FASTWURMS: MASH//UP

July 16, 2012 - 7:30pm

 
Curated by Heidi Nagtegaal
 
MASH//UP is a look at the last 15 years of video art produced by FASTWURMS, the trademark and shared authorship of Canadian artists Dai Skuse and Kim Kozzi. Since 1979, the multidisciplinary artists have worked with media, social, and material art forms in a practice that melds high and popular cultures, bent identity politics, social exchange, and do-it-yourself sensibility.
 
FASTWURMS practice looks closely at the things we cannot see — or refuse to see. FASTWURMS creates a panoply of camp performance, costumes, ceremony, Wiccan ritual, collage, installation, cats, dance music, and cheap video production to make visible commonly held taboos around sexuality, desire, cosmology, nature, power, and the occult.
 
FASTWURMS uses video to create art as well as document their lives as activist-artist-witch-educators. They extend authentic ardour and radical generosity to working class, queer, unschooled, de-schooled, and over-schooled communities. They have dedicated over 25 years to co-authored, activist art making — an example of life as practice.
 
Dai Skuse and Kim Kozzi, aka FASTWURMS, also teach in the sculpture department at the School of Fine Art and Music at the University of Guelph. Recent exhibitions include solo shows at the Contemporary Art Gallery, Vancouver, Plug In ICA, Winnipeg; and the Art Gallery of York University, Toronto. Group shows include Anthem: Perspectives on Home and Native Land, MSVU Art Gallery, Halifax, and The Banff Centre Walter Phillips Gallery, Banff; São Paulo Biennial, Brazil; and Sequences Festival, Reykjavik, Iceland.
 
Vulcano!│ Canada 1987. 16mm, 9 mins. 

Push It Good (Part 1)│ Canada 2003. DV, 3 mins.
Denim Pox │ Canada 2002. DV, 5 mins. 

Telepathacats │ Canada 2003. DV, 12 mins.
Push It Good (Part 2)│ Canada 2003. DV, 3 mins.

Into Trees │ Canada 2003. DV, 2 mins. 

Pussy Necropolis | Canad 2004. DV. 19:30 mins.
Push It Good (Part 3)│ Canada 2003. DV, 3 mins. 

Blood Clock │ Canada 2005. DV, 12 mins.
W.A.D.D. │ Canada 2003. DV, 2 mins. 


Total running time: approx. 65 minutes

Movable Facture: Time Frames

June 18, 2012 - 7:30pm

"Narrative represents real or imaginary events in time. As with a landscape painting, a narrative film seems to offer an experience that stands in for—pretends to be—creates an illusion of—something taking place before us. In order for it to work, we must enter into the illusion, suppress our awareness of presence and treat illusion as a present reality." MALCOLM LA GRICE
 

 

Curated by Allison Collins

Can we define time-structures for cinema and particularly expanded cinema that go beyond narrative? Or if not beyond it: around, underneath, across? The works in “Movable Facture: Time Frames” are drawn from an earlier moment in film’s history, when a preoccupation with structure was attended to through a variety of formal experiments and strategies that skirt or avoid narrative immersion. The selection is drawn from classic structural films such as Hollis Frampton’s Nostalgia, and little-seen local gems found in Pacific Cinémathèque’s West Coast Film Archive.
 
These experimental works are present as film, despite cinema’s potential to bring us toward something else. Eschewing story, they are more closely related through formal features that attempt to draw a viewer toward an unauthorized experience. While we might invest a psychological experience in a representation, we may also spend time with cinema’s problems. Flat fields of movement and sound can offer coherence, but it is not a coherence that belongs with the spectator.
 
The Flicker | Tony Conrad/USA 1966. 16mm, 30 mins. 

Straight and Narrow | Beverly Conrad/USA 1970. 16mm, 10 mins. 

Cinetude 2 | Keith Rodan/Canada 1969. 16mm, 5 mins. 

Variations on a Cellophane Wrapper | David Rimmer/Canada 1970. 16mm, 8 mins
.
T.O.U.C.H.I.N.G. | Paul Sharits/USA 1969. 16mm, 12 mins. 

