Media City 14 catalogue by Media City Film Festival

International Program 5 pp. 44-47

9:30 PM

International Program 3 pp. 26-31

9:30 PM

Willie Varela Retrospective (7 S8mm films) pp. 16-17

Guy Sherwin with Lynn Loo: Live Cinema pp. 58-59

9:30 PM

International Program 2 pp. 22-25 International Program 1 pp. 10-15

Aki Onda with Loren Connors: Cinemage at the Detroit Film Center pp. 4-5

MEDIA CITY 14 14th Annual International Festival of Experimental Film and Video Art

LATE NIGHT EVERY NIGHT PARTY AT PHOG

9:30 PM

International Program 4 pp. 38-43

8:00 PM 8:00 PM 8:00 PM

David Rokeby: Plotting Against Time artist’s talk at the Art Gallery of Windsor pp. 34-37

International Program 6 pp. 52-56

8:00 PM

Regional Artists Program pp. 20-21 Zoe Beloff: The Somnambulists opening at Artcite pp. 8-9

8:00 PM

5:30 PM 3:00 PM 6:00 PM 6:00 PM

James Benning: RR pp. 50-51

SAT MARCH 8 FRI MARCH 7 THURS MARCH 6 WED MARCH 5 TUES MARCH 4

The Art Gallery of Windsor, Artcite Inc. and House of Toast present

ALL EVENTS @ CAPITOL THEATRE unless otherwise noted

TICKET & LOCATION INFO INSIDE BACK COVER

Director Emeritus: Executive Director: Administrative Director: Program Directors: Program Directors’ Assistant: Guest Curator: Program Committee: Installation Curators: Regional Programmer: Technical Director: Technical Assistant: Lead Projectionist: Guest Coordinator: Volunteer Coordinator: Venue Logistics: Graphic Design: Website: Photographer: Festival Founders:

Christopher McNamara Dave Roberts Christine Burchnall Oona Mosna, Jeremy Rigsby Nadja Pelkey Peter Ride Dean Carson, Gustave Morin, Christopher McNamara Leesa Bringas (Artcite), James Patten (AGW) Phil Beaudoin with input from Brandon Walley Sergio Forest Justin Langlois Antonella Bonfanti Lucy Howe Emily Copeland MESM Sohail Azad, Oona Mosna, Jeremy Rigsby Justin Langlois Gustave Morin Deirdre Logue, Christopher McNamara, Britta Poisson, Kim Truchan & Dermot Wilson

The Art Gallery of Windsor, Artcite Inc. and House of Toast are supported by their members, volunteers and staff and by the Canada Council for the Arts and the Ontario Arts Council. The AGW and Artcite also acknowledge the support of the Corporation of the City of Windsor. Media City 14 is presented with the support of a Visual and Media Arts Project grant from the Ontario Arts Council and an Annual Assistance to Media Arts Festivals grant from the Canada Council. Other support and partnerships from Club Riverside, the Detroit Film Center, the School of Visual Arts at the University of Windsor, Mr. Mark Boscariol and Windsor’s Visitors in the Arts Lecture Series funded by the Canada Council and participating arts organizations and institutions.

The Jury

Originally from Québec City, VINCENT GRENIER (middle) has been making experimental films since the early 1970s, after receiving an MFA from the San Francisco Art Institute. His films and recent video works have been exhibited at venues including the Centre Pompidou, the Museum of Modern Art New York, Anthology Film Archives and countless international film festivals. Grenier is currently Chair of the Cinema Department at Binghamton University in New York. His video Tabula Rasa (2004) won 2nd Prize at Media City 11 and he was the subject of a retrospective screening at Media City 12 in 2006. MIKE SPERLINGER (lower) is Assistant Director of LUX, London, which holds the UK’s most significant collection of artists’ film and video and is one of the largest distributors of such work in the world (with 4500 works by more than 1500 artists from 1920 to the present day). He has contributed to publications including Frieze, Radical Philosophy and Art Monthly and recently edited the book afterthought: New Writing on Conceptual Art (Rachmaninoffs, 2005). He is currently editing an anthology of writing on artists' moving image for LUX. LATE NIGHT SATURDAY NIGHT AT PHOG MEDIA CITY CLOSING PARTY and AWARD CEREMONY including the presentation of the Grand Jury Prize generously sponsored by Club Riverside

8:00 pm at the Detroit Film Center AKI ONDA/LOREN CONNORS: Cinemage Live performance

STARTING TONIGHT & ALL FESTIVAL LONG The PIECE PROCESS: Susan Gold gives you something

TUESDAY MARCH 4

AMY BESTE (top) is Director of Public Programming for the department of Film,Video & New Media at the School of the Art Institute of Chicago where she organizes the visiting artist series “Conversations at the Edge” at the Gene Siskel Film Center. She has curated screenings for venues such as the Chicago Underground Film Festival (where she served as Director of Programming from 2000-2003) the Mary and Leigh Block Museum of Art and the Chicago Cultural Center. She is currently working on a history of avant-garde/independent filmmaking in Chicago.

Aki Onda with Loren Connors

USA/Japan, slideshow, 50 min, 2007 USA, guitar improvisation

Cinemage performances are slide projections of still photographs with improvised music. A multi-layered audio-visual space, more ambiguous than normal mixed media performance, Cinemage is neither film nor music nor photography but an unexplored territory located between media. The images in Cinemage are snapshots taken from daily life. Onda applies methods similar to his work as a music composer (particularly his ongoing project Cassette Memories) in which he uses field-recordings he made as a diary of sound. By documenting fragments of his personal life, something is revealed in their accumulation: what emerges is an essence, an architecture of memory; something from which specific meaning has been stripped. Although most photographers slice out a single moment in time to render an image as absolute, Onda's visual images consist of a moment within a movement. The sensibility is essentially filmic. The photos are more like moving images than stills and the style is similar to Chris Marker's La Jetée. When projected, the images have the eerie familiarity of an out-of-focus memory and evoke a feeling of déjà vu.

Born in Japan and currently living in Brooklyn, AKI ONDA is a self-taught electronic musician, composer, photographer and multi-media artist. He has performed at venues including the LMC Festival (London) Anthology Film Archives and The Kitchen in New York, and the Argos Festival (Brussels), often collaborating with other artists such as Michael Snow, Alan Licht, Oren Ambarchi and Ken Jacobs. He has released more than a dozen solo and collaborative recordings on Japanese, European and American labels. Best known as a composer and improviser, guitarist LOREN CONNORS has issued over 50 records on his own imprints (Daggett, St. Joan, Black Label) since the late 1970s, and over two dozen on other labels across the globe. His adaptation of the blues is distinct, combining the Delta bottleneck sound and the ancestral blues voice (appearing as distortion, baying hounds or multi-tracked guitar), with hauntingly unexpected sounds. He has collaborated with musicians such as Jim O'Rourke, Lee Ranaldo and Thurston Moore of Sonic Youth, Keiji Haino, Jandek and many others, as well as leading the group Haunted House. He lives in Brooklyn.

