p Collector the mission is horizontally scrolling throug esents
    panded in a su out the game, to “collect scra h a maze
    rrealist advent “S p,
    Jubal Brown pr ure within the crap Collector is about mak build planes, shoot
    es m ilit ing
    Avery. Brown’s ents three video installatio ary industrial co
    mplex.
    money.” The
    ns
    directionless enprojects aim to challenge th , accompanied by a serie
    ergy; a tragic e limits of spec s of sculpture
    and beautiful s
    collision of de tatorship, often manifesting made in collaboration with
    Iraqi-born artis spair and longin as an amoral Jo
    t Wafaa Bilal g. barrage of mind sh
    as at the Mus
    eum of Contemhas exhibited worldwide inc less
    He has traveled porary Photog luding in Bagh
    an d lectured ra ph y in Chica da d, the Nether
    peaceful confl
    ict resolution. extensively to inform audie go, the Milwaukee Art Mus lands, Thailand and Croatia
    Bilal’s life and La nc eu ,
    his project Do st year, City Lights publish es of the situation of the Ira m and various other US ga as well
    mestic Tension ed Shoot an Ira qi lle
    . qi: Life, Art an people, and the importanc ries.
    Jubal Brown d Resistance e
    is Under the Gu of
    Europe and No a video maker, multi-med n, about
    rth Am erica. Past proje ia ar tis t, organizer an
    System Cultu cts inc d writer
    ral Centre, FA
    MEFAME, FAM lude The Cult of PO-PO, based in Toronto. He has sh
    EFAME’s Vide To ow
    Mark Essen odrome Serie ronto’s legendary Wastelan n extensively in
    is s, Unknown Un d
    His games ha a game artist. He recently known and Th event series, Art
    ve re e Land of the
    schemes, mas been shown at music venu ceived a BA from Bard Co Lost.
    oc lle
    a flying stick th histic difficulty and nonsen es and art festivals around ge in New York and current
    at changes co sic al humor. He th e wo rld and are ly liv es in Los An
    DOOMLASER. lour as well as
    a collaborative is currently in production on known for their odd contro geles.
    game involving an independe l
    mechasexual nt XBOX title ab
    motorcyclists
    with the collect out
    SPECIAL EV ive
    ENT
    Videodrome
    Saturday April
    4, 8 PM
    Videodrome is
    a
    screening as pa one-night extravaganza of
    producers with rty. The event features a pr contemporary vanguard cu
    og ltu
    a/v mash-up, a strong audio-visual link, ex ram of video work from pr re, an exercise in video
    vis ominent local
    Bad Credit, Infi ual music with an emphas perimental video works wh and internatio
    na
    nit is ich
    Tzii (v-atak), No y Dose, Istvan Kantor, Ju on aggression and intensit function as dance music, l
    hista (v-atak), bal Brown, Rk y. Features wo
    Nwodtlem, Ou o (v-atak), Ryan rks by:
    ananiche and St
    Pete O’Hearn. ec, Skeeter, Smearballs,

    79
    pril 25
    March 19 – A 4, 2 – 5 PM
    of Contempora
    ry Art
    en La un ch : Saturday April
    Prefix Institute ite 124 Off Scre 5 PM
    d Street West, Su Saturday 12 –
    401 Richmon Wednesday –
    416 591 0357
    prefix.ca

    ne
    e Previous O
    e Place of th
    esn’t Take th
    One Image Doi
    Harun Farock –2006
    Germany, 1995 rsity
    ncordia Unive
    èle Th ér iau lt d Bi na El len Art Gallery, Co e Images Festival
    ich th
    Curated by M circulated by the Leonard an ethe-Institut Toronto and
    d Go
    Organized an efix in association with the ts ased
    Pr
    Presented by e Canada Council for the
    Ar t his museum-b
    th i re plies to a question abou 1 Paradoxically,
    t.”
    Supported by er Harun Farockrian rather than a visual artis resolutely
    champ, filmmak ta ago,
    fo r th e on line journal Hors museum, to be a documen one that was, not so long nce—that gives
    In an interview g, “I try, when showing in a out images— and experie rk.
    rin and thinking ab ibitionary” gaze hibition of his wo
    work by decla
    ion , th is ap pr oach to making titutes the focus of an “exh impelled me to curate an ex
    it is this distinct of art” but that now cons ce. This is the paradox that d by the
    eld an
    outside the “fi tions their tension and relev e place occupie e
    Farocki’s insta
    lla
    ar ch ive s in th eir work and th n” like Harun Farocki, for th
    cu m en ts an d “d oc um en ta ria an d ab so rb s us
    reasing use by
    artists of do the work of a omena. What fascinates s,
    rtant to insert en editing; of text
    Between the inc m in exhibitions, it is impo al look on both types of ph work of the image and of a demand on
    ra dig to cast a cr itic th e es
    cinematic pa
    actice leads us e meanings: . “Work” mak by
    y in its multipl a social activity mplex layerings produced d
    nature of his pr ys in which “work” is at pla -artist; and, of course, as cip he r th e co th e au th or an
    wa ak er de ” by
    are the many ; of cin em a; of the filmm ply him- or herself in order
    to
    th at , on ce “worked on litical manner.
    ind m ble
    history and m r or listener, who must ap intertitle is part of an ense xical and fundamentally po
    we
    the visitor, vie simple image, comment or defines it in an often parado
    A
    the filmmaker. lematizes social space and
    re t of his working ms
    5), an accoun ste
    ourselves, prob i’s ve ry firs t, Interface (199 004), an essay on urban sy
    ck (2
    ins ta lla tio ns , namely, Faro otographie; Counter-Music relation to those evoked by s
    presents four ition Le monde après la ph e city (in this case, Lille) in in their film
    The exhibition th of a Great City) tallation suite
    ed for the exhib esentation of lin, Symphony ins
    method produc control centres and the repr and Walter Ruttmann (Ber a variation in the form of an r each decade
    a)
    of surveillance
    , Movie Camer in Eleven Decades (2006), th of cinema. In this case, fo 006), a video
    he Man with a ory bir (2
    Dziga Vertov (T Workers Leaving the Fact e 100th anniversary of the ally, Dubbing
    s; th factory gate. Fin ich Robert De
    from the 1920 e by Farocki in 1995 to mark picting the space around a dubbed and subtitled) in wh body of work
    de , a
    on the film mad chose an excerpt of a film four languages n is to immerse viewers in is artist’s
    anslated into itio th
    since 1895, he e scene from Taxi Driver (tr . The objective of the exhib oughly grasp the extent of e museum-
    th or thor includ
    loop, presents th himself in front of a mirr enable them to s expanded to
    Niro engages
    wi
    s, af finit ies and disparities the mid-1990s, when it wa
    juxtaposition e 1960s to
    whose scope, e from its beginnings in th lt
    tic
    cinematic prac tallations. – Michèle Thériau aduating from
    1944. Since gr lms, documentaries
    based video ins nn ex ed Cz ec hoslovakia, in et y fe at ur e fi
    in German-a more than nin 2003, Museu
    Neutitschein, ie in 1966, he has directed es Festival in in important
    i was born in m es at the Imag
    Harun Farock Film- und Fernsehakade the subject of retrospectiv 2006. He has participated e 2004, he
    he en in nc
    Berlin’s Deutsc ograms. His films have be d the Vienna Filmmuseum d Documenta 12 (2007). Si and writer, and
    pr an an t
    and television rani de Barcelona in 2004 ie International (2004-05) . Farocki is a media theoris Berlin.
    po eg te in
    d’Art Contem ents such as the 54th Carn denden Küns es and works
    ademie der bil to 1984. He liv
    international ev g professor at Vienna’s Ak journal Filmkritik from 1974 al issues
    itin
    has been a vis r the influential German film dressing critic
    ito r fo nu m er ou s exhibitions ad exhibition catalogues,
    was an ed e has organizediting has appeared in many tario in
    r and editor. Sh wr t Gallery of On
    Th ér ia ul t is a curator, write d international artists. Her contemporary art at the Ar rsity of Ottawa. She
    Michèle nadian an curator of the Unive Art
    Québécois, Ca 96, she was a torial studies at Department of
    in the work of journals. From 1988 to 19 contemporary art and cura adjunct professor with the
    s an d ta ug ht d an
    anthologie 03, she Gallery an
    m 1998 to 20 Bina Ellen Art
    Toronto and, froDirector of the Leonard and
    is current ly th e in Mon tré al.
    ordia University
    History at Conc rs ch amp (Decemb
    er 20, 2007).
    run Farocki,” Ho
    ation avec Ha
    eà l’autre: Convers
    Notes v, “D’une imag
    and Pavel Pavlo
    1. André Habib