“Hapax Legomena I” (nostalgia) | Hollis Frampton USA 1971. 16mm, 39 mins.
 
Total running time: approx. 104 mins.
 
“Time Frames” accompanies the exhibition “Movable Facture”, featuring the work of Amy Granat and Drew Heitzler, Isabelle Pauwels, Benjamin Tiven, and Jennifer West, at VIVO Media Arts Centre, June 1-23, 2012.  Flicker, Straigh and Narrow, .
T.O.U.C.H.I.N.G., and “Hapax Legomena I” (nostalgia) courtesy The Filmmakers Coop.
 
Image: .
T.O.U.C.H.I.N.G. (1969) by Paul Sharits

Jem Cohen: New York

May 28, 2012 - 7:30pm


"Its beauty is quite ineffable. It's the sort of visual experience that transforms everything seen by the viewer for several hours afterward ... What it actually does is capture the subconscious of the city itself, the dream state of the whole past existing in simultaneous disarray." 
LUC SANTE, LOW LIFE AND EVIDENCE
 

Following DIM's presentation of his feature-length Benjamin Smoke in March, “New York" highlights Jem Cohen’s 20-year practice of picturing New York City. Cohen constructs his city portraits as a witness and collector, compiling film reels and audio recordings that develop into compositions over time. Cohen focuses his camera on the liminal spaces of the city and the people who live and work on the margins. In Lost Book Found Cohen reflects, “I became invisible, and then I began to see things that had once been invisible to me.” 

"New York" begins with Cohen's 1988 film, This is a History of New York, which borrows the narrative of monumental epochs to frame fragments of industrial decay and vagrant life along the Hudson River. A decade later,  Lost Book Found (1996) follows listings of places, objects, and incidents from a found notebook to decode the city's confessions. Little Flags (2000) and NYC Weights and Measures (2006) straddle 9/11, portraying the aura of publicness and pride in the financial district, before and after the event. In Long For the City (2008) Cohen pictures New York through Patti Smith's reflections on her forty-year history under its sky. Cohen's most recent production, a series of nine newsreels from Occupy Wall Street affirms his practice as flaneur and verite historian.

This is a History of New York | USA. 1988. 16mm, 23mins.
Lost Book Found | USA. 1996. 16mm, 37 mins. 

Little Flags | USA. 2000. 16mm, 6mins.
NYC Weights and Measures | USA. 2006. 16mm, 6mins.

Long for the City | USA 2008. 16mm, 10 mins.
Night Scene New York | USA. 2009. 16mm, 10mins.
Gravity Hill Newsreels: Occupy Wall Street #03 | USA. 2011. HD, 5mins.
 
Total running time: approx. 97 mins.
 
All works will be screened on video. Jem Cohen's work is distributed by the Video Data Bank.

Agnes Martin's Gabriel

April 16, 2012 - 7:30pm

Recently preserved by the Museum of Modern Art and The Pace Gallery in New York, Gabriel is the only completed film by the painter Agnes Martin (1912-2004), a leading figure in American abstract art. (Martin was born in Saskatchewan and raised in Vancouver). “Gabriel [is] a historically unique work that both illuminates and complicates our understanding of the artist and her paintings. ‘My movie is about happiness, innocence, and beauty,’ Martin observed. ‘It’s about this little boy who climbs a mountain and all the beautiful things he sees.’ To those familiar with the luminous, tactile, exacting geometries of her paintings, Gabriel’s elusive style and structure may come as a surprise: the lack of logical continuity; the point of view that shifts between that of the boy and an unseen observer; the handheld camera that is rarely at rest, but instead feels its way across the landscape, meandering and contemplating. Whatever tension exists in Gabriel comes from transition, variation, and difference: between shore and land, snow and desert, silence and Bach, solidity and movement, abstraction and nature” (MOMA). 78 mins, 1976, Colour, 16mm transferred to DVD, USA.  Courtesy of The Pace Gallery.

