Saturday April 14th , 2018 , 11:50pm - 2:00am
After Party Ft. BAMBII
Tuesday April 17th , 2018 , 3:00pm - 4:00pm
Artist Talk: Onyeka Igwe and Aliya Pabani
Friday April 13th , 2018 , 6:00pm - 7:00pm
Artist Talk: Steve Reinke
Saturday April 14th , 2018 , 3:00pm - 5:00pm
Artist Talk: When Things Occur
Friday April 20th , 2018 , 8:30pm - 9:00pm
15 March-21 April
Biologue, American artist Trisha Baga extends her recent work into a new two-part video installation. Throughout the work, cells subdivide via mitosis, languages collapse into phonemes and misheard sounds, objects dissolve into detritus, and digital images shatter into pixels and artifacts. While preoccupied with these processes of fragmentation, Baga is equally invested in reassembling and recombining their elements into new narratives.
Biologue collages video footage of the artist’s family road trip through the Philippines , audio from Hollywood soundtracks, and objects both readymade and hand-crafted. A circuitous journey that reflects how culture and its signs travel and shift, Baga’s work alludes to Philippine history and the layers of colonialism the country has endured, and considers the resulting cultural and aesthetic osmosis through repeated translations and mistranslations. Baga collapses disparate spaces and languages, creating an immersive 3D-video environment that playfully explores the promise of “immersion” across both physical and virtual spaces.
Biologue invites viewers to become subsumed in itsflows , and to make meaning from simultaneous but diverging sensory and perceptual experiences.
Tue–Sat 12–5 PM
Thursday March 15th , 2018 , 7:00pm - 9:00pm
13 April—2 June
Sophia Al-Maria’s exhibition
Black Friday foregrounds the artist’s ongoing investigation into the accelerated development of the Gulf Nations and the sobering signs of a hyper-capitalist future to come. The large-scale single-channel video installation Black Friday (2016) features hypnotic renderings of Qatari shopping malls that are often distorted and refracted, creating a dizzying disorientation of space. Through its vertical projection, booming soundtrack, and ominous voice-over, the work offers a distinctly apocalyptic take on the mall as a consumer sanctuary. Al-Maria’s likening of the mall to a sacred temple is linked to her decade-long examination of Gulf culture with its ideological mistrust of Western values and simultaneous embrace of American-style consumerism. In 2007, Al-Maria coined the phrase “Gulf Futurism” to describe the coexistence of these cultural extremes and the dystopic future that they profess.
Black Friday will be paired with *The Future was Desert, Parts 1 & 2 *(2016), a two-channel video that pays homage to the desert as a harsh fictional landscape, serving as an impending site for human civilization. By pairing the two works, the exhibition depicts Al-Maria’s imagined Gulf future—one that is punctuated by prophetic isolation.
Tue–Sat 11 AM–6 PM
Thursday April 12th , 2018 , 7:00pm - 11:00pm
Live Performance: Lucy Raven and Deantoni Parks
USA, 2018, PERFORMANCE, 60 MIN
Artist Lucy Raven and musician Deantoni Parks come together in this live performance and film screening inspired by the artwork and music of Walter De Maria. Originally commissioned by the Dia Foundation for the Arts, Bullet Points for a Hard Western is an evolving response to the artist’s work, in particular his films—including Hard Core (1969), for which De Maria composed the score—and his early percussion work with the proto-Velvet Underground band The Primitives.
Friday April 13th , 2018 , 10:00pm - 11:00pm
Bullet Points for a Hard Western (after Walter De Maria)
Toronto Media Art Centre
Curated by Emelie Chhangur Barbara Wagner and Benjamin de Burca’s works simultaneously celebrate and reframevernacular cultural forms as they have manifested through time. Their practice looks to how performative forms of colonial cultural resistance in Brazil’s northeast— such as capoeira—continue today in revised expression, which is the subject of their video Faz que vai (Set to Go). Popular genres persist through cultural mixing, diasporic re-fashioning, and translation—geographically, formally, and linguistically. For the protagonists, self-fashioning becomes a means of cultural, economic, and social survival. In the film Estás vendo coisas (You Are Seeing Things), the protagonists are part of Recife’s burgeoning Brega scene, a once regional musical genre that has since broken into the global music industry via social media.
Wagner and de Burca’s practice implicitly navigates a space between documentary and fiction. Concerned with the contradictions and conundrums of the “what, how, and for whom,” the artists have developed a subtle system of pointing that reveals rather than classifies: it is in the slippery spaces between the staged and the actual that the gendered, racialized, and socioeconomic contexts of their subjects emerge. And it is precisely here that the self-generated strategies of visibility and subversion within and between the fields of pop culture, high art, and tradition is performed anew.
Wednesday April 18th , 2018 , 6:00pm - 9:00pm
Bárbara Wagner & Benjamin de Burca
Art Gallery of York University
The prolific and deeply personal practice of Steve Reinke includes video, drawing, needlepoint, photography, and writing. This program features many key video works from his career, spanning from the early ’90s to the present, and from the various series he has developed. Together, the works build upon each other, deepening Reinke’s examination of themes of mortality, sexuality, the subconscious, childhood trauma, queer identity, and his various Freudian preoccupations. Formally, the evolution of his visual style is evident, landing at his signature cocktail—an amalgamation of original footage, appropriated imagery, and hand and digitally rendered material, overlaid with his indelible, intimate narration.
