Nuit Blanche! Minuit pile! Il faut assister à mon programme du cinéma kamikaze de Winnipeg. Dans le cadre de l’exposition CHRYSTALLINE: The Cinematic & the Hand-Made, je vais partager avec vous les films les plus weird et extatiques de ma ville natale.
Je vous encourage, donc, de faire beaucoup de drogues et venez découvrir le génie hallucinogène de Mike Maryniuk, le Super-8 pathologique de la famille Asmundson, l’animation visionnaire de Leslie Supnet, outsider artist Rob Vilar, Concordia MFA Heavyweight Champion Solomon Nagler, Deco Dawson & The Royal Art Lodge, plus tant de surprises!
It is this curator’s belief that Winnipeg, after the United States and Québec, is North America’s third enduringly great nation-state of the motion picture. Focussing on the crazed, obsessive and enchanted hand-made, emulsion-based films of Winnipeg’s artistic underclass, this Nuit blanche tour of prairie postmodernism will explore Winnipeg in all of its transgression, subversion and singularity.
Engineering, Computer Science and Visual Arts Complex (EV)
1515 Ste-Catherine St. W. (Metro Guy-Concordia) map
Screenings (VA 114)
6 p.m. Mel Hoppenheim School of Cinema (child friendly)
8 p.m. Montreal Stop Motion Animation Film Festival
10 p.m. groop*index
12 a.m. Winnipeg Film Group, curated by Matthew Rankin
ANIMATED ‘HEAVY METAL PARKING LOT’ by LESLIE SUPNET (2010): http://networkawesome.com/2014-2-15/collection-paper-cuts-animations
A Time is a Terrible Thing to Waste, playing in the CANADI(AN)IMATION program at CAAMFEST in March.
John Porter’s 2014 Visiting Filmmaker’s Map of Toronto (High Quality)
Sight Unseen will be screening Amethyst Visions in an open call shorts screening alongside some of my dearests.
Thursday, 1/30 - 8PM
307 W. Baltimore Street
FILMS & VIDEOS:
CHRIST CHURCH - SAINT JAMES
by Stephen Broomer, 2011, 16mm, color, sound, 6.5m
In the spring of 1998, Christ Church - Saint James, an historic black church in Toronto’s Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself, the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of concrete, nature, waste, paint, and sky. Music by John Butcher.
by Dan Browne, 2010, 16mm, color, sound, 3m
A campfire for warming eyes, akin to TV static. Produced by accident, chance and fate, all images in this film are achieved by tactile impact, the soundtrack acoustically interpreting the same abrasions.
by Maxime Corbeil-Perron, 6.5m
Inspired by Japanese experimental film, this video focuses on exploring the movement of shadow and light across space - frame-by-frame.
SPIN CYCLE: HORIZON IV
by Thomas Dexter, 2012, HD, color, sound, 4.5m
Created with a small HD camera mounted to the end of an electric drill - composed in-camera as one continuous take, no digital tricks. The sound is slightly processed, but diegetic.
by Javier Di Benedictis & Fernanda do Canto 2013, HD, color, sound, 1m
The series brings to light different experiments linking dance and moving image. This first part deals with Annabelle Serpentine Dance (1895), the first hand-colored film by William K.L. Dickson and Thomas Edison. It is updated through the use of digital technologies. Where the color is the result of different experiments.
VALENT are Fernanda do Canto and Javier Di Benedictis. Fernanda is from Porto Alegre, Brazil. Javier from Buenos Aires, Argentina. They work with mixed media, different techniques and technologies. They have exhibited their work in the Animamundi (Rio de Janeiro/ São Paulo, Brazil), in Lumen_ex (Spain), Magnetica Fest (Buenos Aires, Argentina), 15 Paris festival for Different and Experimental Cinema, Paris, (France) and the 11 Media Arts Biennale (Santiago, Chile) and ANALOGICA 2013, Italy.
PLACES WITH MEANING
by Scott Fitzpatrick, 2013, 16mm, color, sound, 3m
In 1997 Microsoft created the truetype dingbats font Webdings,
the highly anticipated sequel to Wingdings. Controversy had circulated around the original font, so for the sequel special attention was paid to the places the ‘bats depicted, and how those places were represented (intentionally and unintentionally). Made on recycled 16mm film, in Microsoft
by Cameron Gibson, 2013, HD, color, sound, 6.5m
A DSLR explores its aperture range next to a vacant strip mall.
LONG WAY FROM HOME
by Stefan Grabowski, 2013, color, sound, 3.5m
One may attempt to make sense of the world as it rushes by, or choose to lose themselves in the omnidirectional swirls of shadow and light.
