DIM
A monthly evening of contemporary short-form moving images and cinematic collaborations. Focused on expanding the visibility of Canadian and international experimental artists and their practices in the cinema, DIM seeks to illuminate underground moving image culture in Vancouver.
DIM is programmed by Amy Lynn Kazymerchyk through the Pacific Cinematheque Pacifique. For more information contact programming[at]dimcinema[dot]ca
DIM evenings take place on the 3rd Monday of every month and commence at 7:30pm, unless otherwise stated.
Screenings are held at the Pacific Cinematheque Pacifique at 1131 Howe St. Vancouver BC Canada | Screenings are 18yrs+ | Tix $9.50/$8students + $3membership | www.cinematheque.bc.ca
DIM newsletter
Monthly update on upcoming screening
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DIM Suggests
Jun
15
Beyond the Sublime: Selected Film Works of Chris Welsby
June 15, 2009 - 7:30pm | Add new comment
Beyond the Sublime presents Welsby’s seminal 16mm films in their entirety.
98mins
Scout Magazine: Eyeing the Lay of the Landscape with Local Artist Chris Welsby
CITR Arts Report: Amy Lynn Kazymerchyk & Chris Welsby interviewed by Tracy Fuller
Image: The making of Wind Vane, 1972, colour sound, 16mm dual projection, 8mins, UK
May
11
A Systems View of Nature: The Films, New Media Works and Gallery Installations of Chris Welsby
May 11, 2009 - 7:30pm | Add new comment
The emergence of Chris Welsby’s landscape and weather films in the late 1960’s coincides with the emergence of Systems theory, a science that looks at process and change in response to input from the environment and sees living systems and social systems in terms of the dynamic relation between the parts and the whole, the publication of Rachel Carson’s Silent Spring, and UK structural filmmakers rejection of the expressionistic or transcendental elements still evident in the films of their American colleagues, in favor of a more politicized model rooted in the Kino Eye Manifesto of the early Soviet filmmakers. In this climate, ¬Welsby’s films developed a deep concern for the interconnectedness of these systems, where landscape was not secondary to filmmaking process or filmmaking process to landscape, but process and structure, as revealed in both, could carry information and communicate ideas. In all his films and installations he uses the simple structuring capabilities of moving image technologies, such as variable-frame rate, in-camera editing and multiple projection, in combination with natural phenomena such as wind and tides and the rotation of the planet, to produce works in which mind, technology, time, and nature are not seen as separate things divided along Cartesian lines, but as interconnected parts of one larger dynamic system.
A pioneer of moving images in the gallery, Welsby’s expanded cinema works and installations from the 70’s and 80’s are now gaining renewed attention. Since 1993, Welsby has been making digital media installations, collections of which were featured in his 2005 solo exhibition Liquid Light at the Plug In ICA, Canada, and his 2007 solo exhibition at the Letherby Gallery, UK. His recent new media collaborations with Brady Marks have been well received in Toronto, at the 2006 Images Festival, and in South Korea at the 2006 Gwangju Biennial. Welsby was a founding member of the London Filmmakers Co-op and co-founder of the New Media Department at the Slade School of Fine Art, University of London. Currently, he is a professor of Film and Video at Simon Fraser University, Vancouver and participates in the University of British Columbia’s Institute for Computing, Information, and Cognitive Systems (ICICS), an interdisciplinary research institute fostering a human-centered paradigm shift in emerging information technologies.
For A Systems View of Nature Welsby will reflect on excerpts and documentation from his films, expanded cinema works, and digital media installations within a discussion of his philosophical, technical, and critical framework. The following works will be referenced and represented in excerpt or still image.