“Agnes Martin was born in Macklin, Saskatchewan in 1912 and grew up in Vancouver. She moved to the USA in 1932, taking American citizenship in 1940. Martin held her first one-woman exhibition at the Betty Parsons Gallery in New York in 1958. She constructed her paintings on a rational grid system, superimposing a network of pencilled lines and later coloured bands on fine-grained canvas stained with washes of colour. These paintings were influential on the development of Minimalism in the USA, although Martin regarded her use of grids as a development from the ‘all-over’ compositional methods of Abstract Expressionism. She persistently rejected the suggestion that her paintings were conceived in response to the landscape of New Mexico, where she settled again in 1967 and where she chose to work most of her life” (Oxford University Press).

Benjamin Smoke

March 19, 2012 - 7:30pm

Lit by the glow of a bubbling fish tank diffused by a taffeta shawl, Benjamin Smoke lounges on a stack of pillows and asks, “What happens when you make music that gets you off like drugs, sex, or god? You tell me— what is it about having a great orgasm that’s so good...?” Benjamin (1960-1999) was a member of Atlanta’s underground and experimental music scenes in the 1980s, including the Opal Foxx Quartet. His yearning to write original music lead to the formation of Smoke, a band admired by the likes of Michael Stipe, Chan Marshall, and Patti Smith (who appears in the film). For 10 years, filmmakers Jem Cohen and Peter Sillen filmed Benjamin at his home in Atlanta’s Cabbagetown neighbourhood, opening a window onto his life with drugs, music, AIDS, queer drag, and his mother. Benjamin Smoke explores the life of a true American rebel in a little known, rapidly disappearing pocket of the U.S. South. “In the straw coloured light, in light rapidly changing, on a life rapidly fading; have you seen death singing, have you seen death singing, have you seen death singing?” (Patti Smith). “A haunting portrait of a lyricist-singer who is the very embodiment of the famous observation that burning the candle at both ends produces such a lovely light” (Kevin Thomas, Los Angeles Times).

Jem Cohen and Peter Sillen. 72 mins, 16mm, B&W and colour, 2000, USA
With: Benjamin Smoke, Patti Smith, Tim Campion, Brian Halloran, Coleman Lewis, Bill Taft

Syrian Cinema: DOX BOX Global Day Vancouver
Curated by Laura Marks
March 14-16, 2012
SFU Woodward’s 149 W. Hastings St.,
Free. Reservations required for March 15 screening* email fay_nass@sfu.ca


This year the Damascus-based Syrian documentary festival DOX BOX has decided not to hold the festival or seek government permits, as a statement against the regime. Instead, Dox Box is circulating films on "DOX BOX Global Day," to engage audiences worldwide with the complex situation in Syria. This program includes rarely seen masterpieces such as Omar Amiralay's A Flood in Baath Country, Nidal Al Dibs's Black Stone, and Oussama Mohamed's Step by Step, as well as works by emerging filmmakers. While world attention is on Syria, these films helps audiences share the experiences of Syrian people and learn about the country’s political, economic and social climates over recent decades. They also express the critical and creative agency of Syrian filmmakers through each film's particular style and sensibility, poetic or acerbic, sharp or tender. These are not only political and social witnesses but rare works of cinema.

March 14 Mowafaghian World Art Centre, second floor
7pm Six Ordinary Stories, Meyar al Roumi, 2007, 61min
        Foam, Reem Ali, 2006, 48min
 
March 15 Screening room 4955 *Reservations Required
6pm Daily Life of a Syrian Village, Omar Amiralay, 1974, 85min

8pm Step by Step, Oussama Mohammed, 1978, 22min
        Silence, Rami Farah, 2006, 37min

March 16 Mowafaghian Cinema
7pm A Flood in Baath Country, Omar Amiralay, 2003, 46min
       Black Stone, Nidal al Dibs, 2006, 62min

Supported by: School for the Contemporary Arts, Simon Fraser University
Centre for the Comparative Study of Muslim Societies and Cultures, SFU
Wild Rice, DIM Cinema, Doxa Documentary Film Festival, Reel Causes

Contact: Fay Nass, fay_nass@sfu.ca Laura Marks, lmarks@sfu.ca
Please find us and join us on facebook at DoxBox Syria-Vancouver film festival.