IF EFFLUENCE ACCORD; EMULSION
by Karissa Hahn, 2013, 16mm to DV, color, sound, 2.5m
Musings of leeway - an illusive figure emerges from the emulsion.
One strip of super 8 film is reconstructed, taped onto 16mm, and then re-filmed on the Optical Printer.
The effluence according to its new emulsion - becoming a reflection of its own action.
by Tsen-Chu Hsu, 2009, 16mm, color, silent, 4m
By working with film as a medium, I have discovered a way to implement my interest in weaving both concepts and materials; integrating different elements into one work. In this piece, I covered the film with cotton and tinted it with dyes. The textures of cotton adhered to the film create a new layer; the original emulsion and the added textures coexist, cover and uncover each other at the same time. The differentials of color tones, the positive and negative footage, and the alternations of abstract and recognizable imagery introduce a dialogue about the possibilities of opposite characters.
(This is hand-processed film)
by Theodore Kennedy, 2013, 16mm to DV, B&W, sound, 1.5m
Pittsburgh 8/16/68 is part of a series of films based on the original 16mm camera rolls from a Pittsbugh TV news station during 1968/69.
by Antonia Kuo & Lily Jue Sheng, 16mm to HD, color, silent, 3m
“Seeing Double” is a 16mm to HD stop motion collage animation, exploiting the frame-by-frame structure of film within the fleeting pace and temporality of an immersive optical experience. A series of flickering compositions explore the cycles inherent in all scales of biological matter, ranging from flora and fauna to terrestrial topographies. The geometric, yet metamorphic forms reflect the dichotomy between the imposed order and erratic flux of nature.
Antonia Kuo (b. New York, NY, 1987) and Lily Jue Sheng (b. Shanghai, China, 1987) live and work in Brooklyn, New York. They met while attending School of the Museum of Fine Arts Boston and have been collaborating on film projects for the past few years. Their individual practices come together to address the material properties of the moving image, collage and animation.
by Josh Lewis, 2011, 16mm, B&W, sound, 3.5m
Made towards the end of my tenure as a grunt worker in a film processing lab, at a time when I was spending most of my days slacking off down in the lab’s sub basement playing with raw film stock and reversal chemicals. This was a fairly disgusting space with dirt floors and four-foot ceilings from which the leaking guts hung down from the operation above, but it was open, and I could stretch out full 100’ foot rolls of film from end to end on the floor. From there, I could freely apply developers, bleaches and fixers in whatever ways I could think of, usually mashing in the dust, leaves, and garbage that was kicked up in the process.
by Marcantonio Lunardi, 2013, HD, color, sound, 4m
Television is the only interface through which the remains of culture are spread.
In The Choir, the author represents the commercialization as a force which destroys civilisation, which is then melt into a flattening mixture submitted to the market.
45 7 BROADWAY
by Tomonari Nishikawa, 2013, 16mm, color, sound, 5m
This is about Times Square, the noises and movements at this most well-known intersection. It was shot on B&W films through color filters, red, green, and blue, then optically printed onto color films through these filters. The layered images of shots by handheld camera would agitate the scenes, and advertisements on the digital billboards try to pull ahead of others.
WITH PLUSES AND MINUSES
by Mike Stoltz, 2013, 16mm, color, sound, 5m
"This morning the window blew its glass onto my face. Real morning with pluses and minuses (my symbols for truth)"
A ground-less and boundless 16mm film in which a wall becomes a window to a swirling landscape.
by Leslie Supnet, 2012, DV, color, sound, 3.5m
Amethyst Visions is a commissioned work as part of POP Montreal’s Auroratone project, where original short films by experimental Canadian filmmakers are set to the music of POP Montreal’s 2012 participants to create original abstract films guided by the principles of Cecil Stokes’ Auroratones. ‘Auroratones’ were abstract musical films used in mental institutions and army hospitals after WWII as a means of soothing post-traumatic stress disorder and general mental disturbance, invented by film enthusiast Cecil Stokes who was continuing on nearly two centuries of previous pseudo-scientific attempts to correlate colour with musical notes.
A WORLD ASSEMBLED
by Toby Tatum, 2013, HD, color, sound, 3m
A World Assembled represents Toby Tatum’s creation of an improbable realm, stitched together from a kit of warring elements into a fantastic whole.
by Rhayne Vermette, 16mm to DV, color, sound, 1.5m
This film documents a tedious process of dismantling and reassembling 16 mm found footage. Roused by Kazimir Malevich, the film collage imitates functions of a curtain, while the recorded optical track describes the flm’s subsequent destruction during its first projection.