Seven Days, 1974, 16mm, colour sound, 20mins (dv 2min clip), UK
Colour Separation, 1974-76, 16mm, colour silent, 2:30mins, (dv 2:30mins) UK
Shore Line I, 1975, 16mm, colour silent, six projector installation, (still), UK
Shore Line II, 1979, 16mm, colour silent, six projector installation, (dv clip 2min), UK
Sky Light, 1986, 16mm, colour silent, six projector installation, 26mins (dv clip 2min), UK
Lost Lake, 1998, colour sound, video wall installation, (still), CAN
At Sea, 2003, 4 screen digital video installation sound, (still), CAN
Waterfall, 2004, colour sound, single channel dv installation, (still), CAN
Lost Lake II, 2005, color sound, interactive digital media installation, (dv clip 2min), CAN
Trees in Winter, 2006, colour sound, weather driven digital media installation, (5min clip), CAN
Tree Studies, 2006, colour sound, global weather driven digital media Installation, (10min documentary), CAN
Taking Time, 2008, colour silent, new media web based/photographic sculpture public artwork, (still), CAN
Heavens Breath, 2009, colour sound, weather driven digital media installation, (5min clip), CAN
90mins
Images: (top) Seven Days, 1974, 16mm, colour sound, 20mins (dv 2min clip), UK (bottom) Shore Line I, 1975, 16mm, colour silent, six projector installation, (still), UK
Apr
26
Vanessa Renwick and Daniel Menche: The Possibility of Nature, Hope in Pure Sound, and Faith in Magnetism
April 26, 2009 - 7:30pm | Add new comment
Programmed by Amy Lynn Kazymerchyk and Gabriel Saloman
Following the screening of Hope and Prey, their 3 channel video projection and live sound performance project at VIVO Media Arts Centre and the Signal + Noise Festival, Portland artists Vanessa Renwick and Daniel Menche present an intimate artist talk and screening of works that contextualize their collaboration. Vanessa’s interest in place, relationships between bodies and landscapes, and all sorts of borders collides with Daniel’s dedication to music that expresses the undisciplined purity of emotion that strives for one goal: vehement beauty.
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Vanessa Renwick (born 1961 in Chicago, Illinois) is founder and janitor of the Oregon Department of Kick Ass. She is a film / video / installation artist and lives in Portland, Oregon. A filmmaker by nature, not by stress of research. She puts scholars to rout by solving through Nature's teaching problems that have fretted their trained minds. Her iconoclastic work reflects an interest in place, relationships between bodies and landscapes, and all sorts of borders. Working in experimental and poetic documentary forms, she produces films, videos and installations that explore the possibility of hope in contemporary society. She is a naturalist, born, not made: a true barefoot, cinematic rabblerouser, of grand physique, calm pulse and a magnetism that demands the most profound attention.
Daniel Menche (born 1969) is a proud native Oregonian. Since the late 80s he has established himself as a musician with a sense of focus and determination uncharacteristic in a genre known for its randomness and chaotic structure. Rather than creating "noise," he strives for order and cohesiveness. His presentation of sonic structures is similar to the way a writer depicts a story, an allegory seems to arise, which uses confusion as a symbol for the imaginative process of total sound purity; aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listeners imagination by generating intensely powerful sounds and music.
www.esophagus.com/htdb/mench | danielmenche.blogspot.com
Co-Sponsored by VIVO Media Arts Centre and Signal + Noise Media Art Festival www.signalandnoise.ca | www.vivomediaarts.com
Mar
22
Decadent Resistance: The Aesthetics of Politics (and Politics of Aesthetics) in Vancouver Video Practice, 1967-2008
March 22, 2009 - 7:30pm | Add new comment
Programmed by Amy Lynn Kazymerchyk and Michael Lithgow
Decadent Resistance takes its name from an essay written by Michael Lithgow for Alex Mackenzie and Oliver Hockenhull’s publication DAMP: Contemporary Vancouver Media Arts. In his essay Michael explores a dynamic between aesthetics and activism evidenced in West Coast video practice, a tension that defines to some extent one of the compelling qualities of West Coast video art over the past four decades and why it has attracted national and international attention. Decadent Resistance is community-curated media art program that invites programmers and directors of historical and contemporary media arts centres, organizations, and projects to submit video works that exemplify a perspective- an approach- an aesthetic- a position that touches on the tension between aesthetics and politics. Video artwork will be introduced and contextualized by their curator. A panel discussion between all representative will follow the screening. A PDF copy of Michael Lithgow’s Decadent Resistance essay is attached to the bottom of this posting.