Atheists Need Theology, Too
CANADA/USA, 2016, DIGITAL VIDEO, 11 MIN
Joke (Version One)
CANADA, 1991, DIGITAL VIDEO, 5 MIN
Regarding the Pain of Susan Sontag (Notes on Camp)
CANADA/USA, 2006, DIGITAL VIDEO, 4 MIN
Anal Masturbation and Object Loss
CANADA/USA, 2002, DIGITAL VIDEO, 6 MIN
Squeezing Sorrow from an Ashtray
CANADA/USA, 1992, DIGITAL VIDEO, 6 MIN
Hobbit Love is the Greatest Love
CANADA/USA, 2007, DIGITAL VIDEO, 14 MIN
A Boy Needs a Friend
CANADA/USA, 2015, DIGITAL VIDEO, 22 MIN
Steve Reinke will be in attendance.
Monday April 16th , 2018 , 9:00pm - 11:00pm
Canadian Artist Spotlight: Steve Reinke
Innis Town Hall
Friday April 20th , 2018 , 12:30am - 2:00am
Closing Night Party Ft. Chippy Nonstop
Annie MacDonell and Maïder Fortuné
23 March–28 April
Communicating Vessels is a newly commissioned work consisting of writing, video, and sculpture produced in collaboration between Annie MacDonell and Maïder Fortuné following the premise that water will always find its level, the term Communicating Vessels describes the way liquid moves between conjoined containers: gravity and pressure conspire to keep the surfaces aligned, pulling the shared liquid back and forth until the separate vessels come into balance. like the relationship between a mother and a child or fluid passed from mouth to mouth, meaning, intention, and understanding constantly flow back and forth between us. it is the fundamental connectedness of all things, how ideas migrate and shapes shift, and the possibility of individuation without individualism. Bringing together fictional narrative, personal anecdote, and private conversation, *Communicating Vessels *explores how we infect and influence each other in ways that are both positive and negative, yet always urgent and necessary.
Tue–Sat 11 Am–5 pm
Friday March 23rd , 2018 , 6:00pm - 8:00pm
Art and Theft
USA, 2017, DIGITAL VIDEO, 7 MIN
Framed within a countdown of the time it takes to rob a house, Magenheimer brings together a scene from Scorsese’s After Hours, outtakes of a reporter filming outside Trump Tower, and details from a Hieronymus Bosch painting to examine the construction and manipulation of narrative across media.
Christine Sun Kim and Thomas Mader
GERMANY, 2016, DIGITAL VIDEO, 6 MIN
Through a playful performance, Kim and Mader reflect on nuances in communication expressed in American Sign Language. Details such as shapes and sizes are relayed through “classifiers,” and the index finger indicates a single person. This digit is mobilized to explore commonly experienced social situations.
UK/USA, 2017, DIGITAL VIDEO, 17 MIN
Weed Killer orbits around a poignant monologue that draws from Catherine Lord’s memoir The Summer of Her Baldness, recounting her experience with breast cancer and the effects of chemotherapy. Thermal imaging is used as a visual metaphor for the extent to which bodily experience, and threats to it, are invisible to the naked eye. Staff composes vibrant expressions of illness, aging, and queer identity, climaxing in a performance by artist Jamie Crew.
With History in a Room Filled With People With Funny Names 4
Thailand/USA, 2017, DIGITAL VIDEO, 24 MIN
Arunanondchai’s video expresses the contemporary global condition through the scaled vantage of the drone spirit Chantri, voiced by the artist’s mother. Narrated in a poetic style reminiscent of Chris Marker’s Sans Soleil, the work surveys political unrest across the world, symptoms of the Anthropocene, interspecies relations, all the while circling back to the personal with reflections on Arunanondchai’s family history and his aging grandmother. The work affectively communicates the invisible relations that bind our shared existence on the planet, and is held together by the rhythm of breath.
Patrick Staff will be in attendance.
Communing with Others
Onyeka Igwe and Aliya Pabani
6 April-28 April
The Central East Correctional Centre in Lindsay, Ontario administers restrictions on materials that can be sent to detainees. Among the forbidden items are photographs of any correctional institution/facility—a restriction Igwe and Pabani chose to subvert.
Corrections originates from a series of lenticular postcards depicting correctional facilities that Igwe and Pabani sent to the Central East Correctional Centre. Correspondence that violated this policy was returned to the artists, accompanied by a form from the Ontario Ministry of Community Safety and Correctional Services and handwritten notes by the mailroom employee tasked with deciding what constitutes an admissible representation of a correctional facility. The services of a graphologist were employed by the artists to develop psychological profiles of this employee based on their handwriting.
The exhibition includes a multi-channel video installation that charts the correspondence of images and text from the year 2000 to the speculative 2025, reflecting adaptations to the function and purpose of incarceration over space and time while questioning the limits of visual representation.