at The Detroit Film Center 1347 E. Fisher Fwy in the Eastern Market 313 961 9936 General admission $5 US (Media City festival passes not valid at this event)

8 PM TUES MAR 4 • AKI ONDA/LOREN CONNORS @ DFC

8 PM TUES MAR 4 • AKI ONDA/LOREN CONNORS @ DFC 4

Cinemage

Susan Gold

Canada, wearable slides/performance/mail art, 2008

In a Media City tradition, Windsor artist Susan Gold will again be handing out her muchcoveted buttons/wearable art objects to festival guests. Participants in Media City will receive a PIECE of the Western canon of art history — a slide! Wear it. Change it. Keep it. Pass it on! Let NOBEL PEACE know what you did with your ICON of Western art history. Send your PIECE stories or images to: PIECE PROCESS c/o NOBEL PEACE RR#1 NOBEL, ONTARIO P0G 1G0 CANADA

8:00 pm at the Capitol Theatre INTERNATIONAL PROGRAM 1 The Mine Office Suite Public Domain Broken Horses Films of Helga Fanderl, Part 1 the boy who died

Victor Asliuk Robert Todd Jim Jennings Peter Miller Helga Fanderl John Price

Documentation to all in August 2008. SUSAN GOLD is a Windsor artist and co-founder of the NOBEL PEACE Project . The PIECE PROCESS is a form of non-monetary exchange that encourages iconoclastic communication, creating energy, ideas, and imagery.

Opening reception and artist’s talk + Festival opening night party!

9:30 pm at the Capitol Theatre WILLIE VARELA: Retrospective 1979-1990 Seven Super 8mm films. Filmmaker in attendance.

WEDNESDAY MARCH 5

ALL FESTIVAL • SUSAN GOLD: PIECE PROCESS

The PIECE PROCESS

6:00 pm at Artcite Inc. ZOE BELOFF: The Somnambulists

Zoe Beloff

USA, 5 video dioramas, 2007

An installation comprised of five miniature wooden theatres into which moving images are projected. One diorama rotates two stereoscopic HD videos, 11 minutes each, the other four present segments of archival scientific footage, 1 minute each. This installation centres on the idea of “staging the unconscious”. Each theatre presents an hysterical drama. These include “History of a Fixed Idea” and “A Modern Case of Possession” in which two patients of the famous French psycho-pathologist Pierre Janet express their delusions in song. The other theatres present the ghostly spectres of actual hysterics filmed by doctors one hundred years ago. I was inspired by several remarkable developments at end of the 19th century. There was the discovery of the unconscious by psychotherapists; Freud in Vienna and Pierre Janet in Paris, and the fact that doctors started to film their hysterical patients with motion picture cameras. At the same time, a fascination with madness took hold of the public and “acting hysterical” became all the rage in the Paris cabarets.

Cast: Shelley Hirsch, Steven Rattazzi, Jay Smith, Rachel Neuman, Aubyn Philabaum and Tea Alagic. Musical Director: Shelley Hirsch. Technical realization: Zoe Beloff and Eric Muzzy ZOE BELOFF is a moving image artist who works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation. Her work explores the relationship between technology and the unconscious and investigates the possibility of graphically recording mental states. Her work has been exhibited at venues including The Museum of Modern Art and the Whitney Museum in New York, The “Views from the Avant-Garde” program at the New York FF, the IFF Rotterdam, Pacific Film Archives (Berkeley) and the Pompidou Centre. She lives in New York City.

Wednesday, March 5, 6:00 pm Artcite Inc, 109 University Avenue West Opening reception for The Somnambulists Artist’s talk with Zoe Beloff Media City 14 opening party Exhibition continues until April 12

6 PM WED MARCH 5 • ZOE BELOFF OPENING @ ARTCITE

6 PM WED MARCH 5 • ZOE BELOFF OPENING @ ARTCITE 8

The Somnambulists

Victor Asliuk

Office Suite Belarus, 35mm, 16 min, 2004

A poetic and not so poetic visual and sound impression from the interior of a coalmine. VICTOR ASLIUK graduated from the Belarusian Academy of Arts in 1994 and has been working at the Belarusfilm Studio in Minsk since 1995. He has made more than a dozen films which have screened at venues including the Leipzig Dokfestival, the IFF Rotterdam and the International Kurzfilmtage Oberhausen.

Robert Todd

USA, 16mm, 15 min, 2007

Light journeys within and without my office, in three movements: Inner Close with Shadow and Steam (Andante Up, Down, and Sidelong), Exterior Fantasy from Dawn to Break (Allegro in Moving Colours), and Hallway (the End of that World). ROBERT TODD has made more than 35 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston. His previous films have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the IFF Rotterdam, Cinematheque Ontario and at Media City 10, 11, 12 and 13.

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1 10

The Mine

Jim Jennings

Broken Horses USA, 16mm, 8 min, 2007

Peter Miller

USA, 16mm, 3 min, 2007

The title is a response to the debate in New York over the City’s plan to require licensing and insurance from filmmakers to film on the street, in the public realm. Fortunately, the City backed down. In its whirling colour, this film expresses my never-ending fascination with the street.

A black horse and a white horse are interwoven. Through checker-boarded contact printing of lap dissolves, gestures and curves give way to a commingled celebration of form and lines. A lamentation of the horse’s fragile wildness, their predisposition to domesticity.

Since the mid-1970s JIM JENNINGS has made more than 25 films which have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the “Wavelengths” program at the Toronto IFF and at Media City 12 and 13. He lives in Long Island City, New York.

PETER MILLER received an MFA in Film,Video and New Media from the School of the Art Institute of Chicago. In 2004 he was awarded the Hayward Prize to work with Valie Export at Summer Academy, Salzburg, and in 2006 a Fullbright Fellowship to work with Peter Tscherkassky in Vienna. His films have screened at venues including EXiS (Seoul), EMAF (Osnabrück) and the IFF Rotterdam. He currently teaches at the Kubelka School of Independent Filmmaking in Vienna and is a lecturer in film at the Cittadellarte Pistoletto Foundation in Biella, Italy.

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1 12

Public Domain

the boy who died

Germany, S8mm to 16mm enlargements, 1 to 3 min. ea. (24 min. total)

John Price

Grabmäler (Tombs) Broadway Pflasterzeichnen (Drawing Cobblestones) Golfhaus (Golf House) Bleierne Wellen (Leaden Waves) Schatten auf roter Wand (Shadows on a Red Wall) Schlittschuhläufer (Skating) Warrior’s Market Louïe Gletscher (Glaciers)

Impressions of Beauval, Saskatchewan. The images were shot after hearing about how one of the town’s residents had been in a devastating skidoo accident. She managed to survive despite the hours of exposure to the Arctic winter night before she was rescued. Her friend who was driving did not.

2004 2006 2006 2006 2006 2006 2004 2007 2007 2006

HELGA FANDERL studied at the Stadelschule Frankfurt and at Cooper Union in New York. Since 1990 her films have been exhibited at venues including the Deutsches Filmmuseum, Kino Arsenal (Berlin), Anthology Film Archive and the Centre Pompidou. Her films are in collections including those of the Museum für Moderne Kunst (Frankfurt) and the Louvre (Paris). She was the subject of a retrospective at Media City 13 in 2007. She lives in Paris and Frankfurt.