    80
    2
    April 4 – May ril 4, 2 – 5 PM
    Video en La un ch: Saturday Ap
    Trinity Square Off Scre 11, 1 – 3 PM
    Suite 376 Saturday April
    d Street West, Master Class: ay 12 – 4 PM
    401 Richmon
    id ay 10 AM – 6 PM, Saturd
    Monday - Fr
    416 593 1332 12 — 4 PM
    trinitysquarevi
    deo.com Sunday April 5,

    te Matrix
    E.V.E. Absolu son the Images
    Gunilla Jose
    ph leading up to
    sid en ce du ring the month n. This is Josephson’s
    Canada, 2009 o’s Artist-in-Re a 60-minute video installatio
    ty Square Vide ,
    nil la Jo se ph son will be Trini ing E.V.E. Absolute Matrix
    Video artist Gu this time, she will be develop . ding
    g an l and comman
    Festival. Durin tion with musician Eve Egoy se rs , Eg oy an is a powerfu er Cities, a five-hour
    po
    latest collabora m
    ntemporary co l intensity as she performs
    Inn
    d the music
    d works by co are visible, an
    pe rfo rm ing new music an phson captures her powerfu nor the performer’s hands ce.
    Specializing in V.E. Absolute Matrix, Jose Curran. Neither
    the piano woman’s fa
    less study of a
    performer. In E. 12 parts by composer Alvinwith an enigmatic and seam rmer by
    in
    epic for piano viewer is simply presente d ic on the perfo
    e d int ell ec tu al impact of mus ate and unabashed
    is inaudible. Th emotional an phobic, intim t of desire.
    d to grasp the her in claustro en
    se ph so n aim s to dissect an listening, but by observing a decoder and an instrum personal narrative.
    by t, n
    In this work Jo head of the musician not yin g ins tru m en
    ntrol in the te lling of a hid de
    e mera as a pr
    getting into th phson uses the insisting ca of cogency and masterful co In the
    se
    close–ups. Jo the piano for Egoyan is a to
    ol otional states.
    es of de -c on textualised em Happy House: The Id,
    Simultaneous ly, m d
    hedly at extre ns Venus Hedda (2001) an ed yet tormented. She
    tly and unabas tio erat
    us to look direc 000), as well as the installa character Hedda, who is lib stasy and
    Josephson’s vid eo s da re
    dd a Vi deos (2 ro du ce d th e le, Jo se ph so n’s videos of ec
    Se rie s: Th e He , Jo se ph so n int d un pr ed ict ab
    (Loco)motive Little Red Fireman (2001) xplicable an
    e rix. Bizarre, ine
    the Kid and th eme in E.V.E. Absolute Mat
    is th
    returns to th g. olm University
    eply challengin s from Stockh
    despair are de a BA in Social Science s have been exhibited
    lds
    Toronto. She ho n) in Stockholm. Her video
    artist, based in ola
    ph so n is a Swedish-born t and Design (Konstfacksk
    Gunilla Jose 6) fro m
    Ar
    the College of nationally.
    (1 98
    and an MFA ughout Canada and inter
    ro
    extensively th

    Josephson
    with Gunilla
    Master Class , 1 – 3 PM
    11
    Saturday April tails.
    de
    See p. 25 for

    81
    Vtape Video Sa
    lon
    401 Richmon April 4 - May
    d Street West, 15
    www.vtape.org
    416 351 1317 Suite 452 Off Screen La
    unch: Saturday
    vtape.org Tuesday – Frid April 4, 2 – 5 PM
    ay 11 AM – 5
    Saturday 12 – PM
    4 PM
    Sunday April 5,
    2 – 5 PM

    Chinese is a
    Sylvie BoissePlus
    Switzerland/G au & Frank Westermeyer
    ermany, 2008
    In Chinese is
    a
    Sylvie Boissea Plus (a two-part work usua
    u lly
    lived—including and Frank Westermeyer of exhibited as a two channe
    that of dream fer l ins
    s, that of the pr a meditation on the way in tallation, in non-contiguou
    esent and that which lan s setting
    In this ambitiou of an ancestral past guage constructs the life th s),
    turn their obse s work, produced at the Ak . at is
    rva ad
    two distinct gr nt eye (and camera) on a St emie Schloss Solitude wh
    oups of studen ut tg art lan guage school er e th e co lla
    with the rudim
    en ts with two dis offering classes borative pair are fellows, th
    often lists of th ts of a very difficult foreign lantinct hopes and dreams: th in Chinese. He ey
    Chinese-Germ
    e cities they ha
    ve visited and
    gu ag e, he roically offering e fi rs t, a gr oup of German re they document
    an teenagers th e fo od they sh or t, sim ple ad ult s stru gg ling
    who are learn sent
    ing their mothe enjoy when they travel to Ch ences in lilting Putonghua,
    Boisseau and r tongue, a lan ina
    Westermeyer guage that they ; the second, a class of
    a ‘found objec refer to the Du have never sp
    t’ ch oken.
    unknown in th (objet trouvé)”. And to this ampian origin of this work
    e West but re se ns e of the “real”, they , sa yin g, “W e treat this lan
    first modern au vered by Mao add guage school
    as
    open when lan thor. Keenly focused and fl a writer who used vernaculareferences to the Chinese as
    guage is being aw r auth
    drawn into co lessly edited, Chinese is a Pl language and ultimately be or Lu Xun,
    Sylvie Boissea ns cio us ne ss. us op er at es in the inter ca m e Ch ina’s
    stitial spaces
    works in sculp u (Paris, 1970) & Frank Wes that
    ture, installatio te rm ey er (Essen, German
    Boisseau studie n and video ha
    ve y, 1971) are m
    University, Germd economics at Sorbonne, Pa been exhibited extensively ulti-disciplinary
    Beaux-arts in an y. Bo th then went on to ris , an d W estermeyer stu throughout Germany and Euartists whose
    Paris. study with Chris died visual com rope.
    tian Boltanski m
    at Ecole nationaunication at Wuppertal
    le superieure de
    s

    82
    pril 18
    March 26 – A ril 4, 2 – 5 PM
    (WARC Gallery
    ) en La un ch : Saturday Ap – 5 PM
    ource Centre Off Sc re , Saturday 12
    Wom en ’s Ar t R es id ay 11 AM – 5 PM
    Suite 122 Tues da y – Fr
    d Street West, 12 – 5 PM
    401 Richmon Sunday April 5,
    416 977 0097
    warc.net

    e Prairie
    Shadow on th
    en
    Deanna Bow y: Christina Battle
    Cinematograph Rick Hyslop
    Sound Design:
    Canada, 2009 lie Wood
    Curated by Na
    ta ction, vinyl
    d of video proje nt
    lin ar y ins ta llation comprise ncle Herman, a descende
    cip t-u
    on th e Pr air ie is an interdis ulate a narrative of her grea
    n’s Shadow bine to form
    Deanna Bowe ge lighting, all of which com rta.
    floor text and sta n slaves who settled in Al
    be ly whispered
    His life was on
    of former Geor
    gia
    of sh am e wi thin the family. re constantly dismissed.
    was a source estions from the artist we t-uncle’s estate after
    man,” Herman qu r grea
    ng and dance r’s kitchen, and childhood items from he rman was rumoured to be
    A “closeted so gr an dm ot he we n wa s given several ed th at He h Lloyd’s
    n’s r, Bo lea rn luding Gwynet
    about in Bowe so little of him, howeve es from these
    items she
    productions inc
    ing
    Despite know , and by piecing together clu e designer for many stage
    um
    he died in 1979 rt Mackay, the (white) cost
    ua
    lovers with St adow on the Prairie (1951)
    . of a young
    als the sad fate d
    classic ballet Sh Sh ad ow on the Prairie reve ated by the harsh terrain an
    t, fe
    na da ’s W es tern settlemen and to begin a new life. De th e yo un g woman takes
    sed on Ca neer husb closes when
    Thematically ba to the prairies with her pio snowy wastes,” the ballet
    wife who com
    es
    d fe ar of th e “vast
    anguish an ors that of the
    driven mad by dding chest and dies. th MacKay mirr al
    refuge in her we an ’s re al life relationship wi n as metaphor and conceptu
    m a pr op os ition that Herm ’s invisibility and oppressio ch urch , co lonialism and
    ct springs fro mes Herm an ty of the bla ck
    Bowen’s proje yd’s classic ballet, and refra nder roles, the moral rigidi a.
    tragic bride in
    Llo
    cu ss ion s ab out ge in Ca na da an d slave traum
    broader dis movement
    arch for much n, segregation, diasporic
    sexual oppres
    sio arborough.
    of Toronto at Sc
    tis t an d lec tu rer at University her Diploma of Fine Arts
    tallation ar in 2008 an d
    based media insat the University of Toronto
    en is a Toronto- t
    Deanna Bow r Masters degree in Visual Ar lly
    She received he College of Art. and internationa
    itions nationally a
    from Emily Ca
    rr
    uc at or. Sh e has had exhib Art Centre 7 in Trinidad, Zs
    d arts ed porary media
    artist, curator an l (TAAFI), Caribbean Contem d a number of art and new n at
    is a multimedia na te itio
    Natalie Wood ternative Art Fair Internatio Aird Gallery. Wood has cura ry and the I Represent exhib
    Al
    at the Toronto , and John B. at WARC Galle
    adina Museum e Hero Project
    Zsa Gallery, Sp the critically acclaimed Th
    as
    exhibits such
    A Space.

    83
    Wynick/Tuck
    Gallery
    401 Richmon April 4 – Apr
    d Street West, il 25
    416 504 8716 Suite 128
    Off Screen La
    wynicktuckgal unch: Saturday
    lery.ca Tuesday – Sa April 4, 2 – 5 PM
    turday 11 AM
    – 5 PM

    Toronto-EMAK
    Takashi Ishida I
    Japan, 2009

    Initially trained
    as a painter, Ta
    experimental kashi Ishida m
    an
    introduced to imation pioneers such as Osoved into the field of filmmak
    Toronto audie kar Fischinger, ing after seein
    and has since nc
    been exhibited es in 2001 through its inclus Viking Eggeling and Len Ly g the work of early
    Cinemathequ nu m erou s tim ion in th e Im e. Ishida’s wo
    e Ontario and ag
    a residency an es in the city, most recently es Festival’s multi-part Ja rk was first
    d exhibition wi as the subject pan Focus,
    In 2009, Imag th Reel Asian
    es and Trinity Sq of a retrospective at
    work Toronto- is pleased to present the uare Video.
    EMAKI. Like se fru
    the Japanese veral of his prev its of Ishida’s most recent To
    pic
    warring familie ture scroll, which originate ious pieces, this work draw ronto-based residency: his
    s d
    “narrative” an and folk tales for formally rig in the 11th century. While s upon the formal traditions brand new
    d excruciating he may forgo of emaki, or
    detail of their orous studies of line, shap th
    historical nam e and movem e traditional narratives of
    In Toronto-EM esake. ent, his works
    AK echo the epic
    of a long narro I two monitors sit at the ba
    w
    juxtaposition be gallery space. Presenting se of two eight-metre scroll
    bo drawings which
    the detail with tweeen process and produc th the moving image and
    which one can t—the frenetic the flat drawing run along opposing walls
    the video pres int er pret th e m ov em en ts s side by side
    en m an
    subtractive pie t different iterations of tim otions in the large brush st d rhythms in the video are creates a
    ce where the e: the first is an rokes of the sc illuminated by
    brush strokes rolls. The two
    disappear from additive animation moving
    Takashi Ishida the paper. forward in tim channels of
    e, the second a
    presented exte , born in Tokyo in 1972, is
    ns a
    residency in th ively at Japanese museu renowned Japanese artist
    e UK. In 2007 ms, galleries an and filmmaker.
    of Gotoh Mem he received th d film festivals His projects ha
    or e
    recently ende ial Cultural Award. After re prestigious Most Promising and also internationally, inc ve been
    d in February ceiving the pr luding a recent
    2009. ize, Ishida spenYoung Talent prize from the
    t a year in resid Fine Art Division
    ence in Toront
    o, which
    84
    il 18
    April 3 – Apr ril 3, 7 PM
    l Centre ep tion: Friday Ap
    XPACE Cultura Opening R ec
    PM
    Av enue turday 12 – 6
    58 Ossingt on Tuesday to Sa PM
    12 — 6
    416 849 28 64 Sunday April 5,
    xpace.info

