AFK | Screenings

Feminist Archival Futures Co-Presentation: Club Classics

Images is excited to co-present The Feminist Recycling Group's third screening, Club Classics!

“Throbbing. Pulsing. Sweating. Clubs and bars have been central spaces for queer and trans people to find and build community. But rapid gentrification and the increasing cost of living are closing what few queer nightlife spaces remain. These videos document Toronto’s lost queer nightlife.”

– curator Jonathon Petrychyn

The Feminist Recycling Group, a group of 4 scholars and artists, presents a series of screenings

remediating the feminist archive of Canadian film and video from the 1970s to the 1990s. Each screening is curated and programmed around a feminist thematic in an attempt to speak to the continued importance of the feminist political project.

Featuring films by Judith Doyle, Christy Cameron, Paula Gignac, Kathleen Pirrie Adams, Margaret Moores, Sonya Reynolds, Jorge Lozano and Samuel Lopez.

Free admission.

Curated by
The Feminist Recycling Group
Date / Time
November 19, 2024
7:00PM – 9:00PM EDT
Location
Innis Town Hall

2 Sussex Ave, Toronto, ON M5S 1J5

Sidewalk-level entrance, elevator and ramp available, door width 32 inches, no automatic doors. No accessible parking on-site. Four wheelchair accessible seats in the cinema. 15 step-free seats in row 9. Accessible gender-neutral washroom located on the 2nd and 3rd floor. Please note that there is construction on site; the venue remains accessible.

For a map to Innis Town Hall, click here

Images Festival operates on land stolen from the Anishinaabe, the Chippewa, the Haudenosaunee, the Huron-Wendat, and the Mississaugas of the Credit First Nation. Tkáron:to is currently home to diverse Indigenous and Métis peoples as well as people who settle on this land. As part of Treaty 13 and the Dish With One Spoon Wampum Covenant, we acknowledge that we all eat from the same bowl and spoon, and must take only what we need, ensuring resources are available for all. 

As art workers, artists, and curators, we see the process of untangling ourselves from settler complicity as internal, structural, and ongoing. It is not something to be taken lightly. The inclusion of Indigenous artists and curators into our program is just the first step of necessary and deeper change. Extending from our organizational accountability work, we strive to not only undo forms of complicity, but also actively create an environment and infrastructure that can support Indigenous peoples who work with us. 

Images expresses our solidarity with Indigenous people on Turtle Island and globally. We are committed to continuing to learn, critique, and challenge the settler colonial structures we are complicit in.