techniques of observation

May 25 , 8:00 pm

 —  9:50 pm

All times are listed in Eastern Daylight Time (EDT)

Kevin Jerome Everson, Kush Badhwar, Lindsay McIntyre, Riar Rizaldi

Closed
Caption
ASL Interpretation

 

This program will be followed by a Q&A moderated by Aylan Couchie.

 

* This program is only available to view in Canada

Mockingbird

Kevin Jerome Everson
CANADIAN PREMIERE
USA, 2020, 16MM>DIGITAL, 3 MIN
NO DIALOGUE

 

Mockingbird is a film about a birdwatcher looking for the state bird of Mississippi.

Blood Earth

Kush Badhwar
CANADIAN PREMIERE
INDIA, 2013, DIGITAL, 35 MIN
ODIYA/HINDU/KUI/ENGLISH (WITH ENGLISH SUBTITLES)

 

Kucheipadar, a Khonda tribal village in Odisha, India, is a bauxite-rich block that since India’s economic liberalization has been the subject of conflict between the Adivasi inhabitants and a mining venture. Singing has come to articulate creative forms and political structures that steered a resistance movement from subalternity, through solidarity, into dissolution. Blood Earth interweaves the efforts to record song, farming, village life, and a political meeting to improvise a junction between voice, music, silence, sound, and noise.

where she stood in the first place.

Lindsay McIntyre
CANADA, 2011, 16MM>DIGITAL, 10 MIN
NO DIALOGUE

 

Situated at the geographic centre of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre's haunting and sparse film uses hand-wrought black-and-white 16mm film in a meditation on place and personal histories.

Tellurian Drama

Riar Rizaldi
CANADIAN PREMIERE
INDONESIA, 2020, DIGITAL, 26 MIN
INDONESIAN (WITH ENGLISH SUBTITLES)

 

In 1923, the Dutch East Indies government celebrated the opening of a new radio station in West Java. It was called Radio Malabar. In March 2020, the Indonesian local government plans to reactivate the station as a historical site and tourist attraction. Tellurian Drama imagines what would have happened in between: the vital role of the mountain in the country’s history; colonial ruins as an apparatus for geoengineering technology; and the invisible power of Indigenous ancestral roots.

  • Kevin Jerome Everson (b. Mansfield, Ohio) is Professor of Art at the University of Virginia, Charlottesville. His art practice encompasses sculpture, photography, and films that have exhibited internationally at festivals, art biennials, museums, galleries, cinemas, distributed online, and on Blu-ray/DVD. He is the recipient of the Guggenheim, Berlin and Rome Prizes; the Heinz Award and the Alpert Award in Film/Video.

  • Kush Badhwar is an artist and filmmaker operating across media, art, cinematic, and other social contexts. He is interested in ecology, including the life of sound and image across stretches of time and political change.

  • Lindsay McIntyre is a Canadian film artist of Inuk/settler of Scottish descent working primarily with analogue film. Her process-based works circle themes of portraiture, place, form, and personal histories with strong links to Canada’s North. Interested simultaneously in the apparatus of cinema, portraiture, representation, and personal histories, she bridges gaps in collective experience and remains dedicated to integrating theory and practice, form and content.

  • Riar Rizaldi works as an artist and amateur researcher. He was born in Indonesia and is currently based in Hong Kong. His main focus is on the relationship between capital and technology, extractivism, and theoretical fiction. His works have been shown at Locarno Film Festival, BFI Southbank London, International Film Festival Rotterdam, NTT InterCommunication Center Tokyo, Centre Pompidou Paris, Times Museum Guangzhou, and National Gallery of Indonesia amongst others.

  • Aylan Couchie is a Nishnaabekwe interdisciplinary artist and writer hailing from Nipissing First Nation. She is a NSCAD University alumna and received her MFA in Interdisciplinary Art, Media and Design at OCAD University where she focused her thesis on reconciliation and its relationship to monument and public art. Her written, gallery, and public works explore the intersections of colonial/First Nations histories of place, culture, and Indigenous erasure as well as issues of (mis)representation and cultural appropriation. She’s been the recipient of several awards including the “Outstanding Student Achievement in Contemporary Sculpture” award through the International Sculpture Centre, and a Premier’s Award through Ontario Colleges. She serves as the Chair of Native Women in the Arts and currently lives and works from her home community of Nipissing First Nation, Northern Ontario. She is a PhD Candidate in the Cultural Studies program at Queen’s University.

Co-presented with

  • Video Data Bank
  • Film and Video Arts Society of Alberta