conversation at Grace
Regional Support Network presents:
Unscene: film and video from Saskatchewan.
Saturday June 28th screening 8pm
Videofag (187 Augusta Avenue)
(co-sponsored by Videofag, Saskatchewan Filmpool Cooperative and PAVED Arts.)
Curated by Amber Christensen
A pleasantly amorphous screening of work from the real centre of Canada (if you don’t include the Maritimes)
The Tooth Maker - Amalie Atkins
The Floating World - Ian Campbell.
You are a Lesbian Vampire - Thirza Jean Cuthand
Local Girls - Callen Diedrichs
Tales from the Deep - Clark Ferguson
Wives Tale - Amber Goodwyn
The Generosity of Mechanics - Troy Gronsdahl
TBA - Jaye Kovach.
School of Athens - Allysha Larsen.
Space Princess and the Amethyst Portal - Colby Richardson
Spitly: A Boy And His Puppet - Video Club
Mutants are not prepared. Mutants are people who did not BELIEVE that this would happen. Mutants are either milksop whiners, miiilskop whiiiners, how I hate milksop whiners! They’re all those people in the pre-Cataclysmic world, they whine, and they cry, they whine and they cry, ‘…OOHAHOOOH there’s Cataclysm and the bomb drops, I don’t want to surviiiiiive!’ But when the bomb drops, they’re the first ones to come knocking at your fallout shelter DOOR.
The Films of Clint Enns and Leslie Supnet
Canada, 120 minutes
Club SAW, Wednesday, June 18, 2014, 7:00 pm
An art-making duo, Enns and Supnet work both independently and together, sharing duties, skills, and visions to assemble some of the most inventive and charming recent experimental film and video in Canada. Both artists bring a strong DIY practice and aesthetic to their films and videos. Often reworking established aesthetic and technical objects and forms — canonical experimental films, television commercials, pop ephemera — Enns brings together an ironical, satirical edge with an underlying sincerity to create a space for new visions and energies to emerge. Glitch, circuit-bending, and/or appropriation is often the name of the game in Enns’s lovingly combative relationship with the canons of consensus. Supnet’s whimsical, and sometimes surreal, animations and short films draw from her everyday experiences, looking inward to communicate intimate observations and subtly moving thoughts and feelings through the image. In her carefully crafted hand-made puppetry, for instance, Supnet tackles issues at once idiosyncratically personal and resonantly political. Taken together, their work coalesces and counterpoints to construct a delicate, searching, and always intriguing engagement with the contemporary world.
(2010, Found Footage/Macrovision’s Ripguard, 2:49)
(2011, Found Footage/After Effects, 1:28)
The Animated Heavy Metal Parking Lot
(2010, Digital video, 01:47, Colour, Stereo)