Canada, 35mm, 8 min, 2007

JOHN PRICE has made experimental documentaries and diary films since 1986. His work has been exhibited at international venues including the IFF Rotterdam, Kino Arsenal (Berlin), the “Wavelengths” program at the Toronto IFF and at Media City 13. He also produces film projections for opera and dance and teaches cinematography in Toronto, where he lives.

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1

8 PM WED MARCH 5 • INTERNATIONAL PROGRAM 1 14

Films of Helga Fanderl, Part One

Retrospective 1979-1990

USA, all films S8mm

Border Crossing, Version One 8 min, 1988 Across wire borders, in search of Eden. A House of Cards 12 min, 1988 In every dream home a heartache. In every domicile of dreams, visions of the end. Passing Through 7 min, 1985 Glimpses of a life on the run. Shot in Juarez, Mexico and Austin and El Paso, Texas. Circus Sketches 7 min, 1979 An attempt to recapture childhood memories. Ultimately, a loving study of circus women. Juntos en la Vida, Unidos en la Muerte 10 min, 1985 Writing found on a gravestone in a cemetery in San Miguel de Allende, Guanajuato, Mexico. Death’s shadow everywhere.

Other Nature 3 min, 1990 “Our brains would fail to function without the R-complex [a reptilian atavism], that little clump of matter in our heads which tells us how and when to move, eat, shit, and run from danger.” — Albert Kilchesty WILLIE VARELA has been making moving images since 1971. Between 1971 and 1991, he worked almost exclusively in Super 8mm, with almost 80 separate films to his credit. Ranging from a few seconds to 104 minutes, Varela's Super 8 films have screened widely, including shows at the San Francisco Cinematheque, Los Angeles Filmforum, Chicago Filmmakers, the Museum of Modern Art New York, the Funnel in Toronto, the Rice Media Center in Houston and many others. Varela has been featured in two Whitney Biennials (1993 and 1995) and was the subject of a retrospective at the Whitney in 1994. In 1991, Varela left film and started to work in video; currently he is taking a break from videomaking and concentrating on still photography and installation work. He lives in El Paso,Texas.

9:30 PM WED MAR 5 • WILLIE VARELA RETROSPECTIVE

9:30 PM WED MAR 5 • WILLIE VARELA RETROSPECTIVE 16

Super 8 Notebook 8 25 min, 1988 Includes Detours, Blind Alleys, Dead Ends and The Light at the End of The Tunnel.

Willie Varela

Eight new films and videos from here or hereabouts

8:00 pm at the Capitol Theatre INTERNATIONAL PROGRAM 2 Bachelor Machines: Part 1 Victory over the Sun Take into the air my quiet breath Bachelor Machines: Part 2

Rosalind Nashashibi Michael Robinson The Speculative Archive Rosalind Nashashibi

9:30 pm at the Capitol Theatre INTERNATIONAL PROGRAM 3 Observando el Cielo Armoire Cabinet Garden/ing Sketch Films #3-#5 Films of Helga Fanderl, Part 2

Jeanne Liotta Vincent Grenier Robert Todd Sonoda Eriko Nishikawa Tomonari Helga Fanderl

THURSDAY MARCH 6

6:00 pm at the Capitol Theatre REGIONAL ARTISTS PROGRAM

Losing My First Tooth Justin A. Langlois Windsor, video, 6 min, 2007 A formal exploration of light and the limiting effects of digital technologies on this natural phenomenon. Dusk light peeks through and is obstructed by silhouettes of trees and window screens. Invisible City Jack Cronin Detroit, 16mm on video, 11 min, 2006 Invisble City was filmed in Detroit over the course of three years. Inspired by Italo Calvino’s Le citta invisibli, in which the Italian author suggests that what constitutes a city is not so much its physical structure but the impression it makes upon its visitors. Glass, Concrete and Stone Doug Nicholas Ann Arbor, video, 11 min, 2007 A short film about buildings that focuses on the aesthetics of leveling. Protecting the Barn with Medicine Phil Beaudoin Windsor, video, 2 min, 2006 Barn, Headquarters, The Office, Mainboard, Crotch, Administrator. “…realized I was walking on my own, and started to CRAU*.” Lobotomy, whistle, soda pop.

Family Portrait #2 Charlie Egleston London, 16mm, 6 min, 2007 A family portrait constructed through lens manipulation, optical printing and hand processing to elicit the polarities of the life process. Character Sketches Christopher McNamara Ann Arbor/Windsor, video, 14 min, 2007 A series of “dramatic” vignettes in which actors appear to be waiting for something or are about to do something. Through a series of narrators who speak in foreign languages, we are given fragments of fictional information about these characters, but we cut away to a new character before we know how each scene resolves. The Primeval Call Ali Shakeri Windsor, video, 4 min, 2007 A portrait of a contemporary Persian poet, painter and philosopher Sohrab Sepehri. His works display a love and concern for human values with a strong emphasis on hope. Unified Fields Brandon Walley Detroit, 16mm on video, 9 min, 2007 During a hot summer weekend away from the city haze with my family, I felt an odd sense of isolation yet interconnectedness with the rest of the world.

Program curated by Phil Beaudoin

6 PM THURS MARCH 6 • REGIONAL ARTISTS PROGRAM

6 PM THURS MARCH 6 • REGIONAL ARTISTS PROGRAM 20

Regional Artists Program

Victory over the Sun

Rosalind Nashashibi

Michael Robinson

Scotland, 16mm, 30 min, 2007

USA, 16mm, 13 min, 2007

A cargo ship traveling from Italy to Sweden. The film combines an observation of a closed community — the crew — with the attribution of anthropomorphic characteristics to the ship itself.

Dormant sites of past World’s Fairs breed an eruptive struggle between spirit and matter, ego and industry, futurism and failure. For thine is the kingdom and the power and the glory; nothing lasts forever, not even cold November Rain.

ROSALIND NASHASHIBI studied at the Glasgow School of Art and the California Institute of the Arts. She has made films and videos since 1994, which have been exhibited at venues including the ICA (London), the CCA (Glasgow) and the Tate Britain. In 2003, she won the ICA’s prestigious Beck’s Futures Prize and represented Scotland at the Venice Biennale. She currently lives in London.

MICHAEL ROBINSON studied film and photography at Ithaca College and the University of Illinois. He has made more than a dozen films and videos since 2000, which have screened in both solo and group shows at numerous festivals, cinematheques and galleries including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF, the London FF, Anthology Film Archives, the Viennale, the International Kurzfilmtage Oberhausen and Media City 12 and 13. He lives in Chicago.