    nce
    ala/Remembra
    ampo - Paala
    Jo SiMalaya Alc
    oney,
    ino, Megan Ro
    ner Space Mark Pellegr
    Outer and In campo, Liam Crockard,
    Al
    Jo SiMalaya , Matthew Williamson is for Student
    the ongoing S
    Brad Tinmou
    th
    g st ud en t pr ojects through time student media art
    of supportin arks the first an emerging generation
    s a long history -presented with XPACE m
    es Festival ha co ace introduce ultaneously
    While the Imag and video, this exhibition ojects in Outer and Inner Sp s of film and video, while sim of
    screening of film e fes tival. The pr
    os se s bo un da rie th e fra m ew orks
    a gallery at th oving image cr onal by way of
    projects occupy hybrid development of the m th the popular and the pers
    e
    of artists whos ations of identity through bo
    rm
    negotiating fo nalism, family and society. Jo has
    munity worker.
    subculture, na
    tio
    er, ph ot og ra pher and com igrant women, queer
    video mak luding imm d
    award-winning ge diverse communities inc currently studying Integrate
    Alcampo is an ga e is
    Jo SiMalaya munity arts projects that en , and migrant workers. Sh
    m
    developed co of the mental health system ge of Art & Design.
    rs
    youth, survivo ography at the Ontario Co
    lle where he is
    tice in Toronto,
    Media and Ph
    ot
    , an d no w sit uates his prac llage, sculpture, video and
    ner, Ontario Through co ropology
    1986 in Kitche e Arts program at OCAD. ambition, hallucination, anth etown.
    rd was born in Fin e m
    Liam Crocka undergraduate thesis in the elling, pop-science, teenag try and delinquency in his ho
    ryt us
    completing his m addresses themes of sto on recollections of dead ind
    Lia
    performance, ent. Currently he is focusin
    g perimental
    equipment, ex
    and disappoint
    m
    rk s wi th an tiquated video edium. He is currently the
    artist who wo es of the m AD
    o-based video urse, structure and anomali d Media department at OC
    ino is a Toront co te
    Mark Pellegr ctronics to explore the dis ive his BFA from the Integra
    ele e and will rece
    software and
    dinator at Vtap oney currently
    Technical Coor o, Megan Ro ion to
    in 2009. t at th e Un ive rsity of Toront ing , in ad dit
    departmen ing and draw
    Visual Studies ary practice includes paint
    uate from the lin
    A recent grad in Toronto. Her interdiscip its
    lives and work rks.
    s He holds cred
    photography. is
    video-based wo t wo rk ing in film, video and an online gallery space. He
    er gin g Toro nto-based artis projects, and is working on alternative film and editing
    th is an em and video cusing on
    Brad Tinmou editor on several short film Film Production program fo
    d ’s
    as director an ird year of York University O Magazine.
    th
    currently in his is the photo editor for SO
    &S n the internet
    e gaps betwee s
    techniques, an
    d
    W ill ia m so n examines th eo, websites to electronic
    tin gly en ga ging”, Matthewe of formats from print to vid graduate of the Fanshawe
    ce as “frus tra broad rang achines. A ovidence,
    Described on e working in a ships we forge with our m own work in Trieste, Italy; Pr
    ‘real life’. Whil ion has sh
    and so-called sed on the humorous relat en t, M at th ew
    AD stud
    his work is focut program and a current OC
    College Fine Ar d Toronto, Ontario.
    an
    Rhode Island;

    unch Party e to celebrate!


    Off Screen La en installations are open. Tim
    re
    All of the Off Sc 10:30 PM
    4,
    Saturday April
    and Awards!
    Student Party 10:30 PM
    7,
    Tuesday April
    85
    ay 3
    March 14 – M 13, 6 – 10 PM
    lery, Harbourfro
    nt Centre
    ng R ec ep tio n: Friday March
    York Quay Gal Openi
    sday 12 – 6 PM
    uay West Tuesday – Thur
    235 Queens Q ay 12 – 8 PM
    iday & Saturd
    416 973 5379 Wednesday, Fr
    entre.com PM
    harbourfrontc Sunday 12 – 6

    et
    : california suns
    LIGHT READING

    d Table 2027
    Western Roun

    h McAlpine
    Century tzler, Elizabet ral landscape
    Goodbye 20thAmy Granat & Drew Hei from the cultu
    Rosa Barba, m ed by ex ta nt documents of the southwestern
    n are all infor ical landscape erials to
    in this exhibitio ated within the geograph tuses and mat to project
    cts presented loc uated appara
    The three proje ury that are simultaneously McAlpine each deploy antiq ury modernism as a means
    of the 20th ce
    nt d cent e.
    at & Heitzler an king back to mid- to late- the throes of obsolescenc
    . Barba, Gran
    United States tic landscape via cinema, loo-modernism and a media in
    evoke a synthe emporary condition of post
    nt
    beyond our co
    d Table 2027 ct loops of
    Western Roun other and proje
    Rosa Barba , tw o pr oje ct ors face each e upon the gallery walls.
    d Table 2027 of its opposit ll a clanking
    Germany, 2007 installation Western Roun bulb creating a silhouette bass, one melody) that reca Round
    ’s rn
    In Rosa Barba’s , the light of each projector minimalist soundtracks (one rk references “The Weste that
    lm o wo
    clear 16mm fi s are accompanied by tw used to produce them. The Fine Arts and held in 1949 itecture,
    ion of
    These project emblematic of the devices ed by the California School science, philosophy and archly
    e,
    industrial dron n Art”, a symposium organiz t, literature, criticism, music, e group publicly and private
    er ar
    Table on Mod an elite group of men from ht and Gregory Bateson. Th ernist future.
    er rig od
    brought togeth l Duchamp, Frank Lloyd W modernist legacy and a m
    ce
    including Mar emporary artistic practice,
    its in Cologne in
    of Media Arts
    discussed cont ua te d fro m the Academy Vienna, Stockholm and
    . She grad Angeles, Italy,
    rmany in 1972 in Budapest, Sweden, Los ivals in Germany, France,
    was born in Ge s st d, and
    Rosa Barba since completed residencie tensively at galleries and fe erland, Peru, Brazil, Finlan Chicago
    s ex itz
    2000, and ha rba has exhibited her work , USA, Canada, Austria, Sw ted by Video Data Bank in
    bu
    Amsterdam. Bad, The Netherlands, Sweden Festivals. Her work is distri
    es
    Scotland, Irelan the 2005 and 2008 Imag
    as
    Korea as well Amsterdam.
    in
    and Filmbank

    T.S.O.Y.W. nsferred to
    & Drew Heitz
    ler screen film tra
    Amy Granat an d Drew He itzler. The dual- Werther that emerged from
    y Granat Goethe ’s estion
    USA, 2007 boration by Am e of Johann Wolfgang von no about Jean Genet’s sugg s
    e first film colla rrativ Parri o screen
    T.S.O.Y.W. is thupon a reworking of the na Olivier Mosset and Steven ot or cy cle . Tw
    , with a m aneously
    video is based ler’s discussions with artists attainable love, Charlotte m footage they shot simult ether
    itz un m
    Granat and He phy to replace Werther’s this narrative, based on 16 Granat along with Jutta Ko
    ra of sed by
    in his autobiog ure each artist’s rendition dtrack compo
    concurrently fe
    at
    as , ac co m pa nied by a soun
    lex camer . She has
    on a pair of Bo repnin. d in New York
    and Stefan Tc
    he
    y Gr an at has been base m; Palais de Tokyo, Paris;
    98, Am Museu Chicago;
    rd College in 19w York; the Milwaukee Art mpbell Gallery,
    her BA from Ba , Ne les; Shane Ca the curatorial collective
    Since receiving tionally at Broadway 1602 Redling Fine Art, Los Ange r of
    na ; co-founde titute.
    exhibited inter rary Art Centre, New York hitney Biennial. She is also d Gallery and the Swiss Ins
    po ar
    P.S. 1 Contem , New York; and the 2008 W cts at The Kitchen, Orch
    oje
    White Columns at has recently presented pr
    th
    Cinema Zero