–Onyeka Igwe and Aliya Pabani
Onyeka Igwe and Aliya Pabani will be in conversation on Tue 17 April
Gallery Hours: Tue–Sat 12–6 PM
Friday April 6th , 2018 , 6:00pm - 8:00pm
Trinity Square Video
Aminatou Echard KYRGYZSTAN/FRANCE, 2018, SUPER 8 ON DIGITAL VIDEO, 84 MIN
Centring Kyrgyz women’s voices, Djamilia traces the influence of Chinghiz Aitmatov’s 1958 novel of the same title, whose protagonist broke societal norms for female conduct, inspiring generations of women to follow their own desires and ambitions. Exquisitely shot on Super 8, the film is composed of portraits of women of all ages in intimate settings—around kitchen tables, in gardens, in parks, and across diverse Kyrgyz landscapes—each reflecting on traumas resulting from the practices of child marriage and bride kidnapping. Despite recent criminalization, these practices remain common, with nearly a third of Kyrgyz girls and women being forced into marriage against their will. The film transports us to a region rarely represented in the media, and shares these women’s experiences of selfhood and identity. Djamilia invites women to reflect on their lives, their roles in society, and their expectations for change.
Aminatou Echard will be in attendance.
Preceeded by Awards Ceremony
Friday April 20th , 2018 , 8:30pm - 11:00pm
The Private Property Trilogy: A Survey of the Life and Films of C.B.
MEXICO/USA/CANADA, 2018, CINEMA LECTURE, 37 MIN
The Private Property Trilogy is a performance lecture that surveys the life and work of C.B., a multifaceted artist, political activist, amateur archaeologist, self-proclaimed anarchist, and creator of a mining museum in the Northern Mexico desert. Stories of land rights and artistic endeavors become inextricably linked as Nicolás Pereda poetically uncovers the missing fragments of C.B.’s personal history.
UK/CHINA, 2018, DIGITAL VIDEO, 33 MIN
Following the expansion of infrastructure and distribution networks along the New Silk Road—the highly politicized trade corridor linking China and Europe—AAA Cargo maps the the flow of human and non-human agents across this vast landscape. Government efforts to facilitate and expedite trade are countered by desert sand and other environmental forces.
Bad mama, who cares
USA, 2016, 16MM TO 35MM, 12 MIN
Bad mama, who cares depicts the domestic ecology of a geologist who has moved into a housing complex at the intersection of a rail yard and an interstate. Looking from the outside in, the arid exterior landscape and seismic vibrations slowly take over the interior, transforming the domestic space into a tactile home.
Nicolás Pereda will be in attendance.
Sunday April 15th , 2018 , 9:30pm - 11:00pm
Sonia Beckwith-Cole, Dylan Glynn, Kai Lumbang, Asunee Kira Reau, and Nicole Ji Soo
Guest curated by Amanda Low and Philip Ocampo
6 April-5 May
As demonstrated by the fantastical worlds created by studio giants, animation is a powerful exploratory tool that allows viewers, for a brief moment, through their screens, to imagine worlds beyond their own. the ever-changing stylization of characters, objects, and environments continuously presents us with alternate realities. what happens when you take this grandeur and extend it beyond the single-channel screen and into three dimensions? what happens when the viewer becomes the explorer? *Expedition: Elsewhere *moves the viewing experience beyond the act of just gazing: spatial integration allows the animator to transport the body into the realities they create, and to inspire awe and wonder on a more expansive scale.
Expedition: Elsewhere aims to take advantage of animation’s ability to push the boundaries of reality with five artworks that reach beyond the perceived limitations of the medium.
–Amanda Low and Philip Ocampo
Gallery Hours: Tue–Sat 12–6 pm
Friday April 6th , 2018 , 7:00pm - 10:00pm
Xpace Cultural Centre
Philip Scheffner 3 March–31 May
Havarie traces a complex network of political, geographic, and affective relations orbiting around a visible centre: a three-minute YouTube video of a tiny boat jammed full of refugees attempting passage to Europe. Stretched to feature length, each of its frames displayed as a discrete object, the visual material accumulates a density of meaning as the audio track becomes populated with a cast of voices, including passengers on both crafts—the refugee boat, and the luxury cruise ship from which the video was shot. An Algerian woman living in France speaks about her decade-long immigration and her imminent deportation; a Ukrainian cargo ship captain reflects on his separation from his family and the political tensions among the transnational crew; while other migrants speak about their desire for Europe, the things they are fleeing, and their repeated attempts at passage. (The extreme, near-geologic temporality of the image registers visual events as tectonic shifts, while what is visible becomes increasingly entangled in an ever-more expansive and open web of relations.)
Havarie is both a document of Afro-European migration and a formal experiment in documentary aesthetics.
Tue 1–6 PM
Wed–Thu 3–7:30 PM
Sat 9:30 AM–1:30 PM
Saturday March 3rd , 2018 , 7:00pm - 9:00pm
CANADA/USA, 2016, DIGITAL VIDEO, 41 MIN
“I’m piecing together fragments because I don’t yet have a subject”—through this self-proclaimed process, Davey’s subject is found as she meanders through her apartment, and through her thoughts, carefully weaving together points of resonance across disparate practices, films, and texts. Responding to Chantal Akerman’s News from Home, both as a source of inspiration and to pay homage to the recently deceased filmmaker, Davey considers the film’s connections to herself and the experiences of those close to her. This visual essay is woven inside the frame, with and through the artist’s lived space.
UNITED KINGDOM, 2016, 16MM ON DIGITAL VIDEO, 3 MIN
A poetic narration speaks to the imagined future of a young woman and her reflections on her changing city, as a group of women traverse their turf in London’s Hackney to the repeated call to action: “Let’s get rid of the ghetto.”