PROGRAM 80mins
Feb
9
Cinema and Disjunction
February 9, 2009 - 7:30pm | Add new comment
This Vancouver premiere screening of Adrian Blackwell’s Night Equals Day and Daniel Young and Christian Giroux’s Every Building, Or Site, That a Building Permit Has Been Issued for a New Building in Toronto in 2006 bring two recent structural approaches to development in Toronto to the West. These two new silent 35mm architectural films form the initial parts of the Liaison of Independent Filmmakers of Toronto (LIFT)’s “Cinema and Disjunction” commissioning and production support project for critical architectural film works. Drawing inspiration from art historical precedents and contemporary critiques of the urban form, the initial projects presented under this framework defamiliarize and interrupt Toronto’s visual narratives with new questions and alternative possibilities. To express our intent in Bernard Tschumi’s terms, these films “reinscribe the movement of bodies in space, together with the actions and events that take place within the social and political realm of architecture.”
Blackwell’s Night Equals Day employs complex camera control to record a day at a single point of Regent Park’s (Canada's oldest public housing development and now the site of significant condominium development) Sackville and Oak streets intersection, compressing a twelve-hour equinox day to thirty minutes of film time, one frame per second, and one three-hundred-and-sixty degree camera rotation per hour. In Young and Giroux’s Every Building, one experiences a comparatively accelerated city represented by one hundred and thirty odd buildings or building sites captured in short static shots. These highly aestheticized images, shot all over Toronto’s boundaries, develop a time-based response to photo-conceptualism’s language of architectural photography, reframing Ruscha within contemporary practice. – Ben Donoghue
Adrian Blackwell is an artist and urbanist whose work focuses on spaces of uneven development in the postfordist city. Daniel Young and Christian Giroux have been collaborating on sculpturally concerned projects since 2003. They are represented in Toronto by Diaz Contemporary.
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Feb 11 09 | Emily Carr University | 7pm | Free | ecuad.ca
Film does not equal Sculpture: Two Toronto sculpture practices experiment with film.
Young, Giroux, and Blackwell will briefly introduce excerpts of their recent film projects, followed by two short talks investigating the relationship between these moving images and their ongoing investigations of physical space.
Emily Carr University Lecture room, South Building #301. Presented by Emily Carr University 2009 Lecture Series.
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Feb 24 09 | Cineworks | 6pm | Free | cineworks.ca
Thought on Film: The Condition of Post-modernity
An excerpt from David Harvey's The Condition of Post-modernity will be presented for group reading and discussion. Harvey’s answer to Fred Jameson’s Cultural Logic of Late Capitalism, and Jean-François Lyotard’s The Postmodern Condition is a significant influence on Young, Giroux and Blackwell’s work because of Harvey’s rigorous basis of his analysis of cultural and social change in the economic and his special emphasis on social geography and the production of space.
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Co-presented by The Pacific Cinematheque, Presentation House Gallery, VIVO Media Arts Centre, Cineworks Independent Filmmakers Society and Emily Carr University.
vivomediaarts.com | cineworks.ca | presentationhousegall.com | ecuad.ca
Jan
19
One Take Super 8 Event
January 19, 2009 - 7:30pm | Add new comment
Monday January 19 2009 | 7:30pm | One Take Super 8 Event | Curated by Amy Lynn Kazymerchyk & Alex Rogalski | Alex Rogalski in Person
ONE ROLL. NO SPLICES. SHOOT AND SHOW. This is the mantra of the One Take Super 8 Event. Now in its eighth season, One Take Super 8 has inspired the production of over 400 Super 8 films that were shot on one roll of film and screened without preview or editing, in Regina, Winnipeg, Ft. Lauderdale FL, Montreal, Ottawa, Oberlin OH, and Syracuse NY. Toronto based filmmaker Alex Rogalski, the event’s producer, will perform the projection of 18 selections from the event’s archives. Like other DIY Super 8 Projects, such as Vancouver’s Project8, the One Take Super 8 Event is a celebration of accessible filmmaking, empowered storytelling, and chance genius.