    86
    T.S.O.Y.W.

    Los Angeles,
    and works in
    ro lin a, an d currently lives er na tio na lly including
    72 in Ch ar les ton, South Ca 2000 and has exhibited int emporary Art Center,
    r was born in
    19 nter College in ris; P.S. 1 Cont ennial. In
    Drew Heitzle ler received his MFA from Hu e Centre Culturel Suisse, Pa l; and the 2008 Whitney Bi Bring the
    lifo rn ia. He itz Ne w Yo rk ; th se lla nd , Ba se t ex hib itio n
    Ca er, Ba ou
    Sculpture Cent rk; Kunsthaus much written
    ab
    exhibitions at ology Film Archives, New Yo n Fine Art and curated the
    th Angeles.
    New York; An the co-founder of Champio rk, and Q.E.D. Gallery, Los
    s
    addition he wa zabeth Dee Gallery, New Yo
    Eli
    War Home at
    a sunset
    ING: californi to the
    LIGHT READ lpine e title referring
    Elizabeth McA a co nt inu ou s film loop, th d entirely of “flash-
    is rk is compose
    lifornia sunset , which,
    UK, 2008 READING: ca ne is appropriating. The wo ly inserted into movie trailers duration,
    lpine’s LIGHT lpi
    Elizabeth McA n of the materials that McA otion picture frames popular trailers. Over its ten-minute the
    e th
    Hollywood origi dual monochrome 35mm m e perceptual intensity of th e entire colour spectrum, wi llage.
    frames”— ind
    ivi
    ey e, inc re as e th bla ck th ro ug h th de ns e so un d co
    by the human from white to d to create a
    whilst unseen G: california sunset moves each sourced frame retaine e Arts &
    LIGHT READIN nying audio fragment from ived a BA in Fin
    original accom
    pa
    ba se d in Lo ndon. She rece of Fine Art. Her projects
    ly
    artist current ture from the Slade School ticipating
    erdisciplinary symposium An PILOT,
    lpine is an int an MFA in Sculp as well as the r of
    Elizabeth McA m Goldsmiths College and Ballina Arts Centre, Ireland; is a co-founder and directo CO,
    fro e AR
    Critical Theory ited at SPACEX, Exeter; th odern. In addition, McAlpine s since been exhibited at .
    M ha
    have been exhib Archive: Image at the Tate was launched in 2004 and a Bartlett Gallery in London
    ts:
    the Past: Artis r artists and curators. PILO
    T Laur
    represented by
    a live archive
    fo
    nic e Bi en na le. McAlpine is
    the 52nd Ve
    Madrid and at ntury:
    odbye 20th Ce
    tio ns co in ci ding with Go
    Other exhibi

    Topsy-Turvy playground
    in the form of
    Lyla Rye th e arch ite ct ure of fantasy ha s be en re -purposed for
    interest in itecture that but actually
    Canada, 2009 s inspired by artist Lyla Rye’sms. A futuristic, utopian arch US by Buckminster Fuller sculpture
    e t
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    ge
    originated in Ge gineering. They are usually uity of reference lends itself ent, reality and fantasy mer physical
    en big
    and structural building toys, and their am , past and pres to and throug
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    adult and child fractured by projecting on gement with th
    e
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    explores the pla of space normally created perceptual incongruities en in reality.
    n d as
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    Th
    interferences. this playground to exist in
    th da, Rye has
    . Within Cana
    space, allowing ex hib ite d wi dely since 1989 Gallery, Medicine Hat; l
    work has been lifax; Esplanade d internationa
    an ins ta lla tio n artist whose t Gallery of Nova Scotia, Ha nada, Toronto, and has ha
    Lyla Rye is Toronto; Ar useum of Ca
    e Power Plant, d the Textile M
    exhibited at th on Art Centre, Kingston; an ide, Paris, and Berlin.
    rin gt , Ad ela
    Agnes Ethe , New York
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    Br ad Ha rle y, April Hickox
    e Goddard, ty of
    Frame to Fram, Warren Brown & Adam river ation in a varie
    ta o explore anim
    Josh Bonnet antal Rousseau, Seth Sc n by nine Ontario artists wh hallway.
    Ch in this exhibitio onitors in an open access
    Tanya Read,
    is transformed of m
    The still image s. Presented on a series
    yle
    formats and st

    87
    il 18
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    d studied at th an Pl
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    chi is
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    88
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    89
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    through its gallery exhibitions, screenings, online programming, publications and
    public events. 95
    Hot Docs Canadian International Documentary Festival Liaison of Independent Filmmakers of Toronto (LIFT)
    110 Spadina Avenue, Suite 333 1137 Dupont Street
    Toronto ON M5V 2K4 Toronto ON M6H 2A3
    (T) 416 203 2155 (F) 416 203 0446 (T) 416 588 6444 (F) 416 588 7017
    (E) info@hotdocs.ca www.hotdocs.ca (E) office@lift.on.ca www.lift.on.ca

    Hot Docs, North America’s largest documentary festival, conference and market, LIFT is a non-profit charitable organization that provides Toronto’s vibrant arts
    will present its 16th annual edition from April 30 to May 10, 2009. community with affordable access to film equipment, professional and
    An outstanding selection of 150+ documentaries from Canada and around the creative development workshops, film screenings and much, much more.
    world will be presented to Toronto audiences and international delegates. Hot Docs Whether you’re an auteur or an absolute beginner, if you’re interested in making
    will also mount a full roster of professional development and market events for a film, we can help you.
    documentary practitioners, including the renowned Toronto Documentary Forum,
    running May 6 & 7, 2009.

    Media City Film Festival


    imagineNATIVE Film + Media Arts Festival 309 Chatham Street West
    401 Richmond Street West, Suite 349 Windsor, ON N9A 5M8
    Toronto ON M5V 3A8 (T) 519 973 9368
    (T) 416 585 2333 (F) 416 585 2313 (E) mediacity@houseoftoast.ca www.houseoftoast.ca/mediacity
    (E) info@imagineNATIVE.org www.imagineNATIVE.org
    MEDIA CITY is an international festival of experimental film and video art presented
    The imagineNATIVE Film + Media Arts Festival is an international festival that in Windsor, Ontario since 1994. Each year Media City screens approximately fifty
    celebrates the latest works by Indigenous peoples on the forefront of innovation new films and videos in all gauges and formats in its international programs. The
    in film, video, radio, and new media. Please join us for the 10th annual festival, festival also presents retrospective screenings and discussions with featured artists,
    October 14-18 2009, in Toronto. and exhibits installations in the Art Gallery of Windsor and other venues in Windsor
    and Detroit.

    Inside Out
    401 Richmond Street West, Suite 219 Mercer Union, A Centre for Contemporary Art
    Toronto ON M5V 3A8 1286 Bloor Street West
    (T) 416.977.6847 (F) 416.977.8025 Toronto ON M6H 1N9
    (E) inside@insideout.ca www.insideout.ca (T) 416.536.1519 (F) 416.536.2955
    (E) info@mercerunion.org www.mercerunion.org
    Inside Out, the presenter of the annual Toronto Lesbian and Gay Film and Video
    Festival, is currently in its nineteenth fabulous year – Festival dates are May 14 to Mercer Union, A Centre for Contemporary Art is an artist-run centre dedicated
    24, 2009. Over the past decade, we have grown by leaps and bounds. Currently, to the existence of contemporary art. We provide a forum for the production and
    our festival caters to audiences of more than 30,000, is the third largest film festival exhibition of Canadian and international conceptually and aesthetically engaging
    in Toronto and is one of the city’s most anticipated queer cultural events. We are art and related cultural practices. We pursue our primary concerns through critical
    committed to the promotion and exhibition of Canadian and international LGBT activities that include exhibitions, lectures, screenings, performances, publications,
    artists and their works, while encouraging the production of new work. We are events and special projects.
    dedicated to nurturing and supporting new and established artists through a
    variety of initiatives such as the Queer Youth Digital Video Project and Mark S.
    Bonham Scholarship for Queer Studies in Film. As well, we provide opportunities
    for our community to come together, foster discussion and encourage
    co-operative partnerships.

    Museum of Contemporary Canadian Art (MOCCA)


    952 Queen Street West
    Toronto ON M6J 1G8
    (T) 416 395 0067 (F) 416 395 7598
    (E) info@mocca.ca www.mocca.ca

    The Museum of Contemporary Canadian Art (MOCCA) was founded in 1999 with
    a mandate to exhibit, research, collect and promote innovative art by Canadian
    artists whose works engage and reflect the relevant stories of our times. MOCCA
    InterAccess Electronic Media Arts Centre currently exists as a not-for-profit, arms-length agency of the City of Toronto’s Culture
    9 Ossington Avenue Division. MOCCA’s exhibition program reflects a dynamic yet balanced approach to
    Toronto ON M6J 2Y8 presenting the wide range of ideas and media being explored by established artists
    (T) 416 599 7206 (F) 416 599 7015 at advanced stages of practice, and emerging artists who have demonstrated
    (E) help.me@interaccess.org www.interaccess.org strong promise and exceptional commitment. In addition, MOCCA includes work by
    non-Canadian artists in group exhibitions, thereby creating a global context for the
    InterAccess provides artists and the general public with opportunities to explore the Canadian cultural voice.
    intersection of culture and technology through the creation, exhibition and critique
    of electronic art forms and new communications media.

    Performance Creation Canada


    (Blog) pcctoronto.wordpress.com www.performancecreationcanada.ca

    Kasseler Dokumentarfilm und Videofest Performance Creation Canada (PCC) is a nationwide network dedicated to the
    Filmladen Kassel e.V Goethestrasse 31 nourishment, management and study of performance creation in Canada, and
    Kassel Germany 34119 the ecology in which it flourishes. The meeting is aimed at creating a discussion
    (E) dokfest@filmladen.de www.filmladen.de/dokfest between artists in dance, theatre, music, film, and visual arts who are interested in
    the well being of Canadian performance creation. The conference is designed to
    The Kasseler Dokumentarfilm und Videofest began as a pure documentary film open conversation, and open minds. The 11th edition of PCC is being presented in
    festival in the 1980s but has since extended its frame to include media installations, conjunction with the Images Festival and will be taking April 2 to 5, 2009.
    MONITORING, and the seminar interfiction, a place for lectures and debates about
    the internet. In 2008 the festival presented 279 films and videos as well as 17 media
    installations, and was attended by more than 9,000 spectators. The 26th festival
    takes place November 10-15, 2009. Deadline for entries: July 21st.

