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)
June 16th, 2014
@ MASS Gallery (map)
$5 – $10 Sliding Scale / ERC Pass / Free for NMASS pass holders!
Experimental Response Cinema, in collaboration with MASS Gallery and the Church of the Friendly Ghost, present an evening of moving images from Toronto, with curator Clint Enns in person!
“The experimental films and videos in this program offer a small glimpse into Toronto Underground Film Scene. The works in this program are personal visions that provide a space for remembrance, self-reflection and spiritual transformation. The ways in which these moving images are produced and the subject matters explored in these works are as diverse as the city itself. The works selected are an attempt to demonstrate some of the techniques, styles and themes that are being explored by moving image artists in Toronto at this time.” – Clint Enns
MASS fosters exploratory modes of creation by encouraging artists to broaden the scope of their practice, while providing a friendly conversation space for the community to engage with contemporary art.
Church of the Friendly Ghost is a 100% volunteer-run arts organization supporting creative expression and counter-culture community. Established in the fall of 2003, we have presented approximately one thousand events to date including concerts, art exhibitions, workshops, film screenings and other adventurous cultural activities.
Chroma Crypt by Peter Rahul & Philippe Blanchard
5 min / digital / sound / 2014
Developed with a particular interest in bridging old and new moving image technologies (analog video mixers and 3D video games), Chroma Crypt is an experiment in animation as a live and performative art form. Feedback is a vital formal element of the piece: it is generated and manipulated in real-time through 80s analog video mixers, and incorporated via live keying and mixing. The video game—a psychedelic cave-like environment designed collaboratively by Rahul and Blanchard in Unity—adds another performative layer to the piece, allowing the viewer to navigate the environment from a first-person perspective.
Music by Charanjit Singh
Mosaic by Christine Lucy Latimer
3 min / 16mm / silent / 2003
This film uses footage of a digitally scrambled cable TV kickboxing fight transferred to 16mm B & W film negative and printed by hand. Digital interference foregrounds the representational action, creating a rhythmic, abstract tonal landscape.
Quilt by Amy Lockhart
2 min / digital / sound / 2013
Images and sound created in Amiga dpaint. 2013
Simultaneous Contrast by Chris Kennedy
6 min / 16mm / silent / 2008
The striped pattern of the municipal bus shelters in San Francisco becomes a fixed foreground behind which the city passes. Spatial oscillations provide a constantly permutating play of figure, ground and space, imaging the possibility of being two places at once.
ars memorativa by Scott Miller Berry
20 min / digital / sound / 2013
ars memorativa is an experimental documentary in four chapters that examines what is left behind when someone passes away and how memory traces emerge from the remaining artifacts and memories. the four people intersected with the directors life in a variety of ways and their stories are shared in a mix of forms: hand processed celluloid, digital animation, audio interview and home movies.
Baby Blue by Blake Williams
10 min / digital (3-D anaglyph) / sound / 2013
An anaglyph 3D found-footage film. None of the source material was shot stereoscopically; rather, the 3D effects are reliant on the phenomenon of motion parallax. Via its time delay strategy, visual depth illusions manifest themselves (or not, in some cases) through horizontal motions in the camera and/or its subjects. Clips of trains, space shuttles, beaches, and cyclopes butt against one another to present an ambivalent impression of mutated technologies, systems, gestures, and organisms.
Allan Gardens by Leslie Supnet
6 min / digital / sound / 2014
Edit in camera of Allan Gardens indoor botanical garden.
cirCling by John Creson & Adam Rosen
4 min / digital / sound / 2012
From the distance, light gleams across the water and dances to the hum of cicadas.
Colour Theory by Barbara Sternberg
6 min / 16mm / silent/ 2014
Goethe’s colour theory dealt with the optics of colour relations; Rudolf Steiner’s and Kandinsky’s theories attribute emotional, musical, and spiritual affects to colour; North American Natives see personality traits and states of mind, seasons, races, and the four directions in the four colours: red, yellow, white, black. What’s in a name, what’s in a word? A world of colour.