Films By Arlea Ashcroft & Andrea von Wichert Dead Mothers + Kitchen Floors | Deco Dawson Metro’s Birth | David Lopan F$%k’n Wild! | Shawn Fulton Lowlife | Kyle Ketchemonia Confidential | Alex Larose ARTIFICES |Terryll Loffler A Day Like Any Other | Tricia Martin Get off the Road | Terry Mialkowky & Shannon Jardine Belt Buckle/ Quonset Hut | Mike Maryniuk Fish Arms | Solomon Nagler Preliminary Notes on Gesture | Diane Ouellete La Moo | robert.daniel.pytlyk. STILL LIFE | Alex Rogalski Rielvolution | Daichi Saito Green Fuse | Vanda Schmockel Fred | Katherine Skelton Kanmon Kaikyo| Cam Woykin The Bourgeios Walk
http://onetakesuper8event.blogspot.com
http://bubblegum-cinephile.blogspot.com/2008/04/leaps-of-faith.html
http://www.brettkashmere.com/rogalski.htm
http://www.super8porter.ca/#vancouverfeb
http://onsuper8.blogspot.com/2009/01/one-take-super-8-screening-vancouver.html
Dec
15
Cartune Xprez: 2008 AMRCAN FALL tour
December 15, 2008 - 7:30pm
Curators and Hooliganship Collaborators Peter Burr and Christopher Doulgeris in Person
The multimedia dance duo Hooliganship (Peter Burr and Christopher Doulgeris) have been touring the United States since September presenting the freshest incarnation of “Cartune Xprez”, a program of short animated videos that celebrates the wilderness of imagination through motion pictures. Takeshi Murata, Adrian Freeman, Blu, Bruce Bickford, Martha Colburn, Paper Rad, Shana Moulton, Timo Katz, Emanuele Bortoluzi, Eric Dyer, Jeff Kricshun, E*Rock, Mumbleboy, Corey Lunn, Ola Vasiljeva, Jim Trainor, Josh Mannis, Lief Hall, Taras Hrabowsky, Shayne Ehman, and Seth Scriver! Alongside this cartoon theater Hooliganship will be performing their most recent piece entitled “Realer” in which audiences strap on a pair of 3D glasses to bear witness to a televised parade gone awry. Come down and party with the cartoon spirits. www.cartunexprez.com
Vancouver Program
Adventure Land Fun Baaloon by Crystalbeard
Untitled (Pink Dot) by Takeshi Murata
Shame Fellow by Adrian Freeman
Muto by Blu
The Comic that Frenches your Mind by Bruce Bickford
Michael Jackson Teaches Birds to Sing by Ola Vasiljeva
Booty by Paper Rad
Heads Fall Silently by Emanuelle Kabu
Alien Ice Miami by Philippe Blanchard
Sing Song by Jeff Kricshun
Asphalt Watches by Shayne Ehman and Seth Scriver
Nov
17
Peggy Anne Berton & Marc St. Aubin Double Bill
November 17, 2008 - 7:30pm | Add new comment
7:30pm
The Legend of Buck Kelly by Peggy Anne Berton & Marc St. Aubin
72mins | Toronto ON | Super 8
9:00pm
Scarecity: Performative Cinema by Peggy Anne Berton & Marc St. Aubin
60mins | Toronto ON | Super 8 & DV, Live Music & Storytelling
Film Maker & Musician in Person
ScareCity is a cinematic performance that fuses personally archived film and video with live improvised storytelling and music. Berton’s first-person recount of her return home to rural Southwestern Ontario to care for her aging parents meshes with an emotionally charged personal archive of childhood films, a time lapse of subdivision development around her home, country landscapes, and portraits of economic castaways at the local drinking hole. Her poignant reflections on aging and memory transform into metaphors on the dwindling fuel economy, agriculture’s increasingly violent use of antibiotics and pesticides, and the pandemic loss of wild and rural land to urban sprawl. St. Aubin’s original live music score adds lyricism