    96
    Pleasure Dome Toronto Reel Asian International Film Festival
    195 Rushton Rd. 401 Richmond Street West, Suite 309
    Toronto ON M6G 3J2 Toronto ON M5V 3A8
    (T) 416 656 5577 (T) 416 703 9333 (F) 416 703 9986
    (E) pdome@ican.net www.pdome.org (E) info@reelasian.com www.reelasian.com

    Pleasure Dome is dedicated to the year-round presentation of experimental film and Canada’s premier pan-Asian international film festival, the Toronto Reel Asian
    video by artists. Programming since 1989, Pleasure Dome exhibits local, national International Film Festival takes place annually, showcasing independent Asian film
    and international artists, especially those who make shorter-length and small-format and video from Canada, the U.S. and around the world. The 13th annual edition of
    work, as well as non-traditional events that mix film and video with other media Reel Asian will take place November 11-15, 2009. Our Call for Submissions is now
    such as performance and installation. Pleasure Dome also publishes texts on open! The early deadline is Friday, May 15, 2009 - full guidelines and application
    media art including the recent anthology Cinematic Folds: the furling and unfurling forms are available for download from our website at www.reelasian.com.
    of images. ,

    The Power Plant Contemporary Art Gallery at Harbourfront Centre


    231 Queens Quay West Toronto ON M5J 2G8 Trinity Square Video
    (T) 416 973 4949 (F) 416 973 4933 401 Richmond Street West, Suite 376
    (E) thepowerplant@harbourfrontcentre.com www.thepowerplant.org Toronto ON M5V 3A8
    (T) 416 593 1332
    The Power Plant is Canada’s leading public gallery devoted exclusively to the art of www.trinitysquarevideo.com
    our time. A prominent, non-collecting exhibition facility located in Toronto, it features
    new work by today’s best artists and is an integral part of Harbourfront Centre. The TSV is an amazing artist-run centre that provides independent artists and community
    Power Plant celebrates the diverse conditions of evolving visual-art practice through organizations with video production and postproduction support and services at
    exhibitions, publications, lectures and public programs. accessible rates. In existence since 1971, TSV provides an extensive range of
    services and initiatives for the creation, training and understanding of media art.
    These include workshops, an annual artist-in-residency, themed commission
    programs, artist talks, internships, member production grants and festival and
    community sponsorships. The TSV Gallery features brilliant exhibitions and dazzling
    Prefix Institute of Contemporary Art screenings of innovative video art by notable local, national and international artists.
    401 Richmond Street West, Suite 124
    Toronto ON M5V 3A8
    (T) 416 591 0357
    (E) info@prefix.ca www.prefix.ca

    Prefix Institute of Contemporary Art is a public art gallery and arts publishing house
    that fosters the appreciation and understanding of contemporary photographic, Vtape
    media, and digital arts. As the only venue of its type in Canada, Prefix increases the 401 Richmond Street West, Suite 452
    visibility of Canadian artists and supports Canadian writers, curators, and critics, Toronto ON M5V 3A8
    while also bringing a diverse body of international work to Canadian audiences (T) 416 351 1317 (F) 416 351 1509
    through exhibitions, publications, and community-partnered activities. In 2008, (E) info@vtape.org www.vtape.org
    Prefix released its first book, Milk and Melancholy by Kenneth Hayes, in partnership
    with the MIT Press. Founded in 1980, Vtape is an international distribution, exhibition and resource
    centre with an emphasis on the contemporary media arts. Vtape represents over
    900 artists and carries over 4,000 titles. In-office facilities include study carrels for
    viewing and an extensive library of print materials available to the general public.
    Vtape also provides exhibition support and equipment rentals to galleries, curators
    and individual artists. Vtape has developed the bi-lingual educational website
    “Video art in Canada” and maintains an active commitment to the preservation and
    restoration of all formats of early video art.
    Ryerson University’s G. Raymond Chang School of Continuing Education
    (Film Studies)
    The G. Raymond Chang School of Continuing Education
    Ryerson University, 350 Victoria Street
    Toronto ON M5B 2K3
    (T) 416 979 5035
    (E) ce@ryerson.ca www.ryerson.ca/ce Wavelength Music Arts Projects
    www.wavelengthtoronto.com
    The Chang School’s Film Studies program provides you with a basic grounding
    in the principles, contemporary theories, and techniques of the motion picture Wavelength is a forum for the Toronto underground musical and artistic community
    medium. Courses range from introductory filmmaking to specialized topics such to reach a broader audience through a weekly pay-what-you-can live music series,
    as screen writing; cinematography and lighting workshops; directing screen special presentations and blog. Started in 2000, Wavelength continues to be driven
    performance; production design; and sound design. Our Film Studies program is an by a social conscience, promoting inclusivity, equality, civic and environmental
    excellent starting point for people who want to pursue a career in the film industry responsibility, with the aim of encouraging connections between diverse and
    or satisfy their curiosity about film and film production. currently isolated communities.

    WARC Gallery - Women’s Art Resource Centre


    401 Richmond Street West Suite 122
    Toronto ON M5V 3A8
    (T) 416 977 0097 (F) 416 977-7425
    (E) warc@warc.net www.warc.net
    Toronto Animated Image Society
    60 Atlantic Avenue, Suite 102 WARC is a not-for-profit, artist-run centre dedicated to the advancement of
    Toronto, ON M6K 1X9 contemporary Canadian women artists. Activities include the WARC Gallery,
    (T) 416-533-7889 curatorial research library, professional development workshops, educational
    (E) tais@bellnet.ca www.tais.ca resources, symposia & conferences, and special projects.
    Charitable # 131083271RR0001
    The Toronto Animated Image Society is a not-for-profit, artist-run organization that
    explores and promotes the art of animation and supports animators as artists. Over
    the past 20 years, TAIS has encouraged the exchange of information, facilities,
    ideas and aesthetics within Toronto’s animation community through events, screen-
    ings, workshops, and art exhibitions. TAIS also provides affordable access to a
    specialized animation studio

    97
    Winnipeg Film Group XPACE Cultural Centre
    100 Arthur Street, Suite 304 58 Ossington Avenue
    Winnipeg, MB R3B 1H3 Toronto ON
    (T) 204 925 3452 (T) 416 849 2864
    (F) 204 942 6799 (E) derek@xpace.info www.xpace.info
    winnipegfilmgroup.com
    XPACE Cultural Centre is a non-profit organization dedicated to emerging art and
    The Winnipeg Film Group is a non-profit organization dedicated to promoting the art design. Our goal is to bridge students with their established counterparts through
    of cinema. We have served as a resource for Manitoba film and video artists for 35 experimental programming that cultivates public dialogue. This allows for a dynamic
    years, providing access to affordable training, mentorship, production and post pro- art space that questions and re-evaluates the cultural and artistic expectations of
    duction equipment and facilities through our Training and Production department, visual language. XPACE is a membership-driven organization supported by the
    local, national and international programming through our Cinematheque, as well OCAD Student Union.
    as local, national and international distribution assistance for Canadian independent
    film and video artists through our Distribution department.

    WORKMAN ARTS / RENDEZVOUS WITH MADNESS YYZ


    1001 Queen Street West 401 Richmond Street West, Suite 140
    Toronto ON, Canada M6J 1H4 (T) 416 598 4546 (F) 416 598 2282
    (T) 416 583 4339 (E) yyz@yyzartistsoutlet.org www.yyzartistsoutlet.org
    F. 416 583 4354
    www.rendezvouswithmadness.com YYZ is a vibrant artist-run forum for the presentation of local, national and interna-
    tional contemporary artist-initiated exhibitions in all media, publications on topics in
    The Rendezvous with Madness Film Festival has been exploring madness at the contemporary art, culture and society and activities that bring artists and audiences
    movies since 1993. Through screenings and post-show panel discussions, we into contact with each other in engaging ways.
    strive to bring our audience fabulous Canadian and international films, encourage
    discussion and battle stigma. The 17th annual Festival will take place in Toronto this
    November 5-14, 2009.

    Wynick/Tuck Gallery York University – Department of Film


    401 Richmond Street West, Suite 128 222 Centre for Film and Theatre
    Toronto ON M5V 3A8 4700 Keele Street Toronto ON M3J 1P3
    (T) 416 504 8716 (F) 416 504 8699 (T) 416 736 5149 (F) 416 736 5710
    (E) wtg@wynicktuckgallery.ca www.wynicktuckgallery.ca (E) film@yorku.ca www.yorku.ca/finearts/film

    Founded in 1968 as a downtown storefront/warehouse, Wynick/Tuck Gallery York University’s Department of Film offers undergraduate and graduate programs
    features multi media, progressive contemporary art by emerging, mid-career and leading to BA, BFA, MA, MFA and PhD degrees, taught in state-of-the-art facilities
    senior artists. Wynick/Tuck is committed to pushing the boundaries and blurring by award-winning filmmakers and scholars. Programs include hands-on professional
    the lines. training in film and digital production (cinematography, editing, sound, directing and
    producing for fiction, documentary and alternative projects); screenwriting (story
    editing, scene writing, feature scripts, writing for television); and in-depth academic
    studies in cinema and media history, theory and criticism with a special focus on
    Canadian, international, documentary and alternative film.