LIVING ON THE EDGE
by Aaron Zeghers, 2013, Super 8 to HD, color, sound, 3:20m
An anthropological peepshow of Kingdom Animalia’s current state-of-affairs via frame-by-frame Super 8. This animal’s history of wreck and ruin is the catharsis of a (formerly) lapsed vegetarian, brought to life with open exposure photography, light table animation and in-camera editing.
The long-awaited Festival of (In)appropriation DVD Compilation is now on sale to educational and research institutions! Buy this terrific collection of films today!
Whether you call it collage, compilation, found footage, detournement, or recycled cinema,the incorporation of previously shot materials into new artworks is a practice that has generated novel juxtapositions of elements which have produced new meanings and ideas that may not have been intended by the original makers,that are,in other words “inappropriate.” This act of appropriation may produce revelation that leads viewers to reconsider the relationship between past and present,here and there,intention and subversion. Fortunately for our purposes,the past decade has seen the emergence of a wealth of new sources for audiovisual materials that can be appropriated into new works. In addition to official state and commercial archives,vernacular archives,home movie collections,and digital archives have provided fascinating source material that may be repurposed in such a way as to give it new meanings and resonances.
Founded in 2009,the Festival of (In)appropriation is a yearly showcase of contemporary short (20 minutes or less) audiovisual works that appropriate film or video footage and repurpose it in “inappropriate”and inventive ways. The show,now in its third year is curated by Jaimie Baron, Lauren Berliner, and Andrew Hall.
Festival of (In)appropriation #1:
Khan (Daniel Martinico, 2008)
The Blockbuster Tapes (Daniel Martinico, 2008)
Through these Trackless Waters (Elizabeth Henry, 2007)
Utopia Variations (Gregg Biermann, 2008)
The Game (Tasman Richardson, 2007)
Outlaw (Ann Steuernagel, 2008)
TB TX Dance (Roger Beebe, 2006)
windshield baby gameboy movie (Clint Enns, 2009)
Flicker On Off (Caroline Koebel, 2008)
The Legend of Pwdre Sêr (Dave Griffiths, 2008)
Speechless (Scott Stark, 2008)
Her Heart is Washed in Water and Then Weighed (Sasha Waters Freyer, 2006)
Festival of (In)appropriation #2:
Asleep at the Wheel (Mike Maryniuk, 2005)
Alone (Gerard Freixes Ribera, 2008)
The Animated Heavy-Metal Parking Lot (Leslie Supnet, 2008)
Friend Film (Colin Barton, 2008)
The Ship (Brandon Downing, 2009)
Emergence (Marcin Blajecki, 2009)
That’s Right! (Matthew Causey, 2008)
Anemic Cinema with Z Coordinate (Jorge Sa, 2009)
The Motions of Bodies (Ann Steuernagel, 2008)
Isolating Landscapes (Heidi Phillips, 2007)
The Last Interview in Exile (McLean Fahnestock, 2008)
Profanations (Oriol Sanchez, 2008)
Festival of (In)appropriation #3:
Five-Dimensional Vacation 2 (Ryan Lamb, 2010)
Voice on the Line (Kelly Sears, 2009)
Nuke Em,Duke (LJ Frezza, 2010)
Suspension of Belief (Wago Kreider, 2010)
Pfft.. Pfft.. Pfft.. (Catherine Ross, 2009)
World on Wheels (Tanja M. Laden, 2008)
A Movie by Jen Proctor (Jennifer Proctor, 2010)
Blow Job (Stuart Sandford, 2009)
Galactic Docking Company (Clark Nikolai, 2009)
Thoughts (Julian Krubasik, 2008)
The Western Front (Lauren Cook, 2010)
Festival of (In)appropriation #4:
Interdimensional Headphase (Dillon Rickman, 2011)
Camp (Peter Freund, 2011)
Lucky Strike (Shashwati Talukdar, 2010)
Jive (Steve Cossman, 2011)
The Homogenics (Gerard Freixes Ribera, 2010)
Ceibas Epilogue:The Well of Representation (Evan Meaney, 2011)
Avo (Muidumbe)/Granny (Muidumbe) (Raquel Schefer, 2009)
Kanye West Apologizes to George W. Bush (Jaimz Asmundson, 2011)
A Reasonable Man by Brian L. Frye (USA, 2011)
Guttae (Marcin Blajecki, 2010)
The Voyagers (Penny Lane, 2010)