The Wind Sleeps Standing Up
CANADA/PAKISTAN, 2016, DIGITAL VIDEO, 12 MIN
Memory and biography are examined through experiments in narration as Bamboat plays with ambiguous boundaries between fact and fiction. Lists of personal preferences of various quotidian textures such as pop culture, food, and sexuality are described both in first and third person, sketching a constellation of clues to form a biography. Footage shot by the artist in Pakistan several years apart becomes both an indicator of image technology and a metaphor for memory.
Ayo Akingbade will be in attendance
Sunday April 15th , 2018 , 5:00pm - 7:00pm
The Images Research Forum is an educational initiative that takes place during the 31st edition of Images Festival. Understanding the need to support the creation and dissemination of critical thinking and dialogue, Images Festival is inviting emerging colleagues to explore contemporary moving image culture within the context of the festival and with mentorship from leading international curators, artists, and researchers in the field.
Wednesday April 18th , 2018 , 3:00pm - 5:00pm
Images Research Forum
Fastest Man in the State
Kevin Jerome Everson and Claudrena Harold
USA, 2017, 16MM ON DIGITAL VIDEO, 10 MIN
Historical reenactments of athletes performing various sports at the University of Virginia are seen as Kent Merritt, one of the first African American scholarship athletes at the university reflects on his experience.
Germany, 2017, 16MM, 4 MIN
Part of a series of portraits about women close to the filmmaker, LISA is a lyrical study of Risa Tamaru, affectionately rendered through close glimpses of her daily life, and filmed in Berlin and Yokohama.
Akosua Adoma Owusu
USA, 2018, SUPER 8 ON DIGITAL VIDEO, 3 MIN
The spirit of Tracy Chambers, the struggling fashion design student played by Diana Ross in the 1975 Motown film Mahogany, is invocated and re-imagined by the Nigerian actress Esosa E.
CANADA, 2017, SUPER 8, 16MM AND 35MM ON DIGITAL VIDEO, 15 MIN
Through a dense process of collage, animation, and graphic techniques, a biography of an architect becomes an expression of the desire of cinema to partake of the art of building and the construction of spaces.
TURKEY, 2017, 16MM ON DIGITAL VIDEO, 1 MIN
Dinçel’s meditation on female labour utilizes close-up textures of skin, grape leaves, earth, and fabric, which are accompanied by a song written on occasion of a wedding.
3 Dreams of Horses
CANADA, 2018, DIGITAL VIDEO, 6 MIN
A triptych in which the figure of the horse becomes a medium for meditation on its various incarnations as symbol, domesticated animal for human domination, and its abstract power as spirit.
GERMANY, 2018, DIGITAL VIDEO, 13 MIN
The hypnotic oscillation of images crescendos into a fusion of figure and field as different temporalities, forms, and forces evoke an affecting, and at times ominous interior space of subconscious experience and transformation.
St. Bathans Repetitions
CANADA/NEW ZEALAND, 2016, SUPER 8MM AND 16MM ON 35MM, 20 MIN
Shot in a saloon and horse stables in the former gold mining town of St. Bathans, New Zealand, the film drifts between representation and graphic abstraction as these cinematic portraits, which are layered in-camera, multiply the solitary figure through temporal diffraction.
Claudrena Harold, Ute Aurand, Rhayne Vermette, Mike Hoolboom, Sylvia Schedelbauer, and Alexandre Larose will be in attendance.
Friday April 20th , 2018 , 6:00pm - 8:00pm
In Search of a Likeness
Lafawndah is the music project of performer, musician, and filmmaker Yasmine Dubois. Combining rich songwriting and rapturous vocal delivery with an ability to distill and transpose her heritage and identity, the Egyptian-Iranian performer incorporates moods and motifs that are at once intimate and deceptive, sensual and unsettling, into a global pop fantasy. Performing a range of material including songs from her latest EP Tan released on the canonical electronic label Warp, Lafawndah will bring the festival to a close with a riveting performance.
Friday April 20th , 2018 , 11:30pm - 12:30am
Student curated program by Colin Rosati (OCAD University), Sahar Te (University of Toronto), and, Sara Wylie (Ryerson University)
This program visualizes the complexities of representation in order to question the role of spectatorship in our current complex, sociopolitical landscape. The filmmakers use moving image to render, erase, and bring into focus lives in liminal states.
From bearing witness in the passenger seat or a drone’s-eye view, to the non-human POV of the post-Anthropocene, cinematic conventions are upended in order to delve into these liminal states. The moving image provides us with a window into another perspective that can facilitate empathy, poetics, entertainment, and voyeurism.
—Colin Rosati, Sahar Te, and Sara Wylie
Tuesday April 17th , 2018 , 7:00pm - 9:00pm
USA, 2017, S16 MM on DIGITAL VIDEO, 38 MIN
Exhausting the logic of the medium shot, Mediums depicts a series of subjects participating in the voir dire process as potential jurors in the American legal system. The dialogue is composited and culled from an array of found texts including technical literature from the internet, a jury selection pamphlet, an automotive manual, a union constitution, a fast food franchise contract, a health insurance FAQ, and blog posts. Channelling this content, the characters function as mediums themselves, sharing advice and a sense of civic duty with their fellow citizens.