8 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 2

8 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 2 22

Bachelor Machines: Part 1

Bachelor Machines: Part 2

The Speculative Archive USA, video, 17 min, 2007 (Julia Meltzer and David Thorne)

Rosalind Nashashibi

In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr’s Square in the centre of Damascus. A young architect proposed a design for a 5-star hotel and new mosque. In 1971, his plans were scrapped. In 1982, a building began to be built. Hospital? Parking garage? Military housing? The project — now called the Basel al-Asad Centre — has been the subject of much rumor and speculation. As of 2007, the building remains unfinished. In this documentary video, an architect recounts the chronicle of the building and considers its possible future. Los Angeles-based artists JULIA MELTZER and DAVID THORNE work in video, photography and installation.Their projects have been exhibited at festivals at venues including the Foundation for Art and Technology (Liverpool), the Australian Centre for the Moving Image (Melbourne), Kunstmuseum Göteborg (Sweden) and the International Kurzfilmtage Oberhausen. Their work will also be featured at the 2008 Whitney Biennial in New York.

Scotland, 2 x 16mm, 5 min, 2007

A double-projection, in which the artist Thomas Bayrle discusses the invention of the machine (in particular, the diesel engine) as a materialization of the desires once conveyed abstractly through the repetition of the rosary. ROSALIND NASHASHIBI studied at the Glasgow School of Art and the California Institute of the Arts. She has made films and videos since 1994, which have been exhibited at venues including the ICA (London), the CCA (Glasgow) and the Tate Britain. In 2003, she won the ICA’s prestigious Beck’s Futures Prize and represented Scotland at the Venice Biennale. She currently lives in London.

8 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 2

8 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 2 24

Take into the air my quiet breath

Jeanne Liotta

Armoire USA, 16mm, 19 min, 2007

Vincent Grenier

Canada/USA, video, 3 min, 2007

Seven years of celestial field recordings gathered from the chaos of the cosmos and inscribed onto film from various locations upon this turning tripod Earth. Neither a metaphor nor a symbol but a feeling towards a fact. Natural VLF radio recordings of the magnetosphere in action allow the universe to speak for itself. Amor Fati!

One day in the spring a red robin obsessively went after his double in the large mirror at the end of our garden. The video I shot of the bird eventually became this strange revisiting of the framed image’s shape/s and behaviour; having fun with the consequences of storage, openings, motion and nature, among others.

JEANNE LIOTTA works in film, video, photography and “other ephemera”. Her films have screened at venues including the Whitney Biennial, the “Views from the Avant-Garde” program at the New York FF, the Pacific Film Archive, the Museum of Modern Art New York and Media City 7. In 2006 she won the Museum of Contemporary Cinema Award along with Iimura Takahiro. She conducts an ongoing research project into the Joseph Cornell Film Collection at Anthology Film Archives in New York and teaches at Bard College. She lives in New York City.

Originally from Québec City, VINCENT GRENIER has been making experimental films since the early 1970s, after receiving an MFA from the San Francisco Art Institute. His films and recent video works have been exhibited at venues including the Centre Pompidou, the Museum of Modern Art New York, Anthology Film Archives and countless international film festivals. His video Tabula Rasa (2004) won 2nd Prize at Media City 11 and he was the subject of a retrospective screening at Media City 12 in 2006. He lives in Ithaca, New York, and is currently Chair of the Cinema Department at Binghamton University.

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3 26

Observando el Cielo

Robert Todd

Garden/ing USA, 16mm, 9 min, 2007

A room set aside for the exhibition of objects or works of art. View into, through and from within a set of “cabinets” as both passive and active containers. The film looks into what makes intimacy possible in mediation, through close attention to the movement, contours, textures and colours of objects and scenarios close to the filmmaker. The shifting sense of the presence felt between subject, viewer, author and machine is what drives this film’s visual transformations. ROBERT TODD has made more than 35 films and videos since 1985, while teaching at Emerson College and working as a film editor in Boston. His previous films have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the IFF Rotterdam, Cinematheque Ontario and at Media City 10, 11, 12 and 13.

Sonoda Eriko

Japan, video, 6 min, 2007

A photograph of the scene outside a window, enlarged to the same size as the window, was repeatedly pasted to and removed from the window while shooting single frames of the scene in a cyclical pattern, without employing any computer graphics or digital editing. An attempt at a destruction of space and sense. SONODA ERIKO is a graduate of Tama Art University. She works in film, video, photography and installation. Her previous videos have been exhibited at venues including EXiS (Seoul), Cinematexas (Austin) and EMAF (Osnabrück). She lives in Tokyo.

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3 28

Cabinet

Films of Helga Fanderl, Part Two

Nishikawa Tomonari

Germany, S8mm to 16mm enlargements, 1 to 3 min. ea. (20 min. total)

Japan, S8mm, 3 min. ea.

As a painter carries a sketchbook, I carry and use a Super-8 camera daily, shooting single frames, thinking about shapes and movement. All editing is done in-camera. Sketch Film #3 (2006) starts with a series of paired frames: images blurred by camera movement, followed by steady images. Later, it takes up the challenge to create apparent depth on screen. In Sketch Film #4 (2007) I was curious about how our brains retain certain colours longer than others. I shot alternating “similar vs. complimentary” frames of both colours and shapes. Sketch Film #5 (2007) was shot in Marin County, California, and shows the nature in the area as well as historic buildings, including artillery batteries and the Nike missile site. NISHIKAWA TOMONARI earned an MFA from the San Francisco Art Institute in 2006. Since 2001 he has made ten films which have screened at venues including the “Views from the Avant- Garde” program at the New York FF, the IFF Rotterdam and Media City 12. He lives in Tokyo.

Spiegelung (Reflections) Innenhof (Courtyard) Grauer Reiher II (Grey Heron II) Drei Midtown-Skizzen (Three Midtown Sketches) Zelte am Kanal (Tents on a Canal) Karpfen in Farbe schwimmend (Carp Swimming in Colour) Grüner Ballon (Green Balloon) Kettenkarussell (Carousel) Netzwerfer (Throwing the Net) Unter den Seerosen (Under the Water Lilies)

2006 2006 2006 2006 2006 2007 2007 2006 2006 2005

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3

9:30 PM THURS MARCH 6 • INTERNATIONAL PROGRAM 3 30

Sketch Film #3, #4 and #5

Exhibition tour and discussion with the artist

8:00 pm at the Capitol Theatre INTERNATIONAL PROGRAM 4 The Ivalo River Delta . ..... .:.:...:::ccccoCCoooo:: Dislocated Big Parts Des nuages aux fĂŞlures de la terre The Room of Chromatic Mystery

Patrick Beveridge Ben Pointeker Bruce McClure Philippe Cote Arthur and Corinne Cantrill

9:30 pm at the Capitol Theatre INTERNATIONAL PROGRAM 5 Prague Winter How to Conduct a Love Affair Quartet Sidewalk

Jim Jennings David Gatten Nicky Hamlyn Karl Kels

FRIDAY MARCH 7

3:00 pm at the Art Gallery of Windsor DAVID ROKEBY: Plotting Against Time

David Rokeby

Canada, 5 new media installations, 1991-2008

Internationally acclaimed Canadian artist David Rokeby is a pioneer in digital media arts. In works that typically include video images mediated through computer software designed by Rokeby himself, he compares the way in which people and computers interpret everyday experience. His installations suggest that computers, which are unrestrained by human conventions of time and space, process and manage information in remarkable and unexpected ways. David Rokeby: Plotting Against Time includes five major installations created by the artist over the past 15 years. Rokeby was also invited to Windsor for a two week residency in January 2008 by the Art Gallery of Windsor and Media City, who are collaborating on this project with British curator Peter Ride.