and punctuation to Berton’s memories, often sustaining their emotional reverberations long after their words are uttered. The Legend of Buck Kelly tracks Berton’s obsession with the late Jeff Buckley across the terrain of her own love life; from New York where she first met him, to her home town of Dawson City where she imagines he went after faking his death. She illustrates the serendipity that linked her to Buckley- from the wilderness to the big city to boy friends with the names Buck and Kelly. www.peggyanneberton.com
CLIPS OF PERFORMANCE IN HAMBURG
http://www.filmfestblog.de/2008/09/30/dont-fool-the-small-town-girl/
http://www.filmfest-hamburg.de/en/programm/film/Scarecity/523
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Oct
20
Dear Joanie, I made a Movie: a survey of the Joanie4Jackie Chainletter Tapes from 1995-2007
October 20, 2008 - 7:30pm
Curated by Miranda July and Shauna McGarry.
Last month I visited The Way That We Rhyme: Women, Art & Politics exhibit at the Yerba Buena Center for the Arts in San Francisco. The exhibit included a retrospective on Miranda July’s Joanie4Jackie Project (formerly Big Miss Moviola). As an independent distribution system and feminist art project Joanie4Jackie invited women filmmakers and video artists to submit their completed works which were then compiled onto a “Chainletter” tape of ten pieces in the order of their arrival. Each artist on a Chainletter tape received a copy of that tape and a corresponding booklet of letters written by the featured artists. In 12years Joanie4Jackie compiled 19 Chainletter tapes and three curated Co-Star tapes. As I stared down into the glass case that housed a decade of the project’s video cassettes, letters, and related ephemera, I felt proud to have contributed my teenage movies to such a monumental exchange, and nostalgic that at 27yrs old something that was so tangible, raw and experiential in my lifetime was already an untouchable museum piece. And yet Big Miss Moviola’s challenge and promise continues to live on in the hearts of everyone who waited patiently for their Chainletter tape in the mail. We have adopted that promise and passed on the challenge to the girls and women that we teach and mentor to make, distribute, and screen their untold stories and dreams. www.joanie4jackie.com
– Amy Lynn Kazymerchyk
Girl, if you make the movie, I promise you somebody will see it. There oughta be hundreds of lady made movies flying all over this country. Like some kinda crazy chainletter that can’t be broke. And every movie made inspires another lady to go: I can do that.
Lady, U send me: Your movie and I’ll send you the latest Big Miss Moviola Compilation tape. That’s ten-lady-made movies, including yours.
(From a Big Miss Moviola/ Joanie 4 Jackie pamphlet, 1995)
PROGRAM: 95mins
Joanie4Jackie: A Quick Overview | Shauna McGarry | USA 2007 | 20mins.
Dear Mom | Tammy Rae Carland | USA 1996 | 3mins
Removed | Naomi Uman | USA 1999 | 6mins
How the Miracle of Masturbation Saved Me From Becoming a Teenage Space Alien | Dulcie Clarkson | USA 1998 | 21.5mins
Cinderella +++ | Eileen Maxson | USA 2002 | 3.5mins
Electronic Ballet | C. Ryder Cooley, Zoey Kroll | USA 1997 | 2.25mins
The Slow Escape | Sativa Peterson | USA 1997 | 20.5mins
Toxic Shock | Vanessa Renwick | USA 1983 | 3mins
Atlanta | Miranda July | USA 1996 | 11mins
This is Sarah Nye | Sarah Hanssen | USA 2003 | 5mins