Sex Without Glasses
CANADA, 1983, 16MM, 12 MIN
A playful examination of the artifice of cinematic space, Sex Without Glasses forefronts the background by centering the rear-projection process shot. Figures inhabit various scenes including a busy urban street, the beach, a rainy garden, and the classic driving shot in this intriguing formal experiment.
UK, 1977, 16MM, 17 MIN
A series of humorous incidents involving the use and misuse of public telephones—all featuring characters with the initials H.C.—is narrated over a montage of banal depictions of phone booths. Greenaway’s classic performs a critique of the arbitrary relationship between text and image.
James N. Kienitz Wilkins and Ross McLaren in attendance.
Friday April 13th , 2018 , 7:00pm - 9:00pm
Music for chameleons is an event, a proposal for constantly shifting queerness; an anti-thesis to an essential, fixed, known identity or self. Cam Lee presents a performed self, stemming from ongoing performance series as alter-ego Marilyn Mansion. Music for chameleons offers experiential “… languages of flux. Of uncertainty in which the ‘I’ (eye) constantly changes. For the self is ‘an indefinite series of identities and transformations.” This event invites guests into an immersive space, encouraging expression of self through dance music, and fashion; to make up and take up a queer space.
Friday April 13th , 2018 , 11:00pm - 2:00am
Music for Chameleons
Toronto Media Art Centre
Thursday April 12th , 2018 , 10:00pm - 2:00am
Opening Night Party Ft. myst milano
4 April-22 April
Designated as the “Critical Zone” by environmental scientists, the immediate area one metre above and below the surface of the Earth has become the focus of intense study in recent years. Recognition of its astonishing complexity has necessitated cross-disciplinary collaboration between previously isolated natural sciences in the field. In the lab, scientists maintain controlled environments, isolating all variables, shutting out interference. Similar controls are used in tests for managing future greenhouses remotely in outer space.
Substrates, moulds, and plants in outer space are only some of the elements that come together in *PLANT/PIXEL*—an exhibition by Soft Turns, the collaborative effort of artists Sarah Jane Gorlitz and Wojciech Olejnik. Their video-centric installations closely look at the small human gestures and intimacies that make up daily life. Thinking through the “Critical Zone” by centring elements that make it up, they access other contentious sites of human interaction—on Earth, in soil, in space, and in the ever-expanding digital and virtual realms. Taking over the basement space of 8eleven, Soft Turns will present an expansive installation where they create encounters between the material and the digital to better understand the world around us.
Soft Turns will have an artist talk on Sat 7 April.
Thu–Sun 12–5 PM
Wednesday April 4th , 2018 , 7:00pm - 11:00pm
Monday April 16th , 2018 , 3:00pm - 4:00pm
Panel Discussion: Public Intimacies
Thursday April 19th , 2018 , 11:00pm - 2:00am
Jon Wang, Dani Restack, and Sheilah Restack
Public Intimacies is an exhibition of moving image installations taking place in hotel rooms at the Super 8 Hotel in Toronto’s Chinatown. Speaking to the boundaries between public and private space, the works challenge our notions of domesticity and contemplate themes of intimacy, expressions of sexuality, desire, and identity.
From Its Mouth Came a River of High End Residential Appliances
HONGKO NG/USA, 2018, DIGITAL VIDEO , 22 MIN
At the edge of Hong Kong, high rise buildings stand as gates to the city’s frontiers. A series of rectangular voids are designed to allow for the passage of dragons. This contemporary architectural manifestation of “feng shui” prioritizes the flow of energy between the natural and built environments. A buoyant camera takes the audience on a passage through these holes as a disembodied voice meditates on the desire for queer futures.
A Hand in Two Ways (Fisted)
Dani Restack and Sheilah Restack
USA/CANADA, 2017, DIGITALVIDEO , 7 MIN
A two-way portrait composed from a series of intimate and banal excerpts from the artists’ lives together, we are sent through a looping meditation of bodily encounters. Guided by a collective intuition, a fluid movement begins through opaque landscapes of flesh, into nocturnal mystery, and erotic expressions.
Saturday April 14th , 2018 , 12:00pm - 5:00pm
Super 8 Hotel
Works by Toronto artists
Guest curated program by Alexandra Gelis
If redaction is a process of editing documents, in which the removal of sensitive information is typically replaced with black rectangles—an act of sanitization for documents to circulate to a broader audience—then this removal of what cannot be shared renders every document radically incomplete.
On occasion, the persons performing the redaction, the redactors, add brief elements of their own, covering and uncovering. The works in this program deal with radical interrogations of power, the body, the collective, the political, and the land, inviting different sensibilities to this fundamental recognition, and re-representation of incompleteness.
