Rebellious Flesh

July 7 ,  7:00 pm

All times are listed in Eastern Daylight Time (EDT)

Xiaolu Wang, Joie Estrella Horwitz, Min-Wei Ting, Erika DeFreitas

 

Curated in collaboration with Marifel Catalig
 
Slowness. Gentle breath. Softness. Finding the balance of control. Not pushing, and being honest with its limit. Softening the edges of that limit. Can it go further? 
 
Pause and spread the breath.
 
Letting go of resistance once the limit has been met. This is not a war or battle. Could you be kind, could you do less? 
 
Trust that you can find security in the breath.
 
This rebellious flesh cannot withstand death. 

 

— This program is part of the suite ok to rest curated by Jaclyn Quaresma and Marifel Catalig.

 

祝你中秋快乐 - I Wish You Happy Moon Festival

Xiaolu Wang
USA | 2021 | DIGITAL | 2 MIN 
MANDARIN (WITH MANDARIN AND ENGLISH SUBTITLES)

 

One overseas phone call, but one phrase was lost to the receiver of the call.

Green Turns Brown

Joie Estrella Horwitz
USA | 2021 | SUPER8>DIGITAL | 6 MIN
ENGLISH

 

Green Turns Brown is a sensory eulogy to the late artist Luchita Hurtado. Shot several months before the artist's passing, the Super 8 film explores her oscillation between visibility and invisibility as a female painter mirrored in her observations on mortality and its connection to the duality she found in the natural world. It is an encounter with Hurtado's final contemplation on what she called, "the border between life and death".

You're Dead to Me

Min-Wei Ting
SINGAPORE | 2014 | DIGITAL | 14 MIN 
NO DIALOGUE

 

The short film takes us to Bukit Brown cemetery and into the verdant forest in which it lies, shortly before men and machines arrive to tear through it. By trailing a solitary character who roams the land and communes with the dead, the film serves as an elegy to a richly layered site on the verge of rupture.

to be close and to be chosen

Erika DeFreitas
CANADA | 2019 | DIGITAL | 2 MIN 37 SEC
NO DIALOGUE

 

At a time when Erika DeFreitas was inundated with a mental image of herself repeatedly drawing a circle, she performed her vision and captured it on camera. In this video, Erika is engaged in an intuitive act, one that is meditative and trance-like, and that allows her to access a wider state of consciousness creating a portal to someone in the spirit world, or perhaps an alternative space. 

  • Xiaolu Wang is a documentary filmmaker, curator, and translator from the Hui Muslim Autonomous Region of China, whose practice is based in the mapping of interiority, with the use of video, poetry, memory, translations, and a decolonial lens. Their work have been screened at local venues and international film festivals.

  • Joie Estrella Horwitz is a filmmaker based in Los Angeles. Her work merges research based fieldwork with a collaborative approach to filmmaking to explore the space between fact and fiction at the intersection of physical and emotional borders.

  • Min-Wei Ting explores the politics of space and the complex dynamic of belonging in his native Singapore. Working in video, he navigates the fast-developing city state framing specific sites that hold historical, political, and affective significance, from the ubiquitous public housing estates to the spatial management protocols enforced on the migrant workforce.

     

  • Erika DeFreitas’ multidisciplinary practice includes performance, photography, video, installation, textile, drawing and writing. Placing emphasis on gesture, process, the body, documentation and paranormal phenomena, DeFreitas mines concepts of loss, post-memory, legacy and objecthood.

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Images Festival would like to acknowledge

The land on which we gather and organize is the territory of the Anishinaabe, the Chippewa, the Haudenosaunee, the Huron-Wendat, and the Mississaugas of the Credit First Nation. Today, the meeting place of Toronto is home to many Indigenous peoples.

A territorial acknowledgement can demonstrate a coming to awareness, and provoke thought and reflection, all of which are essential in beginning to establish reciprocal relations. This acknowledgement should not function as closure, resignation, or acceptance of the structural conditions of settler colonialism that remain in effect today. The Images Festival will continue to ask what it means for us to keep open a spirit of sustained inquiry into the complexities of our context.