John Price's Film Diary

February 20, 2012 - 7:30pm

The gestures in John Price’s films — a hazy body in the throes of a ragged dance, a child nestled in a blanket on a beach rock, or a woman in a brown trench coat and high heals tweaking out — are not for us. They have no message, no promise, and no delivery. They are the impressions of a man watching his life closely and intuitively; following each moment with a flickering shutter. Alone in the darkroom with cheap expired reels and industry tail ends, Price mixes chance with chemistry to work out the tones, tints, and grain. The images may fall off altogether, but he doesn’t care. The intimacy of the alchemical process will remain and he will remember it. The films presented in “Film Diary” touch central themes in Price’s archive: The City, The Family and The Sea. After Eden (2000) and Nine + 20 (2001)  are part urban ethnography and part excavation: the journey of a traveler in search of faith amidst a landscape of concrete and lost souls. Ten Thousand Dreams (2004) marks the birth of Price's first child and his shift to witnessing the the city and the landscape through his children's eyes. Selections from his Sea Series #1- 10 (2008-2011) map Price’s children locating their footing along the shores, spits, and bays of the Great Lakes chain.

John Price is a Toronto-based Canadian independent filmmaker who has been making experimental documentaries, dance, and diary films since 1986. He has also created film projections for opera and dance, and is active as a cinematographer, working with such directors as Bruce Macdonald, Peter Lynch, Annette Mangaard, and Mike Hoolboom, among others. www.filmdiary.org

Programme (all films will be shown on 16mm and 35mm)

Nine+20, 16mm, 10min, 2001
After Eden, 16mm, 30min, 2000
Ten Thousand Dreams, 35mm,  6min, 2004

Intermission

Sea Series #5 Georgian Bay: a survey of littoral recreation, 35mm, 6:00min 2010
Sea Series #8 Landfall at Lilliput, 35mm, 4min, 2010
Gun/Play, 35mm, 8:45min, 2006
The Sounding Lines are Obsolete, 16mm, 10min 2009
Sea Series #6 Landfall at Métis-sur-Mer, 35mm, 4min, 2010

Total running time: 82min

Reminiscences of a Journey to Lithuania

January 23, 2012 - 7:30pm

Filmmaker and curator Jonas Mekas (b.1922), one of the central figures in American avant-garde cinema, and his brother Adolfas (1925-2011), who would also become a filmmaker, fled their native Lithuania in 1944 due to the war. On route to Vienna, they were detained in a labour camp in Elmshorn, near Hamburg; eight months later they escaped and hid on a farm near the Danish border until the end of the war. They then lived in a series of displaced persons camps in Germany. In 1949, the brothers arrived in America and began their prolific film practices. For Jonas, these would be driven by a desire to hold on to fragments of his life as he passed through it and it passed through him. His film diaries flutter with single frames and short gestural sequences of gatherings, landscapes, family, and friends — what he calls little moments of paradise. He considers this yearning to be the fate of displaced persons, whose every living moment contains a past they are afraid they can never return to. Reminiscences is structured in three parts, recounting the Mekas’ early days among Lithuanian immigrants in Brooklyn (1950-1953); their homecoming, after 27 years, to the village of Semeniskiai in Lithuania (1971); and their journey to Elmshorn, where they were interned, and then to Vienna, where they spend time with close friends Peter Kubelka, Hermann Nitsch, Annette Michelson, and Ken Jacobs. Reminiscences does not picture Lithuania as it was in 1971. Rather, it was shot through the eyes of a displaced person who has returned looking for the paradise of his memory. Color, 16mm, 82mins.

 

Curated by Pascale Cassagnau (in attendance)

The works in “L’Histoire, toutes les histoires” exemplify interactions between contemporary art and documentary practices that are particularly fecund. These artists employ working processes with empirical data (documents) and marks of historicity (archives) that are both critical and ambiguous. In Les Gardiens, Florence Lazar employs the simple discursive act of transplanting a private object—a domestic rug—to a public space—a garden in the Paris suburbs. This symbolic act of “making visible” extends to the conversation between two veiled women, sitting face to face on the rug, about civic concerns. Lazar displays an astute concern for aesthetic formulas within painting and for the gaze of the viewer within pictorial and cinematic histories.