The Bed and the Street
Heather Frise and Mike Hoolboom
Bodies in Motion
the coyotes must see the moon…
Thirza Cuthand is an Indian Within the Meaning of the Indian Act
Down the Drain
Recreactions (From The House in Ruins 1 of 2)
Thursday April 19th , 2018 , 9:00pm - 11:00pm
Steve Reinke (with Jessie Mott)
12 April–11 May
In his 30 years as a maker of moving images, Steve Reinke has never hesitated to show all and tell all. Reinke speaks to the body, to death, and to this certainty about the end that gives shape to our lives. Rib Gets in the Way is Reinke at his most epic—his irreverence so monumental it almost reads as normal. Reinke presents us with an animated version of Friedrich Nietzsche’s Thus Spoke Zarathustra, a parable on the death of god. He also illuminates Kanye West’s “Blood on the Leaves”, which leads with Nina Simone’s cover of “Strange Fruit”, and combines it with a text that reads like a stream of consciousness from a linguist performing an autopsy. The video is a mixture of appropriated clips—a lecture by Jacques Lacan from YouTube, a George Kuchar video, macro close-up flowers in super slow motion—and his own footage, all accompanied by Reinke’s signature voice-over, combined with precisely chosen pop music clips whose lyrics command the viewer to “Come outta your body” and “Go missing.”
The exhibition at Vtape will also include a number of Reinke’s recent text drawings.
Steve Reinke will give an artist talk on Fri 13 April
Mon–Fri 11 AM–5 PM
Sat 11 AM–5 PM
Friday April 13th , 2018 , 5:00pm - 7:00pm
Rib Gets in the Way
8 April 8–3 June
In her first museum exhibition in Canada, Vancouver-born artist Sara Cwynar presents her acclaimed works *Soft Film *(2016) and *Rose Gold *(2017) alongside the debut of her newest film. Through her canny use of voice-over, fast-moving collage, and footage of the artist herself working in the studio, Cwynar’s densely layered films sift through a range of subjects of unmistakable relevance to our current image saturated moment, including the circulation and value of objects over time, the potent emotional and aspirational charge of material consumption, our relationship to technology and advertising culture, and colour as an object of desire. Cwynar’s photographic works, also on view here, expand on these themes, asking critical questions about the power politics at play in the distribution and consumption of images and things.
Tue–Thu 11 AM–9 PM
Fri 12 PM–5 PM
Sat 10 AM–5 PM
Sun 1 PM–5 PM
Sunday April 8th , 2018 , 2:30pm - 5:00pm
Opening Night Feature: Leilah Weinraub
USA, 2017, DIGITAL VIDEO, 72 MIN
Propelled by pulsing beats and lyrical visuals, SHAKEDOWN is an intimate time capsule of a weekly party founded by and featuring African American women in Los Angeles’ underground lesbian strip club scene in the early 2000s. This party was a crucial community-organized space of queer expression where black women’s desires, power, and autonomy were centred. Weinraub, a participant and member of this community, began documenting the party’s events, backstage banter, and unforgettable performances when she started attending in her early twenties. The film combines Weinraub’s footage with archival material and party posters, and includes up-close portrayals of several of the key figures, including creator and emcee Ronnie-Ron, star dancers Egypt and Jazmine, and the mother of the scene, Mahogany. SHAKEDOWN shares the unique cultural expressions of this community, which have often been appropriated by mass culture, yet are rarely seen and shown on their own terms.
Leilah Weinraub will be in attendance
Followed by Opening Night Party at Unit 2.
Thursday April 12th , 2018 , 7:00pm - 8:12pm
The Royal Cinema
View from Above
GERMANY/IRAQ, 2017, DIGITAL VIDEO, 12 MIN
In 1991, the Kurdistan region was considered a safe zone by the UN, and many European countries only granted refugee status to those coming from unsafe zones. An anonymous narrator recounts the experience of a refugee who is under interrogation for asylum. Learning to forget where he comes from, he adopts a map of a fictitious place instead.
Anti-Objects, or Space Without Path or Boundary
USA, 2017, DIGITAL VIDEO, 13 MIN
Drawing from the theories of architect Kengo Kuma, Hopinka unravels the physical and visual elements of two prominent structures in Portland that embody a complex relationship to the Chinookan people who inhabit the same land. Entangled histories of resistance emerge through the audio tapes of the last speakers of Chinuk Wawa, as these monuments are explored beyond their perceived physicality.
MEXICO, 2017, 16MM TO DIGITAL VIDEO, 9 MIN
Various historical moments of political activism in Mexico are layered together and corroded on the emulsion of expired film. Footage from the International Women’s Day in 2017 is coupled with the recording of a powerful speech that speaks to the gruesome aftermath of the 2006 civil unrest in Sant Salvador Atenco.
Wutharr, Saltwater Dreams
Karrabing Film Collective
AUSTRALIA, 2016, DIGITAL VIDEO, 29 MIN
The breakdown of a boat motor propels the retelling of an indigenous ancestral story of sweat, land, and spirits through a series of surreal re enactments by extended family members. The story unfolds across overlapping points of views that intertwine the pressures from the settler colonial state, the Christian faith, indigenous ancestry, and their day to-day realities.
Davani Varillas (Colectivo Los Ingrávidos) will be in attendance.
Saturday April 14th , 2018 , 5:00pm - 7:00pm
Space Without Path or Boundary
Filipa César GERMANY/GUINEA-BISSAU/FRANCE/PORTUGAL, 2017, DIGITAL VIDEO, 86 MIN
The resurrection of an archive of decaying film reels, shot during the revolutionary and post-revolutionary period in Guinea-Bissau, serves as the starting point for an archaeology of lost futures. Portuguese artist Filipa César collaborated with Bissau- Guinean filmmakers Sana Na N’hada and Flora Gomes, who were part of a group sent to Cuba to study filmmaking during the revolution and later tutored by Chris Marker, to organize and document the archive’s dissemination through a series of screenings, both in Europe and its country of origin. Rather than seeking to reconstitute the archive as a rarefied object restored to its original state, the material in Spell Reel is treated as an active element, a link not only to the past but to a revolutionary futurity whose charge it still holds.
