|Eric Kluitenberg on Mon, 21 May 2001 13:22:52 +0200 (CEST)|
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|[Nettime-nl] THINGS TO COME # 20: MAGNETIC NORTH|
A A N K O N D I G I N G Experimentele onafhankelijke video uit Canada te zien bij Cinema De Balie van donderdag 31 mei tot en met zaterdag 2 juni, in het kader van de reeks Things to Come. Reserveringen: 020 - 553 51 00 CINEMA DE BALIE PRESENTS: From Thursday Mai 31 till Saturday June 2, 2001 THINGS TO COME # 20: MAGNETIC NORTH A six-part showcase of Canadian independent video. 40 tapes ranging from innovative documentary to conceptual art, experimental narrative to performance video. More info in the Magnetic North brochure. do 31 20.00 TTC # 20: Magnetic North Seen on the body do 31 22.00 TTC # 20:Magnetic North Performing a self vr 1 20.00 TTC # 20: Magnetic North In the flesh vr 1 22.00 TTC # 20: Magnetic North Subject/Object za 2 20.00 TTC # 20: Magnetic North Making Strange, Making familiar za 2 22.00 TTC # 20: Magnetic North The medium is CINEMA DE BALIE Kleine Gartmanplantsoen 10 1017 RR AMSTERDAM the Netherlands reservations: # 31 20 55 35 100 scroll down for video-descriptions Magnetic North: Canadian Experimental Video Seen on the Body These intimate and complex works reveal and explore the frailties and conditions of the corporeal. Individual history and unexpected events imprint the body, gesture and activity make visible the realities of the physical, and imagined bodies provide a rich field for social critique and play. Here, experience and the passage of time are written on the skin, and desire, contradiction, repulsion, pleasure, incoherence, and irony all reside. Program length 87 minutes. Birthday Suit-with scars and defects Directed by Lisa Steele A classic early feminist work that evocatively traces the accumulation of scars on the maker's body to mark the occasion of her twenty-sixth birthday. 1974, Ontario, 12:00. What Food Did Directed by Toni-Lynn Frederick A visually complex and emotionally loaded hybrid video-film recounting, among other things, the overeating and illness of the narrator's father and her own anorexia. 1996, British Columbia, 10:00. The Better Me Directed by Cathy Sisler An extremely personal tape that lampoons the self-help industry and poignantly explores individual subjectivity-molded, fractured, resistant, under duress. 1995, Québec, 20:00. 60 Unit; Bruise Directed by Kenneth Fletcher/Paul Wong Both erotic and foreboding, this early performance video depicts an exchange between two young men and the resulting bruise. 1976, British Columbia, 4:41. The Hundred Videos Directed by Steve Reinke Excerpts from a deeply ironic series of one hundred short videos, which take on such practices as science, pornography, psychoanalysis, and cinema with great intelligence, precision, and wit. 1990-1996, Ontario, excerpts, 41:42 of 4:44:00. Performing a Self A collection of works displaying a variety of approaches to identity, self, and cultural translation. Performance, in many guises-the acting of character, confessional self-revelation, historical reenactment, gestural or conceptual activities-is foregrounded, and the process of generating an (often mutable) self is made visible as an ongoing and performative undertaking. Program length 86 minutes. Hollywood and Vine Directed by Colin Campbell A classic early drag performance tape, featuring the extraordinary Woman from Malibu, who recounts nearly running down Liza Minelli, and other adventures. 1976, U.S./Ontario, 18:18. Emporium Directed by Natalie Bujold Excerpts from a series of short performance sketches, whose explorations range from the sculptural possibilities of Wonder Bread to what can happen when you take the phrase "walking on eggshells" literally. 1999, Québec, excerpts, interspersed, 2:38. Maigre Dog Directed by Donna James A celebration of Jamaican-Canadian vernacular speech and strong family ties through a formally minimal exploration of cultural translation, identity, and the possible roles of oral history. 1990, Nova Scotia, 7:30. Le voleur vit en enfer Directed by Robert Morin/Lorraine Dufour Set in a working-class Montréal neighborhood, the richness of Québécois language and the exigencies of poverty are exposed in this haunting and humorous fiction about a confused and voyeuristic Super 8 filmmaker. 1984, Québec, 20:00 Untouchable Directed by Thirza Cuthand A self-reflexive, explicit, and confrontational approach to the controversial subject of under-age sexuality, as told by a queer teenager armed with a video camera. 1998, Saskatchewan, 4:15 Interrupted Attempt Directed by Grant Poier The fractured attempts of a man to explain-although to explain what, we're not sure-are cut together in this repetitive, gestural, and strangely poignant performance tape. 1986, Alberta, 4:00. Nunuvut (Our Land), episode 8: Avamuktalik (Fish Swimming Back and Forth) Directed by Zacharias Kunuk An episode of an Inuit historical serial drama that portrays traditional life above the Arctic Circle, circa 1945. Made and acted by residents of the newly self-governing territory of Nunuvut, the series functions as art, entertainment, cultural preservation, and radical form of ethnography. 