    98
    ARTIST INDEX
    Abidi, Bani p. 70–71 Dezfoulian, Pouyan Jafarizadeh p. 51 Kim, Sung Hwan p. 36, 76 Richardson, Tasman p. 60, 70–71
    Aguayo, Matias p. 70–71 Diaz, Lav p. 32 Kim, Young-Sup p. 73 Rist, Pipilotti p. 70–71
    Ammo Factory p. 65 dogr (aka David Michael DiGregorio) p. 36 Koroshegyi, Arnold p. 73 Robinson, Michael p. 60
    Arcangel, Cory p. 56 Duran, Francisca p. 49 Kuchar, George p. 50 Ronna, Giorgio p. 70–71
    Arnold, Martin p. 33 Essen, Mark p. 79 Kwon, Byungjun p. 36 Rooney, Megan p. 85
    Aschberg, Frank p. 51 Eyres, Erica p. 53 Lachajczyk, Joe p. 51 Rousseau, Chantal p. 86–87
    assume vivid astro focus p. 70–71 Faria, Fabio p. 70–71 Laibach p. 70–71 Rudelius, Julika p. 38, 40
    Ayres, Richard p. 33 Farocki, Harun p. 80 Landry, Diane p. 73 Russell, Ben p. 60, 61
    Bad Beuys Entertainment p. 70–71 Fassler, Larissa p. 77 Lane, Penny p. 53 Rye, Lyla p. 86–87
    Banfi, Márcio p. 70–71 Fernandes, Brendan p. 74 Laric, Oliver p. 60 Rytel, Joanna p. 38
    Barba, Rosa p. 86–87 Ferro, Chelpa p. 70–71 Latimer, Christine Lucy p. 46 Sacks, Rick p. 33
    Barber, Stephanie p. 49 Finnigan, Elvira p. 64 Leinkauf, Mischa p. 51 Saïto, Daïchi p. 33
    Battle, Christina p. 33 Forsyth, Iain p. 70–71 Lemieux, Karl p. 61 Schütz, Richard p. 77
    Belém, Laura p. 70–71 Fortier, Louis p. 73 Lorenzo, Jorge p. 46 Schwartz, Jonathan p. 64
    Bell-Smith, Michael p. 60 Frenkel, Vera p. 33 Maddin, Guy p. 33 Scriver, Seth p. 86–87
    Beloufa, Neïl p. 40 Fritzgerald Craig, James p. 53 Marcelle, Cinthia p. 70–71 Shamash, Sarah p. 62
    Bilal, Wafaa p. 79 Geoffroy, Thierry p. 38 Marman, Jennifer p. 70–71 Silva, Fern p. 51
    Billyou, Mary p. 40 Goddard, Adam p. 86–87 Marro, Xander p. 60 SiMalaya Alcampo, Jo p. 85
    Blandy, David p. 70–71 Goldstein, Malcolm p. 33 Mateik, Tara p. 60 Smith, Ariel p. 53
    Bodman, Amy p. 47 Goldt, Karø p. 40 Matheus, Rodrigo p. 70–71 Smith, John p. 63
    Boisseau, Sylvie p. 82 Gonzalez-Foerster, Dominique p. 70–71 Mazinani, Mani p. 51 Smith, Michelle p. 64
    Bonnetta, Josh p. 86–87 Graham, Rodney p. 70–71 McAlpine, Elizabeth p. 86–87 Snow, Michael p. 73
    Borins, Daniel p. 70–71 Granat, Amy p. 86–87 McCann, Penny p. 62 Soares, Valeska p. 70–71
    Borjal, Patrick p. 70–71 Gronsdahl, Troy p. 64 McIntyre, Daniel p. 51 Spengler, Isabell p. 46
    Boué, Francois p. 55 Guerzi, Maki p. 70–71 Migone, Christof p. 61 Stewart, Alexander p. 49
    Bourque, Louise p. 41–43 Gusmão, João Maria p. 78 Miller, Peter p. 49 Stratman, Deborah p. 45
    Bowen, Deanna p. 83 Hadjithomas, Joana p. 72 Morales, Wagner p. 70–71 Stübi, Corine p. 70–71
    Braga, Cristina p. 51 Halprin, Jason p. 55 Morgan, Steev p. 62 Supnet, Leslie p. 60
    Brinkman, Mat p. 60 Hamilton, Anitra p. 70–71 Mroué, Rabih p. 34 Tatham, Zak p. 53
    Brown, Jubal p. 79 Hansen, Mike p. 70–71 Mugaas, Hanne p. 56 Tetine p. 70–71
    Brown, Warren p. 86–87 Harley, Brad p. 86–87 Murata, Takeshi p. 60 Thauberger, Althea p. 52
    Bryant, David p. 61 Hartman, Loren p. 53 Nakamura, Takehiro p. 55 Tinmouth, Brad p. 85
    Bull.Miletic p. 70–71 Heitzler, Drew p. 86–87 Noguchi, Louise p. 88 Trainor, Jim p. 40
    Buzio, Guillermina p. 62 Hickox, April p. 86–87 Olson, Marisa p. 60 Uman, Naomi p. 64
    Calderón, Miguel (Los Super Elegantes) Hirsch, Antonia p. 73 Paiva, Pedro p. 78 van der Made, Judith p. 53
    p. 70–71 Histrionics, The p. 70–71 Pak, June p. 88 van der Werve, Guido p. 70–71
    Campbell, Duncan p. 49 Holden, Clive p. 33 Pallett, Owen p. 70–71 van Dillen, Oscar p. 33
    Chan, Lesley Loksi p. 62 Holzfeind, Heidrun p. 38 Parant, Jonathan p. 61 Wardill, Emily p. 46
    Christie, Amanda Dawn p. 64 Hommer, Joerg p. 51 Paterson, Andrew J. p. 46, 70–71 Watson, Gabriel p. 51
    Ciocci, Jacob p. 60 Horne, Adele p. 64 Peaches p. 70–71 Weekend Leisure p. 70–71
    Cloud Eye Control p. 65 Husain, Oliver p. 46 Peacock, Jan p. 75 Westermeyer, Frank p. 82
    Cocoon p. 70–71 Ishida, Takashi p. 84 Pellegrino, Mark p. 85 Wheele, Ben p. 49
    Cohene, Aleesa p. 88 Jenkins, Patrick p. 86–87 Phillips, Heidi p. 64 White, Ian p. 52
    Continuum Ensemble p. 33 Johannesen, Karen p. 55 Pollard, Jane p. 70–71 Williamson, Matthew p. 85
    Coonley, Ben p. 37, 89 Joreige, Khalil p. 72 Polta, Steve p. 55 Wong, Ming p. 70–71
    Cote, Philippe p. 55 Josephson, Gunilla p. 81 Pong, Elodie p. 70–71 Wood, Kelly p. 73
    Cranfield, Brady p. 70–71 Katayama, Kaoru p. 70–71 Pound, Stuart p. 70–71 Yücel, Altan p. 51
    Crockard, Liam p. 85 Kawamura, Yuki p. 70–71 Price, Seth p. 60 Zaatari, Akram p. 45
    Dardot, Marilá p. 70–71 Kibbins, Gary p. 53 Ramo, Sara p. 70–71
    Day, Dennis p. 70–71 Kiburz, Mika p. 40 Read, Tanya p. 86–87
    Reinke, Steve p. 46

    DISTRIBUTORS & GALLERIES


    Agência da Curta Metragem Canadian Filmmakers Distribution Galerie Eva Presenhuber Netherlands Media Art Institute
    Apartado 214 Centre (CFMDC) Limmatstraße 270 Keizersgracht 264
    4481-911 Vila do Conde, Portugal 401 Richmond Street West, Suite 119 P.O. Box 1517 1016 EV Amsterdam, The Netherlands
    T: +351 252 646683 Toronto, ON M5V 3A8 Canada CH – 8031 Zurich Switzerland T: +31 20 6237101
    E: agencia@curtas.pt T: 416 588 0725 T: +41 43 444 7050 E: info@nimk.nl
    www.curtasmetragens.pt/agencia/en/ E: bookings@cfmdc.org E: info@presenhuber.com www.nimk.nl
    www.cfmdc.org www.presenhuber.com
    Anthology Film Archives Sine Olivia Pilipinas
    32 2nd Avenue Canyon Cinema Groupe Intervention Vidéo Unit 307, Alicante Towers
    New York, NY 10003 USA 145 Ninth Street, Suite 260 4001 Rue Berri Marquinton Residences, Sto. Nino
    T: 212 505 5181 San Francisco, CA 94103 USA Montreal, QC H2L 4H2 Canada Marikina City, Philippines
    E: robert@anthologyfilmarchives.org T: 415 626 2255 T: 514 271 5506 T: +63 919 5256730
    www.anthologyfilmarchives.org lauren@canyoncinema.com E: info@givideo.org lavrente@yahoo.com
    www.canyoncinema.com www.givideo.org
    Arsenal Video Pool
    Potsdamer Straße 2 carlier I gebauer Harvard Film Archive 300 – 100 Arthur Street
    D-10785 Berlin, Germany Markgrafenstraße 67 Carpenter Center for the Visual Arts Winnipeg, MB R3B 1H3 Canada
    T: +49 30 26955 100 D-10969 Berlin, Germany 24 Quincy Street T: 204 949 9134
    E: mail@arsenal-berlin.de T: +49 30 2400 863-0 Harvard University E: vpadmin@videopool.org
    www.arsenal-berlin.de/arsenal E: mail@carliergebauer.com Cambridge, MA 02138 USA www.videopool.org
    www.carliergebauer.com T: 617 495 4700
    Art Gallery of Greater Victoria (AGGV) hcl.harvard.edu/hfa Vtape
    1040 Moss Street Diaz Contemporary 401 Richmond Street West, Suite 452
    Victoria, BC V8V 4P1 Canada 100 Niagara Street Laura Bartlett Gallery Toronto, ON M5V 3A8 Canada
    T: 250 384 4101 Toronto, ON M5V 1C5 Canada 10 Northington Street T: 416 351 1317
    E: stopfer@aggv.bc.ca T: 416 361 2972 London WC1N 2JG United Kingdom E: info@vtape.org
    www.aggv.bc.ca E: bianca@diazcontemporary.ca T: +44 20 7404 9251 www.vtape.org
    www.diazcontemporary.ca E: mail@laurabartlettgallery.com
    Art Gallery of York University (AGYU) www.laurabartlettgallery.com Winnipeg Film Group
    Accolade East Building, 4700 Keele Street Electronic Arts Intermix (EAI) 304 – 100 Arthur Street
    Toronto ON M3J 1P3 Canada 535 West 22nd Street, 5th Floor Leonard & Bina Ellen Art Gallery Winnipeg, MB R3B 1H3 Canada
    T: 416 736 5169 New York, NY 10011 USA Concordia University T: 204 925 3456
    E: agyu@yorku.ca T: 212 337 0680 1400 Blvd. de Maisonneuve West, LB-165 E: info@winnipegfilmgroup.com
    www.yorku.ca/agyu E: info@eai.org Montréal QC H3G 1M8 Canada www.winnipegfilmgroup.com
    www.eai.org T: 514 848 2424 ext. 4750
    Blackwood Gallery E: ellengal@alcor.concordia.ca
    University of Toronto Mississauga Galeria Graça Brandão www.ellengallery.concordia.ca
    3359 Mississauga Road North Rua Miguel Bombarda, 552
    Mississauga, ON L5L 1C6 Canada 4050-382 Porto, Portugal LUX
    T: 905 828 3789 T: +351 223 403 803 Shacklewell Studios
    E: j.zalucky@utoronto.ca E: galeriagbrandao@mail.telepac.pt 18 Shacklewell Lane
    www.blackwoodgallery.ca www.galeriagracabrandao.com London E8 2EZ United Kingdom
    T: +44 20 7503 3980
    E: mike.sperlinger@lux.org.uk 103
    www.lux.org.uk
    TITLE INDEX
    01/06, p. 60 Bernadette, p. 49 Counter-Music, p. 80 Hallesches Tor, p. 77
    Mat Brinkman and Xander Marro Duncan Campbell Harun Farocki Larissa Fassler
    missxander@hotmail.com LUX Leonard & Bina Ellen Art Gallery larissa@paperaeroplane.com