Friday, March 7, 3:00 pm Art Gallery of Windsor, 401 Riverside Dr. W. Plotting Against Time tour with David Rokeby and curator Peter Ride Exhibition dates: January 26-March 30

While in Windsor, Rokeby captured new images in order to re-work his seminal early work Watch, which he began in 1995. Rokeby’s work often presents what is familiar in a manner that is foreign to our way of seeing. In Watch, for example, two computer generated images are presented side by side. One image shows only things that are stationary, such as objects or people standing still, while the other shows only things that have motion, such as pedestrians or vehicles. While we are able to differentiate between movement and stillness, our cognitive processing melds them together into a seamless whole. Similarly in Machine for Taking Time (Boul. St Laurent) (2006-7), two screens display different footage of a Montréal neighbourhood. These images unfold unexpectedly in time with, for example, spring preceding winter. As the anticipated chronology of events is distorted, the representation of the city becomes a mixture of memory and association. Details, such as the way in which flowering plants change through the seasons, or how shop fronts alter their displays, result in a lyrical work that reminds us that familiarization is more than just an immediate observation: it is a complex fabrication, drawn from the past as well as the present. The Giver of Names (1991-2004) explores the relationship between language and vision. The computer observes objects, such as children’s toys, that have been placed on a pedestal by the audience. It analyses the colours, textures and outlines of what it sees

3 PM FRI MARCH 7 • DAVID ROKEBY TOUR @ AGW

3 PM FRI MARCH 7 • DAVID ROKEBY TOUR @ AGW 34

Plotting Against Time

On one side of a double screen in Taken (2002) the computer observes the actual gallery. As with other works, it not only depicts what is occurring in real time within the space, but overlays this with a selective history of previous moments. The audience sees itself at various points in time along with people who have been in the space previously. Individuals can playfully perform for themselves and for future audiences. The second screen displays an archive of head shots of the audience, zooming in on ones it finds “interesting”. It then labels the individual portrait as “disinterested” or “resistant”. While the artwork is often a joyous piece to be engaged in it is also very reminiscent of the way that closed circuit television surveillance performs ominous security functions. In this regard, Taken demonstrates that images captured in social spaces can be both flattering and threatening. The work of David Rokeby makes us acutely aware of the significant difference between vision, which is the processes by which we see, and of visuality, which is the way that we make meanings out of what we see. His work shows us that there are many different ways of visualizing and attaining intellectual and aesthetic pleasure out of observation. (Text by Peter Ride, exhibition curator, adapated by James Patten, AGW)

Although language is the primary subject of The Giver of Names, the computer is essentially carrying out the same sort of thing that occurs in Rokeby's other installations about visualizing space. In San Marco Flow (2005), for example, the computer sorts data and selects and focuses on certain attributes. One screen shows a cloud of words that grows from a few terms to a dense mass as the computer assembles together words and objects. The audience can see how the computer selects different terms, and why it considers them to be appropriate descriptions for objects. Initially, this work seems to be about the way the computer looks at objects. Ultimately, it is about the way we use visual cues to understand intelligence, albeit a limited artificial intelligence. San Marco Flow, as with Watch, deals with recognizing differences and similarities in how computers and people construct meaning from what they see.

Curator PETER RIDE studied at the Australian National University. He is a Senior Research Fellow at the University of Westminster, England and the Artistic Director of the Digital Arts Development Agency, DA2. Previously he was the Arts Programme co-ordinator for Artec, the Arts Technology Centre, London (1995-7) and the Director of Cambridge Darkroom Gallery (1992-5). He has curated exhibitions of new media artworks at museums and institutions including the ICA London, the San Francisco Museum of Modern Art and the Images Festival (Toronto). He is the co-author, with Andrew Dewdey, of The New Media Handbook (Routledge, 2006). He lives in London.

3 PM FRI MARCH 7 • DAVID ROKEBY TOUR @ AGW

3 PM FRI MARCH 7 • DAVID ROKEBY TOUR @ AGW 36

and then draws on a databank of language to offer verbal associations, which it then speaks aloud. The result is a stream of word associations; grammatically correct, but often obtuse or elliptical descriptions. This installation examines the complex process of visual recognition and the ability to name objects. It demonstrates that meaning requires shared understanding and can easily go awry. Despite their remarkable powers, computers cannot simulate the layering of knowledge, experience and recollection found in human communication.

DAVID ROKEBY was born in Tillsonburg, Ontario and studied at the Ontario College of Art. The many major international exhibtions of his work include installations at the Venice Biennale (1986), the Kwangju Biennal (1996) and Ars Electronica (1991, 1998 and 2002). His works are permanently installed in Oakville Galleries (Oakville, Canada),Tempozan Comtemporary Art Museum (Osaka, Japan) the Science Museum (London, UK), and several other museums around the world. Rokeby’s work has won numerous awards including the first Petro-Canada Award for Media Arts (1988), the BAFTA award for interactive art from the British Academy of Film and Television Arts (2000), best installation at Toronto’s Images Festival (2001), and he has twice been honoured with Austria’s Prix Ars Electronica Award of Distinction (1991 and 1997). He has been an invited speaker at events around the world and has published papers that are required reading in the new media arts faculties of many universities.The technology Rokeby developed for his work is widely used by composers, choreographers, musicians, and artists. It is also used in music therapy applications and is currently being tested as an activity enabler for victims of Parkinson's Disease. He received a Governor General’s Award in Visual and Media Arts in 2002. He lives in Toronto.

. ..... .:.:...:::ccccoCCoooo::

Patrick Beveridge

Ben Pointeker

England, 16mm, 17 min, 2007

Marshland in northernmost Finland. This terrain, which is covered in thick snow during the winter months, provided a surface for filming changes in nocturnal light that are in response to the movement and position of the moon, and the sporadic displays of the polar lights. Such a project engages the problem of landscape film as a genre, however, the film also has elements of astronomical and atmospheric photography. In particular, some experiments using cameras placed on rotating celestial mounts lead to the unpredicted outcome of both the earth and the sky staying in focus with prolonged exposure for each frame. PATRICK BEVERIDGE studied Fine Art at Edinburgh University and the Royal College of Art. The Ivalo River Delta has screened at the London FF, the IFF Rotterdam and other festivals internationally.

Austria, 35mm, 9 min, 2007

“One of the pragmatic solutions to the problem of how people are able to find their way in the cinema are the small lights that, hidden in this place or that, show the audience where to step and where not, and where to choose a chair. Now imagine: complete darkness. Enter. Now stop imagining and look at . ..... .:.:...:::ccccoCCoooo:: While looking at it, the question becomes: what is looking? At this point the guiding lights may come back with a vengeance.” — Frans-Willem Korsten BEN POINTEKER studied literature, drama and visual arts at universities in Vienna, Copenhagen and Rotterdam. His films have screened at festivals including Avanto (Helsinki), EXiS (Seoul), the IFF Rotterdam, the Viennale and Media City 9. He currently lives in Berlin.