1995, Nunavut, 28:50. In the Flesh Contrary to the notion that the body mirrors an internal self, these works reflect the body as inscribed largely by culture, by the external constructions and conditions one inhabits and encounters-ethnic conflict, suburbia, old movies, disease, age. The program provides unflinching witness to the often poignant, occasionally humorous or absurd conflicts that are acted out on, and by, the feeling, physicalized body. Program length 89 minutes. Awakening of Desire Directed by Simon Hughes Pondering the possibility of nuclear holocaust, toy animals converse about the existential dilemmas of modern life, and voyeurism takes on a new twist in this suburban fable of phallic power and bodily fluids. 1997, Manitoba, 3:50. Continuons le combat (Don't Give Up the Fight) Directed by Pierre Falardeau Made at the time of the so-called Quiet Revolution in Québec, this politically subversive tape ironically examines the role of ritual in culture, looking at pro wrestling and its metaphorical and actual potential for expanding working-class consciousness and militancy. 1971, Québec, 30:00. Positiv Directed by Mike Hoolboom Set against the backdrop of science movies, old horror films, and Michael Jackson videos, this moving and beautifully crafted semi-autobiographical tape addresses mourning, isolation, separations of body and mind, and the finiteness of individual experience. 1997, Ontario, 10:00. Condition Directed by Jana Sterbak/Ana Torfs Working between sculpture and video, this suspended and subtle tape metaphorically explores human experience through a reconsidering of the body in an exercise of duration and movement. 1995, Belgium/Québec, 7:00. In my end is my beginning, Part Two: Lucy Brown Directed by Norman Cohn This verité portrait of an elderly woman in a nursing home reveals her everyday activities and difficulties, demanding that we witness the ways in which both the body and exterior culture eventually betray us. 1983, Prince Edward Island, 38:00. Subject/Object These works interrogate the complex and delicate issues surrounding representation and imaging-exploring self-disclosure, surveillance, objectification, subjectivity, and individual agency. Ranging from subversive documentary to explicit performance, they explore the possibilities and limits of representing both self and other, often overtly implicating both maker and viewer in the act of imaging. Program length 96 minutes. Delicate Issue Directed by Kate Craig An early video work in which the surfaces of the body, shot in extreme close-up, provide a ground for an interrogation into the nature of framing, exposure, visibility, self-revelation, and spectatorship. 1979, British Columbia, 12:00. Die Dyer Directed by Alain Pelletier A dense and stunningly visualized work that incorporates dance and theater in an elliptical narrative about an artist's perverse experiment in surveillance and control. 1999, Québec, 23:16. Object/Subject of Desire Directed by Shawna Dempsey/Lorri Millan An arch performance tape that moves from repressed and cloying clichés of romantic relationships to an outspoken assertion of graphic sexual desire between women. 1993, Manitoba, 5:14. 99 Men Directed by Ho Tam A disarmingly simple work that contradicts the stereotyped notion that "all Asians look the same," while simultaneously refusing to allow the images to fully disclose individual difference. 1998, U.S./British Columbia, 3:00. Somalia Yellow Directed by Allan Harding MacKay A visually arresting and politically powerful work made by a painter engaged as a war artist with the Canadian military during their recent peacekeeping mission in Somalia. At issue are the complex relationships of outsider to subject, and conflicts created by one culture's occupation of another. 1993, Somalia/Alberta, 19:00. A Prayer for Nettie Directed by Donigan Cumming The first video by a still photographer whose subversive, improvisational eulogy for his elderly photographic model is a relentless portrait of an abject yet strangely dignified world, and a reversing of documentary assumptions. 1995, Québec, 33:00. Making Strange, Making Familiar A series of works that reframe everyday objects, activities, and situations, in turns rendering the real surreal, reversing the seductions of climactic (and cinematic) spectacle, and elevating the seemingly mundane. Included are experiments with daily language, explorations-both sobering and hilarious-of routine rituals, and performative reenactments of daily life. Program length 86 minutes. 