    12 x 26, p. 46 Binary Sound Systems, p. 73 Cultural Exchanges, p. 38 Holy Smokes!, p. 53


    Andrew J. Paterson Kelly Wood Thierry Geoffroy Loren Hartman
    Vtape Blackwood Gallery info@impakt.nl crazyspace@sbcglobal.net

    1–9, p. 40 Black and White Gods, The, p. 61 Curse Cures, p. 62 Hotel Diaries, p. 63
    Mary Billyou Ben Russell Lesley Loksi Chan John Smith
    marybillyou@yahoo.com br@dimeshow.com lesley.loksi@gmail.com LUX

    1997A (Arrival), p. 55 Black and White Trypps Number Three, Des nuages aux fêlures de la terre, p. 55 How To Lose Consciousnes, p. 53
    Steve Polta p. 60 Philippe Cote Gary Kibbins
    stevepolta@yahoo.com Ben Russell phcote14@yahoo.fr Vtape
    br@dimeshow.com
    2 Cameras @ Sea, p. 33 Diamond (Descartes’ Daughter), The, p. 46 Hunting, The, p. 74
    Clive Holden and Oscar van Dillen Blind Trip, p. 77 Emily Wardill Brendan Fernandes
    CFMDC Richard Schütz LUX Diaz Contemporary
    rik@richardschuetz.de
    A House Full of Dust, p. 55 dino, p. 53 Hydraulics of Solids, p. 78
    Steve Polta Borders Test (version complet), p. 38 Judith van der Made Pedro Paiva and João Maria Gusmão
    stevepolta@yahoo.com Thierry Geoffroy barleyqueen@antenna.nl Galeria Graça Brandão
    info@impakt.nl
    a little prayer (H-E-L-P), p. 41 – 43 Distracted Bullets, p. 72 I, An Actress, p. 50
    Louise Bourque Boy/Analysis: An Abridgement of Melanie Joana Hadjithomas and Khalil Joreige George Kuchar
    CFMDC Klein’s “Narrative of a Child Analysis”, p. 46 info@abboutproductions.com Canyon Cinema
    Steve Reinke
    Account, p. 75 Vtape Don’t Worry Be Happy (stressful mix), p. 60 I Deeply Regret, p. 40
    Jan Peacock Jacob Ciocci Karø Goldt
    jpeacock@nscad.ca Buried Traces, p. 64 jacob_ciocci@yahoo.com Arsenal
    Michelle Smith
    Adrift, p. 40 Groupe Intervention Vidéo Dreaming of Lucid Living, p. 65 I Love (St.) Louis, p. 51
    Julika Rudelius Cloud Eye Control Joe Lachajczyk
    Netherlands Media Art Institute Chapters 1–12 of R. Kelly’s Trapped in the www.cloudeyecontrol.com joseph-lachjczyk@uiowa.edu
    Closet Synced and Played Simultaneously,
    Alexanderplatz, p. 77 p. 60 Dubbing, p. 80 I want to look like you, p. 38
    Larissa Fassler Michael Bell-Smith Harun Farocki Thierry Geoffroy
    larissa@paperaeroplane.com Electronic Arts Intermix Leonard & Bina Ellen Art Gallery info@impakt.nl

    Altars, p. 62 Chelsea Girls, p. 52 E.V.E. Absolute Matrix, p. 81 Ibiza: a reading for “The Flicker”, p. 52
    Guillermina Buzio Althea Thauberger Gunilla Josephson Ian White
    guillebuzio@gmail.com Art Gallery of Greater Victoria gunilla@sympatico.ca ianwhite.email@googlemail.com

    Always With You, p. 72 Child, p. 51 Film Noir (100% Black Film 1), p. 46 Imprint, p. 41 – 43
    Joana Hadjithomas and Khalil Joreige Altan Yücel Jorge Lorenzo Louise Bourque
    info@abboutproductions.com altanyucel@yahoo.com jorgelorenzo@hotmail.com CFMDC

    And We All Shine On, p. 60 Chinese is a Plus, p. 82 Final Space, p. 65 In Between, p. 51


    Michael Robinson Sylvie Boisseau and Frank Westermeyer Cloud Eye Control Mischa Leinkauf
    michaelblayneyrobinson@hotmail.com info@filmerei.de www.cloudeyecontrol.com info@stopmakingsense.de

    Animated Heavy Metal Parking Lot, The, Cinematic (The Log Enchanter) p. 78 Finder, p. 75 In The Room, p. 76
    p. 60 Pedro Paiva and João Maria Gusmão Jan Peacock Sung Hwan Kim
    Leslie Supnet Galeria Graça Brandão jpeacock@nscad.ca shkimpado@gmail.com
    leslie.supnet@gmail.com
    Cleopatra’s Teeth, p. 40 Fissures, p. 41 – 43 In the Room 3, p. 36
    Annual Report, p. 51 Mika Kiburz Louise Bourque Sung Hwan Kim, dogr and Byungjun Kwon
    Cristina Braga mikeeblers@gmail.com CFMDC shkimpado@gmail.com
    Agência da Curta Metragem
    Close Encounter, p. 53 Frame to Frame, p. 86–87 Interface, p. 80
    Ariadne’s Thread, p. 62 Zak Tatham Josh Bonnetta, Warren Brown & Adam Harun Farocki
    Sarah Shamash zak.tatham@gmail.com Goddard, Brad Harley, April Hickox, Patrick Leonard & Bina Ellen Art Gallery
    opticlicks@hotmail.com Jenkins, Tanya Read, Chantal Rousseau,
    Co-existence_Cable Porcelain & Sound, Seth Scriver Inversion, Transcription, Evening Track and
    Art Since 1960 (According to the Internet), p. 73 pmacaulay@harbourfrontcentre.com Attractor, The, p. 49
    p. 56 Young-Sup Kim Stephanie Barber
    Hanne Mugaas & Cory Arcangel Blackwood Gallery Fulcro, p. 78 barber.s.barber@gmail.com
    hanne.mugaas@gmail.com Pedro Paiva and João Maria Gusmão
    Colombo’s Column, p. 78 Galeria Graça Brandão It only hurts when I cry, p. 51
    Att tänka tankar man inte vill tänka, p. 38 Pedro Paiva and João Maria Gusmão Daniel McIntyre
    Joanna Rytel Galeria Graça Brandão Game, The, p. 60 daniel.mark.mcintyre@gmail.com
    Netherlands Media Art Institute Tasman Richardson
    Commercials, p. 53 Vtape J.J. & Murphy’s .flv Generation, p. 89
    Aufhebung, p. 55 Erica Eyres Ben Coonley
    François Boué Winnipeg Film Group generosity of mechanics (is not well docu- benjamin_coonley@yahoo.com
    fmarburg@thing.net mented), the, p. 64
    Communism of Forms: Sound + Image + Troy Gronsdahl Jours en fleurs, p. 41 – 43
    Behind the Shadows, p. 33 Time – The Strategy of Music Videos, The, troy@troygronsdahl.com Louise Bourque
    Christina Battle and Martin Arnold p. 70–71 CFMDC
    CFMDC Art Gallery of York University Glorious, p. 33
    Guy Maddin and Richard Ayres (Just Beyond the screen) the universe—as
    Believing Makes it So, p. 62 Correspondence, p. 85 lindsay@buffalogalpictures.com we know it—is ending, p. 46
    Steev Morgan Megan Rooney Christine Lucy Latimer
    steev@steev.ca meganrooney26@yahoo.com Going Back Home, p. 41 – 43 christinelucylatimer@gmail.com
    Louise Bourque
    CFMDC