8 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 4

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The Ivalo River Delta

Dislocated Big Parts Bruce McClure USA, 3 x 16mm performance w. 6 loops, 11 min, 2008 These loops are divided like the pieces of a pie six feet in circumference. Turned edgewise there are intervals of crust evenly spaced with missing slices. It’s the crummy particularities left behind that are rolled onto the screen, over the sound head and around the room. The in betweens become shimmers that when reflected light spastic gestures to keep things moving across variety lights. BRUCE McCLURE is an architect, licensed to practice in New York in 1992. In 1994 he began working with stroboscopic discs as an entry to cinematic pursuits. Since 1995 his film and projector performances have been exhibited at numerous international venues including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF and at Media City 8 through 13, winning the festival’s Grand Prize in 2006. He lives in Brooklyn.

8 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 4

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DISMANTLE AND DISLOCATE: DISJUNCTIVELY STRIPPED OF THEIR EMULSIVE COVERING AND LOOPED OVER GNARLING TEETH UNDER THE HAZELIGHTS OF PROJECTORS, FILM’S NOISY SUBSTRATE GIVES DIMENSION TO A ROOM’S STILLED AND DARKENED CLOSENESS. THE SHADED PORTIONS OF A FILM LOOP ARE TRANQUIL ANALOGOUS TO THE PRECONDITION OF THE THEATRE WHILE THE TRANSLUCENT BITS CRACK WHOLE INTO A STRUCTURE OF BEFORES AND AFTERS — THIS AND THAT. DISPLACED FROM THE GRIPS OF THE DARKLANTERN FILM’S FLATTENED ORDER IS UPSET AND THEN INTEGRATED IN A WORLD OF PERSPECTIVAL GEOMETRY WHERE PARALLEL LINES MEET AT A POINT ON THE HORIZON.

The Room of Chromatic Mystery

Philippe Cote

Arthur and Corinne Cantrill

France, S8mm, 18 min, 2007

« Le bleu soudain et l’étoile à la lucarne Géométrie des formes lignes rayures triangles rectangles noirs blancs Monts noirs monts blancs en miroir reflets du ciel Puissance du gris nuances des commencements Cîmes Regards tendus corps de la lumière silhouettes furtives Effacements successifs On peut ouvrir grand les paupières Si l’on veut. » — Catherine Bareau PHILIPPE COTE has made more than a dozen films since 1998 which have screened at numerous festivals and venues around the world including the Centre Georges Pompidou, VideoEx (Zurich), Image Forum (Tokyo) and Media City 11. He is a founding member of the film co-operative L'Etna, an artisanal lab formed in in 1997 in Paris, where he lives. Cote appears at Media City with the kind assistance of the University of Wisconsin at Milwaukee.

Australia, 16mm, 7 min, 2006

A 3-colour separation, shot on high-contrast black and white negative and printed onto Eastmancolor print stock. Ambiguous, fleeting details and textures filmed in our living room. The saturated colour, on the verge of appearing and disappearing, and the fluttering of the light caused by shooting frame-by-frame with time exposures on each frame suggests changing states of perception and memory. ARTHUR and CORINNE CANTRILL have made more than 150 films together over the past 45 years. Their work has screened at countless festivals and cinematheques worldwide including The Royal Belgian Film Archive, the Deutsches Filmmuseum and the Louvre, with retrospectives at venues such as the Centre Pompidou in Paris and the Museum of Modern Art New York (thrice). The Pompidou and the NY MoMA also hold several Cantrill films in their permanent collections, as does Kino Arsenal (Berlin), the British Council and many other institutions. From 1971 to 2000 they edited and published 100 issues of Cantrills Filmnotes, a widely-circulated journal about experimental film and artist’s video. They live in Melbourne.

8 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 4

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Des nuages aux fêlures de la terre

Jim Jennings

How to Conduct a Love Affair USA, 16mm, 8 min, 2007

“ ‘Prague Winter’ was a phrase already used in 1968 to indicate a step backward, with the overturning of the liberation and reforms of the Prague Spring following the Soviet clampdown… Jennings’ Prague Winter has its own formal dynamics but offers up a solemn and compassionate view of physiognomy and fate, exploring a city speckled with snowfall and populated with elderly hibernal figures moving along their well-worn paths.” — Mark McElhatten Since the mid-1970s JIM JENNINGS has made more than 25 films which have screened at venues including the “Views from the Avant-Garde” program at the New York FF, the “Wavelengths” program at the Toronto IFF and at Media City 12 and 13. He lives in Long Island City, New York.

David Gatten

USA, 16mm, 8 min, 2007

An unexpected letter leads to an unanticipated encounter and an extravagant gift. Some windows open easily; other shadows remain locked rooms. Advice is sometimes easy to give, but often hard to follow. Have a cup of tea, dear. I’ll trade you a stitch from the past in return for a leaf from the future. This is a Valentine and this is a fragment: for the one who mends my rips; from the next installment of the Byrd project Secret History of the Dividing Line, a True Account in Nine Parts. The films of DAVID GATTEN have screened at venues including the Whitney Biennial, the Pacific Film Archive, the Cinematheque Français and at festivals including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF and at Media City 8, 9, 11 and 13, winning the festival’s Grand Prize in 2005. His work is included in the permanent collections of the Whitney Museum and the Art Institute of Chicago. He lives in Brooklyn.

9:30 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 5

Prague Winter

Nicky Hamlyn

Sidewalk England, 16mm, 8 min, 2007

The film is structured on a twenty-shot sequence of a room, repeated three times. The first two sequences are in colour and are shot according to a strict formal plan. Each shot contains a portion of the point of view of its adjacent partners. The second two sequences are in black and white and are more freely structured, even though they follow the spatial and formal pattern established in the first sequence. The only movement in the film is accidental — clouds seen through a window. NICKY HAMLYN studied at the University of Reading and was workshop organizer for the London Filmmakers’ Co-op (now LUX) in the late 1970s. He has made over 40 films and videos since 1974 that have been widely exhibited internationally, including solo screenings at the San Francisco Cinematheque and Pacific Film Archive, winning (among many other awards) second prize at Media City 10. His book Film Art Phenomenon was published by the British Film Institute in 2003. He lives in Lewes, Sussex, and teaches at University College for the Creative Arts, Maidstone.

Karl Kels

Germany, 35mm, 30 min, 2008

An observation of a section of New York City sidewalk, shot over the course of four months. As in my earlier films Rhinoceroses (1987) and Elephants (2000), the framing of all shots is identical. This time the integrity of the shots is not touched. 45 shots range from 11 to 210 seconds. Montage and context transform banalities which take place on the sidewalk into something else. KARL KELS was born in Düsseldorf and studied under Peter Kubelka at the Städelschule Frankfurt and then with Robert Breer at Cooper Union in New York. His previous films have screened at venues including Image Forum (Tokyo), the London FF and the Austrian Film Museum. Kels received a grant from the Hessische Kulturstiftung to work in New York in 2006 and was the subject of a retrospective at Media City 12 the same year. Kels has taught film at the Gesamthochschule Kassel and the Johann Wolfgang Goethe-Universität in Frankfurt. He lives in Berlin.