98.3 KHz: (Bridge at electrical storm Directed by Al Razutis An early hybrid film-video work that incorporates a number of image processing techniques (waveform distortion, loop printing, etc.) to affect an apocalyptic, surreal vision of a perfectly ordinary place and time. 1973, British Columbia, 11:29. Slang Directed by Rae Staseson A visually layered tape, in which the use of text, voice, and repetition provide a darkly comic and fresh investigation of everyday language, gender politics, and nomenclature. 1994, Québec, 4:39. 1/4 MOON Directed by David Askevold Shot in rural Nova Scotia, this tape observes the objects and inhabitants of a farm-a white horse, a man playing the violin, clothes hanging on a line, a black dog-establishing a series of surprisingly compelling and hyper-real tableaux. 1986, Nova Scotia, 8:40. Say Directed by Rodney Werden Through a deceptively simple and seemingly innocent wordgame, this early conceptual tape reveals a complex network of sexual politics, linguistic dramas, and power plays. 1978, Ontario, 3:30. Good Afternoon Royal Tower Directed by Leon Johnson A portrait of a woman at work, which, through sustained observation, portrays the daily rituals, relentless drudgery, and small triumphs of a manager in the apartment-rental business. 1986, Manitoba, 26:00. Disaster Directed by David Hoffos Originally part of an installation, this tape reenacts-and deconstructs the seduction of-the most appealing of unnatural disasters. 2000, Alberta, 4:00. Qulliq Directed by Arnait Ikajurtigiit An Inuit women's video collective performs and records the traditional daily activity of preparing and lighting a seal-oil lamp, illuminating both the inside of an igloo and the poetic possibilities of self-representational documentary. 1992, Nunavut, 10:00. Le Beau Jacques Directed by Stéphane Thibault A generous and extremely funny portrait of two older women's obsession with Formula One racing, and in particular with Québec's native son, Grand Prix driver Jacques Villeneuve. 1998, Québec, 17:00. The Medium Is . . . The diverse natures and conditions of the video medium-from activist intervention to feedback loops to broadcast TV-are explored in this program. Mass media (broadcast, cinematic, pornographic) is dealt with as spectacle, tool, condition, adversary, comedy of errors, or opportunity. In some works, access to even the most basic technology provides ample possibility for communication, while other works inventively reveal the complex visual, material, and technical possibilities of the video apparatus itself. Program length 88 minutes. Réaction 26 Directed by Charles Binamé An early video feedback piece, complete with swirling patterns, clouds, hand-held titles, and psychedelic guitar. 1971, Québec, 4:00. WHITEWASH Directed by Jan Peacock A re-reading of broadcast news conventions and an investigation into individual memory coalesce into a highly sophisticated exploration of the construction of self through media representation and narrative. 1990, Nova Scotia, 14:30. Television Spots Directed by Stan Douglas A selection of short works designed to be shown unannounced between commercials on television. Subtle, deft, and decidedly inconclusive, they upstage and resist the over-determined and commodity-based programming of broadcast TV. 1987/1988, British Columbia, six spots interspersed, 2:00. In Response to the Dumbest Question of the 20th Century Directed by Marcel Fayant A low-tech, modern-day Cowboys and Indians saga, shot in one hour on a consumer camcorder, featuring plastic toy actors, in-camera editing, hand-drawn backgrounds, and time-date stamp. 1999, Alberta, 3:40. En deça du réel (On this side of the real) Directed by Manon Labreqcue Made by a dancer and videomaker, this tape explores the expressive potential of the human body in an innovative investigation of the materiality and fragility of video itself. 1997, Québec, 11:43. Piujuq and Angutautuq Directed by Arnait Ikajurtigiit An Inuit women's video production collective tells a contemporary version of a traditional tale, exchanged over CB radios, and illustrated by computer drawings and images of the makers' daily lives. 1994, Nunavut, excerpt, 11:22 of 27:00. The Jungle Boy Directed by John Greyson A simultaneously bawdy and poignant narrative that interweaves naked karaoke, the tragic repercussions of police bust at a popular gay cruising spot, and a revisionist reading of the 1942 film Jungle Book. 1986, Ontario, 15:40. Buffalo Bone China Directed by Dana Claxton - Originally part of a video installation, this visually compelling tape explores the latent political and emotional meanings of everyday objects, and the history of North American colonial expansion. 1996, British Columbia, 10:12. Danny Kaye's Eyes Directed by Doug Melnyk A tape that ingeniously integrates collage, animation, photography, and found footage into a gently humorous, goofily pornographic work examining the nature of romantic love, simulation, television, and religion. 1992, Manitoba, 14:00. ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. <nettime-nl> is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld (firstname.lastname@example.org).