Thursday April 19th , 2018 , 7:00pm - 9:00pm
Heinz Emigholz GERMANY, 2017, DIGITAL VIDEO, 132 MIN
Over the past 25 years, the films of Heinz Emigholz have staged a sustained dialogue between cinema and architecture, attempting to reconcile the durationality of moving images with the simultaneity of built structures. Part of his recent four-part Streetscapes series, Streetscapes [Dialogue] uses cinema as a means of both apprehending and producing space, taking as its setting projects by architects Julio Vilamajó, Eladio Dieste, and Arno Brandlhuber, all shot in his idiosyncratic, dissonant style. However, unlike previous efforts, Streetscapes [Dialogue] places the artist in the midst of his own work, as an intensive therapeutic exchange between Emigholz and psychologist Zohar Rubinstein is acted out by avatars inserted into the discontinuous cine-architectural space. Through this intervention, Streetscapes [Dialogue] furthers Emigholz’s practice of thinking space through cinematic time.
Heinz Emigholz will be in attendance.
Tuesday April 17th , 2018 , 9:00pm - 11:00pm
Guest curated program by Adam Khalil, Zack Khalil, and Jackson Polys
Demands for indigeneity have long been entwined with efforts to erase and replace the Indigenous. Channelled through practices of salvage ethnography and “playing Indian,” subliminal attractions evince yearnings for a spectral indigeneity that is removed from actual Indigenous people. The relegation of Indigenous identities to the past denies the presence of bodies currently living on colonized land. Indigenous artists who participate in the art world of settler-colonial states are expected to provide knowledge in a relationship similar to that between informant and anthropologist. In our current period of existential and environmental catastrophe, desires for Indigenous epistemologies increase and enterprising settlers labour to extract this understanding as a natural resource. From an Indigenous perspective, this has palpable consequences, from romanticization and commodification to appropriation and cultural erasure.
Within the entangled emergence of multiculturalism, neoliberalism, decolonialism, and self-reflexive anthropology, cultural apprehensions which arise from fears of offense—imbricate and fuel stronger calls for Indigenous information and informants. Many non-Indigenous people find ways to frame themselves as Indigenous, just as Indigenous people perform indigeneity themselves. If these tendencies are so deeply entrenched in this nation’s self-image, can they be studied, manipulated, or employed by Indigenous people to catalyze an expansion of Indigenous agency, amplifying the power of the informant? Can desires that push Indigenous people to an ideal and irretrievable past instead be channelled to promote the imagining of Indigenous futures?
Through video and performance, The Informants will examine the desire for indigeneity in the myths, dreams, and political foundations of the so-called Americas.
Zack Khalil, Adam Khalil and Suzanne Kite will be in attendance.
Saturday April 14th , 2018 , 9:30pm - 11:00pm
Ben Rivers and Ben Russell
UK/SWITZERLAND, 2018, S16MM ON DIGITAL VIDEO, 48 MIN
The Rare Event revolves around a forum involving a cast of notable thinkers, writers, artists, and critics gathered to imagine the possibilities of Résistance, the unrealized sequel to Jean-François Lyotard’s 1983 exhibition titled Les Immatériaux. Tasked with documenting the three-day “forum of ideas,” collaborators Ben Rivers and Ben Russell intervene in the philosophical discussion by gesturing toward the promises of Lyotard’s conceptual project concerned with the obverse side of communication: noise, distortion, and magic. Through the use of a haptic surround sound mix that is often deferred and delayed in time, the circling presence of a “Green Man,” and the dense digital environments of artist Peter Burr, a parallel event begins to appear, one that wanders in and out of the discursive space and toward other dimensions of sensibility and experience.
Invocation of My Demon Brother
UK, 1969, 16MM, 11 MIN
Almost 50 years since the conception of the film as “an attack on the sensorium,” Invocation of My Demon Brother still retains the possibility of “resistance” through satanic manifestation and magic.
Ben Rivers and Ben Russell will be in attendance.
Saturday April 14th , 2018 , 7:00pm - 9:00pm
The Rare Event
Saturday April 14th , 2018 , 12:00pm - 2:00pm
Walking tour of Super 8 Hotel and 401 Richmond
Super 8 Hotel
Watching the Detectives
CANADA, 2017, 16MM, 36 MIN
Photographs taken at the scene of the 2013 Boston Marathon bombing serve as a screen onto which the prejudices of anonymous internet commentators are projected. Kennedy’s Watching the Detectives confronts the reverse side of the democratization entailed by the mass availability and instantaneous transmission of visual material. The result is a compelling metaphor for contemporary political subjecthood—in a time when experts are mistrusted and “truth” is increasingly thrown into question, one is ultimately forced to take up the role of amateur detective.