9:30 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 5

9:30 PM FRI MARCH 7 • INTERNATIONAL PROGRAM 5 46

Quartet

8:00 pm at the Capitol Theatre INTERNATIONAL PROGRAM 6 The Wheel Land of Cockaigne Androa Autoportrait

Dislocated Smaller Parts Mylar Balloon Ripoff

Victor Asliuk Rachel Reupke Matthias De Groof and Kristin Rogghe with Androa Mindre Kolo Bruce McClure Jason Halprin

9:30 pm at the Capitol Theatre GUY SHERWIN with Lynn Loo: Live Cinema 1972-2008 Seven multi-projection film performances

SATURDAY MARCH 8

5:30 pm at the Capitol Theatre JAMES BENNING: RR

James Benning

USA, 16mm, 115 min, 2007

RR is a film about trains, American trains, trains moving across the American landscape. “…and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.” — Rev. 17:3-5 “James Benning’s films are among the most fascinating work in American cinema. His films offer a complex and idiosyncratic view of American politics and culture in the late 20th century and beyond.”— B. Pichler, C. Slanar, Austrian Filmmuseum

“With a mathematician's love of formalism, a painter's eye, and an inimitable wit, Benning has been making structurally elegant, visually eloquent films exploring the psychic and material histories of American landscapes for three decades.” — Irina Leimbacher, San Francisco Cinematheque. Born in 1942 in Milwaukee, JAMES BENNING first studied mathematics, then switched to filmmaking after seeing Maya Deren’s landmark experimental film, Meshes of the Afternoon. With a canon of works spanning over thirty years, Benning’s films have been shown at international venues including the Cannes, Hong Kong, Rotterdam, Sundance, and Vienna film festivals, the Albright-Knox Museum, the Centre Georges Pompidou, Cinematheque Ontario, Harvard Film Archive, Los Angeles Museum of Art, San Francisco Cinematheque, Stedelijk Museum,Tate Modern Gallery and the Whitney Museum of American Art. He has received numerous awards and grants, including two Rockefeller Foundation fellowships, two National Endowment for the Arts awards, and a Guggenheim Foundation fellowship. He lives in Los Angeles where he has been teaching film and mathematics at CalArts since 1987.

5:30 PM SAT MARCH 8 • RR: JAMES BENNING

5:30 PM SAT MARCH 8 • RR: JAMES BENNING 50

Victor Asliuk

Land of Cockaigne Belarus, 35mm, 23 min, 2003

A village where only old people live and which only contains one solitary well. A shop on wheels calls once a week. The village only has one young family with a baby. VICTOR ASLIUK graduated from the Belarusian Academy of Arts in 1994 and has been working at the Belarusfilm Studio in Minsk since 1995. He has made more than a dozen films which have screened at venues including the Leipzig Dokfestival, the IFF Rotterdam and the International Kurzfilmtage Oberhausen.

Rachel Reupke

England, video, 14 min, 2007

One continuous camera movement, punctuated with choreographed incidents of human activity, shot from the chamber of a camera obscura in a tower in Sussex. Land of Cockaigne is inspired by early accounts of camera obscura entertainments, such as the vistas of “Hunting, Battles of Enemies and other delusions” described in Giambattista della Porta’s 1589 book Magiae Naturalis. The fictive scenes are live and direct interventions within the landscape, eschewing any digital manipulations. The pre-cinematic form from which the images are derived implies that the dialogue is with the apparitions of the past, rather than visions of the future. RACHEL REUPKE received her MA in Image and Communication from Goldsmiths College, University of London. Her video works have screened at venues including the Centre Pompidou, the Prague Biennial, the Tate Modern and Media City 10. In 2006, she completed a residency through an Arts Council Fellowship with Triangle Arts Trust in Beijing. She lives in London.

8 PM SAT MARCH 8 • INTERNATIONAL PROGRAM 6

The Wheel

Land of Cockaigne was commissioned by Fabrica, in association with Photoworks.

Dislocated Smaller Parts

Matthias De Groof and Kristin Rogghe with Androa Mindre Kolo Belgium/DR Congo, video, 16 min, 2006

Bruce McClure

An experiment with the genre of the self-portrait, face-to-face with Androa Mindre Kolo, who films himself running around the domain of the Académie des Beaux-Arts in Kinshasa. A paradoxical self-portrait, conceived by others. A portrait without a fixed image: a continuous production of close-ups with changing backgrounds. In these closeups are exhaustion and perseverance, duration and endurance, suffering and jouissance. While Androa is running out of breath, the relations self/self and self/other are at stake.

Framefuls of mostly unobstructed light are evenly set in a ring of emulsion. Meshed with similarly structured but uniquely patterned loops three projectors turn out light and sound. Zoom!

MATTHIAS DE GROOF works in photography and video and also runs Lab d’O, an artists’ collective that hosts underground music and cinema events in Antwerp. Also based in Antwerp, KRISTIN ROGGHE’s multi-disciplinary practice embraces video, installation, dance, performance and poetry.Their collaborative videos have been exhibited at venues including the San Francisco Art Institute and the Royal Museum for Central Africa. ANDROA MINDRE KOLO is a performer and scenographer, a member of the contemporary artist collective Mungongo Ya Sika. His projects have been presented internationally at venues in South Africa, Switzerland, France and Estonia. He lives in Kinshasa.

USA, 3 x 16mm performance w. 3 loops, 18 min, 2008

BRUCE McCLURE is an architect, licensed to practice in New York in 1992. In 1994 he began working with stroboscopic discs as an entry to cinematic pursuits. Since 1995 his film and projector performances have been exhibited at numerous international venues including the IFF Rotterdam, the “Views from the Avant-Garde” program at the New York FF and at Media City 8 through 13, winning the festival’s Grand Prize in 2006. He lives in Brooklyn.

8 PM SAT MARCH 8 • INTERNATIONAL PROGRAM 6

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Androa Autoportrait

8 PM SAT MARCH 8 â&#x20AC;˘ INTERNATIONAL PROGRAM 6 56

Mylar Balloon Ripoff Jason Halprin

USA, S8mm, 3 min, 2007

This film is part of an ongoing Super 8 diary project. Dancing mylar pillows float and bump as they circulate in a white room. I like to think that this is airflow moving light and shadow in a soft and random pattern. Stolen kinetics from the Warhol Museum in Pittsburgh. Thanks Andy! JASON HALPRIN has worked in video, Super 8mm and 16mm for almost ten years. He grew up in a small ranching town in Colorado and now lives in Chicago, where he teaches at Columbia College.