    105
    Film + Media Arts Festival
    October 14-18, 2009

    Submission deadline: June 1, 2009


    www.imagineNATIVE.org
    www.myspace.com/imagineNATIVE
    TITLE INDEX
    Just Words, p. 41 – 43 Mount Shasta, p. 46 Remapping the Apparatus: Cinematographic To All the Boys I’ve Loved Before, p. 53
    Louise Bourque Oliver Husain Specificity and Hybrid Media, p. 37 Ariel Smith
    CFMDC Arsenal Ben Coonley Vtape
    benjamin_coonley@yahoo.com
    Kalendar, p. 64 Mylar Balloon Rip Off, p. 55 Topsy-Turvy, p. 86–87
    Naomi Uman Jason Halprin Retrato Oficial (Official Portrait), p. 49 Lyla Rye
    naomiuman@yahoo.com jihalprin@yahoo.com Francisca Duran lylarye@sympatico.ca
    CFMDC
    Kempinski, p. 40 Nature Morte, p. 45 Toronto-EMAKI, p. 84
    Neïl Beloufa Akram Zaatari Revival, p. 64 Takashi Ishida
    Netherlands Media Art Institute Vtape Heidi Phillips takashiishida2@yahoo.co.jp
    Winnipeg Film Group
    Khiam 2000 – 2007, p. 72 Night of the Bomb, p. 50 Trees of Syntax, Leaves of Axis, p. 33
    Joana Hadjithomas and Khalil Joreige George Kuchar Romanians (Live like a King), The, p. 38 Daïchi Saïto and Malcolm Goldstein
    info@abboutproductions.com Anthology Film Archive Heidrun Holzfeind daichi_saito@yahoo.com
    heidrun@thing.net
    Kotti, p. 77 NJS Map, p. 60 T.S.O.Y.W., p. 86–87
    Larissa Fassler Seth Price Rupture, p. 73 Amy Granat and Drew Heitzler
    larissa@paperaeroplane.com Electronic Arts Intermix Arnold Koroshegyi Galerie Eva Presenhuber
    Blackwood Gallery
    Lasting Images, p. 72 NKS OT EAD, p. 85 Two Radio Solos, p. 73
    Joana Hadjithomas and Khalil Joreige Liam Crockard Scrap Collector, p. 79 Michael Snow
    info@abboutproductions.com lcrockard@gmail.com Mark Essen Blackwood Gallery
    messhof@gmail.com
    L’éclat du mal / The Bleeding Heart of It, Nothing is Over Nothing, p. 64 Untitled, p. 85
    p. 41 – 43 Jonathan Schwartz Self Portrait Post Mortem, p. 41 – 43 Matthew Williamson
    Louise Bourque jonathan_schwartz@emerson.edu Louise Bourque matt@matthew-williamson.com
    CFMDC CFMDC
    Nu hander det igen: Untitled (Pink Dot), p. 60
    Lerne Deutsch mit Petra Von Kant (Learn They Will Never Catch Us, p. 51 Seven Video Responses to Constant Takeshi Murata
    German with Petra Von Kant), p. 70 - 71 Frank Aschberg and Gabriel Watson Dullart’s “YouTube as Subject”, p. 89 Electronic Arts Intermix
    Ming Wong gabriel@gabrielwatson.se Ben Coonley
    mingwong@berlin.com benjamin_coonley@yahoo.com v = d/t, p. 64
    Obama Night, p. 85 Amanda Dawn Christie
    Le Sénat, p. 73 Brad Tinmouth Shadow Man, The, p. 78 CFMDC
    Louis Fortier bradtinmouth@hotmail.com Pedro Paiva and João Maria Gusmão
    Blackwood Gallery Galeria Graça Brandão Verbal Burglary, p. 51
    O’er the Land, p. 45 Mani Mazinani
    LIGHT READING: california sunset, Deborah Stratman Shadow on the Prairie, p. 83 mani@freemarketrecords.com
    p. 86–87 delta@pythagorasfilm.com Deanna Bowen
    Elizabeth McAlpine d.bowen@sympatico.ca Videodrome, p. 79
    Laura Bartlett Gallery On the Logic of Dubious Jubal Brown
    Historical Accounts, 1969-1972, p. 49 Some Days Ago (Kajitu), p. 55 jubalbrown@yahoo.ca
    Light Speed, p. 55 Peter Miller and Alexander Stewart Takehiro Nakamura
    Karen Johannesen info@petermiller.info nkmr_tkhr@hotmail.com VideoSPACE: The Psyche-Out Chronicles,
    johannesenkaren@hotmail.com p. 85
    ONCE NEAR WATER: Notes from the Scaf- Someone Else’s Girlfriend, p. 53 Mark Pellegrino
    Limits of What We Know, The, p. 47 folding Archive, p. 33 James Fritzgerald Craig markp7@gmail.com
    Amy Bodman Vera Frenkel and Rick Sacks Video Pool
    amybodmanproductions@rogers.com Vtape Virtual Jihadi, p. 79
    Something Better, p. 88 Wafaa Bilal
    Magnetic Shadow, The, p. 78 Paalaala / Remembrance, p. 85 Aleesa Cohene w.wafaa@gmail.com
    Pedro Paiva and João Maria Gusmão Jo SiMalaya Alcampo Vtape
    Galeria Graça Brandão simalaya@rogers.com Voice Over, The, p. 65
    Somewhere, p. 88 Ammo Factory
    Make Me Stop Smoking, p. 34 Path, p. 64 June Pak and Louise Noguchi nidoverde@gmail.com
    Rabih Mroué Elvira Finnigan louisenoguchi@hotmail.com
    rabihm@hotmail.com Video Pool Vox Pop, p. 73
    Spinners, p. 51 Antonia Hirsch
    Melancholia, p. 32 Performed Listening: H, p. 60 Fern Silva Blackwood Gallery
    Lav Diaz Marisa Olson fern451@hotmail.com
    Sine Olivia Pilipinas mo@marisaolson.com Walraff Method, The, p. 38
    Stolen Waters, p. 73 Thierry Geoffroy
    Memory Data Register, p. 61 Pitch, The, p. 46 Diane Landry info@impakt.nl
    Bryant / Migone / Parant / Lemieux Isabell Spengler Blackwood Gallery
    karl_lemieux@hotmail.com Arsenal Western Round Table 2027, p. 86–87
    Subterranean Heart, p. 65 Rosa Barba
    Men Seeking Women, p. 53 Presentation Theme, The, p. 40 Cloud Eye Control carlier I gebauer
    Penny Lane Jim Trainor www.cloudeyecontrol.com
    lennypane@gmail.com jtrain@saic.edu Workers Leaving the Factory in Eleven
    there, there, p. 75 Decades, p. 80
    Message The, p. 60 Professor and the Blind Girl, The, p. 62 Jan Peacock Harun Farocki
    Oliver Laric Penny McCann jpeacock@nscad.ca Leonard & Bina Ellen Art Gallery
    mail@oliverlaric.com penelope@cyberus.ca
    Those Crazy Insides, p. 51 Your Blood is as Red as Mine, p. 38
    Meteoritics, p. 78 PYT (Pretty Young Thing), p. 60 Ben Wheele Julika Rudelius
    Pedro Paiva and João Maria Gusmão Tara Mateik bunnyfilms@hotmail.com Netherlands Media Art Institute
    Galeria Graça Brandão info@taramateik.com
    Thrill of Combat, The, p. 79 Ze Turra, p. 78
    Morning Will Come, p. 51 Quiero Ver, p. 64 Mark Essen Pedro Paiva and João Maria Gusmão
    Pouyan Jafarizadeh Dezfoulian Adele Horne messhof@gmail.com Galeria Graça Brandão
    poojafari@yahoo.ca tailenders@gmail.com
    Throw, p. 78
    Motel Capri, p. 50 Red Carpet, The, p. 51 Pedro Paiva and João Maria Gusmão
    George Kuchar Joerg Hommer Galeria Graça Brandão
    Harvard Film Archives mail@joerghommer.de

    107
    ADVERTISERS INDEX
    Academy of Canadian Cinema and Television p. 44 Faucet Media Arts Centre / Struts Gallery p. 57 Pleasure Dome Film and Video p. 67
    Anthology Film Archives p. 59 Fearless Films p. 39 POV Magazine p. 101
    Art Gallery of York University (AGYU) p. 21 Film Comment Magazine p. 66 Prefix Institute of Contemporary Art p. 102
    Autoshare p. 111 Filip Contemporary Art Magazine p. 108 Reel Asian International Film Festival p. 104
    Available Light Screening Collective p. 35 The Film Buff p. 27 Rendezvous With Madness Film Festival p. 93
    Banff New Media Institute p. 21 Frame Discreet Film Transfers p. 99 Rivoli / Queen Mother p. 108
    Bar_One p. 91, 106 Fuse Magazine p. 104 Saskatchewan Filmpool Cooperative p. 101
    Beehive Design p. 91 Gallery 44 Centre for Contemporary Photography p. 57 Saw Gallery p. 14
    Blackflash Magazine p. 90 Gladstone Hotel p. 22 Shameless Magazine p. 92
    BorderCrossings Magazine p. 92 The Globe and Mail p. 16 Sheridan College Institute of Technology & Advanced
    Broken Pencil Magazine p. 100 Gulf Island Film & Television School (GIFTS) p. 92 Learning – inside front cover
    C Magazine p. 106 Imaginative p. 106 Slate p. 90
    CalArts School of Film/Video p. 29 Inside Out p. 91 Steamwhistle p. 2
    Calgary Society of Independent Filmmakers (CSIF) p. 39 InterAcess Electronic Media Arts Centre p. 57 Super 8 Hotel p. 54
    Canadian Art Magazine p. 48 International Experimental Media Congress 2010 p. 110 This Magazine p. 109
    Canadian Filmmakers Distribution Centre (CFMDC) p. 30, 39 Island Media Arts Co-op (IMAC) p. 29 Tom Thomson Art Gallery p. 67
    Centre international d’art contemporain de Montréal (CIAC) p. 12 Justina M. Barnicke Gallery p. 26 Gallery TPW p. 39
    Charles Street Video p. 30 Kasseler Dokfest p. 111 Toronto Animated Image Society (TAIS) p. 26
    Chris Stone Audio p. 99 Koffler Gallery p. 67 Toronto Film and Television Office (TFTVO) p. 27
    Cine-byte p. 23 Lakeview, The p. 93 Trinity Square Video p. 57, 59
    Cinemascope Magazine p. 102 Latitude 53 Contemporary Visual Culture p. 35 Twig Creative Design / Web Development p. 101
    Cinematheque Ontario p. 93 Maisonneuve p. 100 VIA Rail Canada – inside back cover
    Cineworks p. 109 Media City p. 111 Video Pool Media Arts Centre p. 99
    CIUT 89.5 FM p. 110 Media Net p. 59 Vtape p. 10
    CKLN 88.1 FM p. 68 Mel Hoppenheim School of Cinema, Concordia University p. 35 Westbury National Show Systems Ltd. p. 58
    Codes Pro Media Canada p. 106 Music Works p. 98 Winnipeg Film Group p. 106
    David Burkes, Chartered Accountant p. 100 National Film Board of Canada (NFB) p. 58 Wynick/Tuck Gallery p. 99
    Eastern Edge Gallery p. 27 New Brunswick Film Co-op p. 104 Xtra! p. 10
    EM Media p. 29 Niagara Artists’ Centre (NAC) p. 104 York University Department of Film p. 68
    Emily Carr University of Art + Design (ECUAD) p. 15 Nova Scotia College of Art and Design (NSCAD) p. 15
    Esse Magazine p. 108 Ontario Arts Council (OAC) p. 30
    Eye Weekly p. 28 Ontario College of Art and Design (OCAD) p. 12
    The Factory: Hamilton Media Arts Centre p. 26 Pages Books & Magazines p. 67

    109
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