USA, 1986, 16MM, 22 MIN
A readymade film concerning the assassination of Malcolm X, Perfect Film is in equal parts a crucial document and a radical gesture. By refraining from altering his source material (a set of interview reels used for a TV news broadcast, found “maybe in a Canal St. bin, I forget“), Jacobs makes a powerful case in favour of the primacy of the document and against the rhetoric of the documentarist—the filmmaker not as artist but as disseminator of images; the perfect film as non-film.
Chris Kennedy will be in attendance.
Monday April 16th , 2018 , 7:00pm - 9:00pm
Watching the Detectives
Steve Reinke and James Richards
UK/USA, 2017, DIGITAL VIDEO, 40 MIN
Before the Information Age we had three components to worry about: the mind, the body, the soul. Now we have a fourth—the archive—that we don’t yet know how to worry about. The mind fades, the body rots, the soul is a fiction, but the archive persists and grows stronger. We are only learning how to relate to it now.
The auto-erotic photography of Albrecht Becker (1906-2002) can serve as a model for this. Becker was a production designer, actor, and photographer imprisoned by the Nazis for homosexual behaviour. He recorded his life, his travels, and the people around him fanatically.
The Schwules Museum* holds a portion of his private archive: a series of staged self-portraits that demonstrate a profound exploration of genital modification and esoteric body tattooing. Over four decades, Becker obsessively produced and then reworked these photographs through collage and darkroom manipulation, duplicating and transforming.
This extraordinary series of photographs serves as the starting point for What Weakens the Flesh is the Flesh Itself (2017), the second collaborative video by Steve Reinke and James Richards. This work is an extended meditation on the archive, masculinity, photography, and the body. The double self-portrait is redoubled, repeatedly: a mise en abyme. Self is lost as flesh proliferates, escaping death, returning as a thin image resonant with desire and possibility.
—Steve Reinke and James Richards
Voce di Testa
Reading performed by Jean-Paul Kelly and Chris Curreri
Love and Torment—Albrecht Becker
Rosa Von Praunheim
GERMANY, 2005, DIGITAL VIDEO, 14 MIN
Steve Reinke will be in attendance
Sunday April 15th , 2018 , 7:00pm - 9:00pm
What Weakens the Flesh Is the Flesh Itself
17 March-28 April
When Things Occur is based on Skype conversations with Gaza-based photographers, fixers, and drivers who were behind specific images that were transmitted from screen to screen in the summer of 2014. The film probes the face of mourning and grief—its digital embodiment, transmission, and representation. It asks how the gaze is channelled within the digital realm, and how empathy travels digitally. Equally, how the documentary signifier—and its abstraction—operates when viewing suffering. what exactly is viewing suffering “at a distance”? How many metres or kilometres is that? what is the behaviour and political economy of war imagery? who is the “local” in the representation of war? what is the daily routine of those who represent war?
Oraib Toukan will have an artist talk on sat 14 April
Saturday April 14th , 2018 , 2:00pm - 3:00pm
When Things Occur
YYZ Artists' Outlet
Soft Turns and artist Serena Lee will lead a tactile, discursive workshop on digital materialism. They consider the “critical zone” at the scale of bodies—straddling metaphor and literal embodiment—drawing from material processes of recycling and circulations of internal energy in tai chi.
Saturday April 7th , 2018 , 2:00pm - 4:00pm
Workshop with Soft Turns and Serena Lee
Erika Defreitas 7 April-29 April
This exhibition is about these objects and bodies. These objects of character and marrow and bodies of her. In multiples. Of finger tips and overgrown cuticles. I suppose. A draft of a draft of how to think about what is there and what is there and not. A language for translating a pause in gesture and what history punctures and movement punctuates.There is just so much space for these objects that sit and watch before directing. The slipping of peony petals between fingers and open wounds. All lining the mouth as a spectre. A spectre of gesture. A recital. A rewriting of scores inherited from the hands that tended gardens and those that fell limp upon rendering. Intrusions and auras. Perhaps this exhibition is about these objects and bodies.
to prepare for a longing, an itch is a solo exhibition of new work by the multidisciplinary conceptual artist erika Defreitas. Comprised of collage, video, and photography, the exhibition explores the artist’s interests in collecting and archiving as a means of understanding post-memory, hauntology, and the enduring presence of loss. in conjunction with the exhibition, the artist will be in residence at Y+ contemporary from January through March 2018.
Fri–Sat 12–5 pm
Saturday April 7th , 2018 , 7:00pm - 10:00pm
to prepare for a longing, an itch
Lecture: Erika Balsom
At least since Okwui Enwezor’s Documenta 11 in 2002, documentary practices have been a prominent feature of contemporary art. But what idea of documentary has emerged from this context? This talk will propose that the denigration of surface appearances—a phobia of the descriptive capacities of “mere” recording—is a key characteristic of the documentary turn in contemporary art. This line of argumentation proposes that the best access to reality occurs through artifice, and casts observational documentary as a bad object that naively indulges in illusory transparency and uncreative copying. The talk will also situate these arguments within a longer history of attacks on the mechanical reproduction of phenomenal reality in the intersecting histories of art and film, and, through a discussion of recent artists’ practices that assert the primacy of lens-based capture, will question the continuing viability of these arguments today, in our era of “alternative facts.”
Sunday April 15th , 2018 , 3:00pm - 4:00pm
“Mere” Recording? Documentary, Contemporary Art, and the Orthodoxy of Ecstatic Truth