Expectations of universality and wholeness have been irrelevant in contemporary works of art and cinema for a long time. They gave way to subjective and inter-subjective appropriations of history and storytelling. Within the conditions of this new historicity, documenting could be defined as a practice of both re-claiming and dissolving the relationship of one’s own biography within micro- and meta-narratives. This re-claiming is evidenced in Anya, the second part of Bouchra Khalili’s ongoing series “Straight Stories.” Anya explores the story of an Iraqi refugee who, since 1996, has been waiting at the Straight of Istanbul—a temporary stop for migrants in transit—for a visa to Australia. By fragmenting diaristic, confessional, and surveillance strategies, Khalili makes physical and psychic geography indistinguishable.

Grand littoral | Valérie Jouve/France 2003. 35mm, 20 mins.
Anya, Straight Stories Part 2 | Bouchra Khalili/France-Turkey 2008. DV, 12 mins.
Les Gardiens | Florence Lazar/France 2009. 16 mins.
X+ | Marylène Négro/France 2010. DV, 68 mins.

Total running time: 132 mins.

Pascale Cassagnau has a PhD in Art History and works as an art critic. She is in charge of audiovisual and new media content at France’s Centre National des Arts Plastiques (CNAP), the public institution responsible for contemporary art under the French Ministry of Culture and Communications (www.cnap.fr). She is a frequent contributor to Art Press. Her research focuses on new practices in cinema, especially the ways they interact with contemporary artistic creation.

This program is generously supported by the Consulate General of France in Vancouver, Institut Français, and Centre National des Arts Plastiques — French National Centre for the Visual Arts (CNAP)

Image: Les Gardiens, Florence Lazar 2009

Curated by Brett Kashmere (in attendance)

A unique but overlooked confluence in Canadian film history, the “Escarpment School” outlines a loosely knit band of Ontario-based filmmakers that came of age in the late-1970s. Its affiliates include the celebrated experimental filmmakers Philip Hoffman, Mike Hoolboom, Richard Kerr, Carl Brown, Gary Popovich and Steve Sanguedolce, who studied together at Sheridan College, under the tutelage of Rick Hancox and Jeffrey Paull. Over the past thirty years, the Escarpment School cineastes have helped to inaugurate Canada’s first-person cinema; reinvented documentary as a mode for self-expression and formal exploration; extended and deepened the rich landscape tradition in Canadian art; and inspired the next generation of filmmakers through their work and their teaching.

Although varied in tone and texture, the films in this program share numerous qualities, including an attention to geography, a drive to record reality, the filtering of documentary material through individual experience, the looming presence of America, and a process-based, formalist approach to nonfiction. These characteristics in turn reflect the twin impact of the New American Cinema and its conterminous postwar movements, especially Beat literature, as well as the Canadian social documentary tradition, which were often viewed side-by-side in the “Escarpment School” classroom.

 
Landscape | George Semsel. USA 1977. 16mm, 3 mins.
Trains of Thought | Lorne Marin. Canada 1983. 16mm, 10 mins.
Beach Events | Richard Hancox. Canada 1984. 16mm, 8 mins.

The Road Ended at the Beach | Philip Hoffman. Canada 1983. 16mm, 30 mins.
His Romantic Movement | Richard Kerr. Canada 1984. 16mm, 15 mins.
Somewhere Between Jalostotitlan and Encarnacion  | Philip Hoffman. Canada 1983. 16mm, 6 mins.
Mexico | Mike Hoolboom and Steve Sanguedolce. Canada 1992. 16mm, 35 mins.
 

image: The Road Ended at the Beach by Philip Hoffman (1983)

The films in this program are distributed by the Canadian Filmmakers Distribution Centre.

This program is the first in a four screening series originally curated for the Winnipeg Cinematheque. www.brettkashmere.com/escarpment.html