Guy Sherwin with Lynn Loo

England

Abrasion Loops 2 x 16mm performance for 2 projectionists, 10 min, 2007 Möbius Loops 3 x 16mm performance w. colour gels, 12 min, 2007 Film and sound material was prepared in one action by bleaching the side of a length of black leader, leaving a clear strip. The double-perf film is twisted into a Möbius loop. On projection the strip of projected light switches from side-to-side followed by changes in tone of the sprocket holes as they pass over the optical heads. Sound mix by Lynn Loo. Cycles #3 2 x 16mm performance w. colour filter, 8 min, 1972 (version 2003) Images were made using a hole-punch and stick-on paper dots. Sound is from segments of the dots stuck onto the optical track. The pattern of accelerating/decelerating dots is shifted out of phase. Railings 16mm in vertical format, 7 min, 1977 Images of iron railings converted into optical sound. With a contact printer I was able to alter the film speed and introduce secondary framelines which also affect the sound. Since the railings were filmed with the camera on its side (which gives a greater range of sound) the projector too is placed on its side.

Bay Bridge from Embarcadero 3 x 16mm, 9 min, 2004/07 “Three same-sized screens were placed with a slight overlap on each side, creating a peculiar sense of a panorama but one with different time-levels in three slightly shifted frames of the (more or less) same view.” — anonymous internet review Wires 3 x 16mm, 3 min, 2004 The dance of wires against the sky seen from a speeding train. Three projectors stacked vertically, their images slightly overlapping. Man with Mirror S8mm performance w. hand-held screen, 8 min, 1976 (version 2008) “The artist holds a mirror, painted white on the back. The film is projected at the performer, who rotates the mirror/screen in front of himself. The film being projected is of the artist in 1976, holding an identical mirror/screen. The resulting overlap of reflection/ image/overlay is visually extremely confusing and fascinating.”— Lucas Ihlein GUY SHERWIN studied at the Chelsea School of Art in the 1960s and taught printing and processing at the London Filmmakers’ Co-op (now Lux) in the mid-1970s. His films have been widely exhibited internationally, including as part of the series “Film as Film” at the Hayward Gallery (1980) and “Shoot Shoot Shoot” at the Tate Modern (2002), with retrospectives at venues including the IFF Rotterdam, Image Forum (Tokyo), Anthology Film Archives (New York) and Media City 10. A filmmaker and film archivist, LYNN LOO studied at SAIC. She has assisted and collaborated with Sherwin on numerous film performances and projects since 2005.

9:30 PM SAT MARCH 8 • GUY SHERWIN: LIVE CINEMA

9:30 PM SAT MARCH 8 • GUY SHERWIN: LIVE CINEMA 58

Live Cinema 1972-2008

From Windsor: Brenda Pelkey, Julie Sando, Susan Gold, Susan Blight and Chris Blais at the University of Windsor School of Visual Art, Sung Min Bae, Jyotika Virdi, and Kim Nelson at Communications Studies, University of Windsor; James Patten, Gilles Hebert, Tony Mosna, Cassandra Getty, Sandra Wong, Merry Ellen Scully Mosna, and JoAnn Fletcher at the Art Gallery of Windsor, Otto Buj, Mark Boscariol, and Debi Croucher from WIFF, Steve Daigle and Suzanne Konyha; Karl Jirgens and Stephen Pender at the English Dep't, University of Windsor, Citizens for the Capitol Theatre (CCT), Lois Smedick, Julianna Schewe; David,Vicki, and Stephen at S. Funtig & Associates, Brian Masse, (MP. Windsor-West), Jonathan Wagner, Adam Fox at CJAM radio, Frank and Tom at Phog, the guys at Terracotta, FedEx guy (Thomas McDonald), Philip Haddad (Club Riverside), Barbara Pierce Marshall at the DWBIA, Jeff Hasulo, Jackie Fitzgerald, Lee Gaul, Carlina Borras, Chris Mangin, Chris Harrison, Utsy, and anyone we forgot. Extra thanks to all hardworking volunteers whose names were not available at press time and to all people who graciously opened their homes to billet visitors.

NOTES

All descriptions of works are provided by the artists unless another source is cited. Running times are rounded to the nearest minute. Names of Japanese artists resident in Japan are given as family name first, given name second. The Cinemage performance, the films of Willie Varela and Victor Asliuk, the video work of Vicent Grenier, and the older (<2006) works of David Rokeby and Guy Sherwin are exhibited out of competition.

Victor Asliuk Phil Beaudoin Zoe Beloff James Benning Amy Beste Patrick Beverdige Arthur & Corinne Cantrill Philippe Cote Jack Cronin Charlie Egleston Helga Fanderl David Gatten Susan Gold Vincent Grenier Matthias De Groof Jason Halprin Nicky Hamlyn Jim Jennings Karl Kels Justin Langlois Jeanne Liotta Lynn Loo Bruce McClure Christopher McNamara Peter Miller Rosalind Nashashibi Doug Nicholas Nishikawa Tomonari Aki Onda Ben Pointeker John Price Rachel Reupke Peter Ride Michael Robinson Kristin Rogghe David Rokeby Ali Shakeri Guy Sherwin Sonoda Eriko The Speculative Archive Mike Sperlinger Robert Todd Willie Varela Brandon Walley

victorasliuk@hotmail.com www.phil.com@gmail.com zoe@zoebeloff.com jbenning@calarts.edu abeste@saic.edu patrick.beveridge@virgin.net acantrill@netspace.net.au phcote14@yahoo.fr jackcronin@gmail.com cmeglest@uwo.ca helga.fanderl@wanadoo.fr david.gatten@gmail.com sgold@uwindsor.ca vgrenier@twcny.rr.com matthias_degroof@yahoo.com jihalprin@yahoo.com nicholas.hamlyn@homecall.co.uk dorotheainmiddle@aol.com karlkels@yahoo.de langloa@uwindsor.ca jeanli@rcn.com dewfields@hotmail.com robinlu3@aol.com mcnamart@umich.edu peterhopkinsmiller@gmail.com c/o LUX douglas.nicholas@gmail.com tomonarinishikawa@gmail.com akionda@hotmail.com c/o Sixpack Film filmdiary@yahoo.ca rachel.reupke@btopenworld.com peter@carte.org.uk michaelblayneyrobinson@hotmail.com kristinrogghe@yahoo.com drokeby@sympatico.ca shakeri@uwindsor.ca guy.k.sherwin@googlemail.com eriko_sonoda@yahoo.co.jp c/o Video Data Bank mike.sperlinger@lux.org.uk robert_todd@emerson.edu wvarela@elp.rr.com brandon@detroitfilm.org

CONTACTS

THANKS

In no particular order: Alena Yurkevich at Belarusfilm (Minsk), Sergei Loznitsa (Lübeck), Meg Labrum and Stewart Shannon at the Australian National Film and Sound Archive (Canberra), Kathryn Rumbold at the Art Gallery of Hamilton, Andéa Picard at Cinematheque Ontario/ TIFF, Daniel Baumann (Paris),Van and Samar at Etna (Paris), Terry Spraker at CalArts, Robin Ginsburg (Brooklyn), Brigid Reagan at Video Data Bank (Chicago), Andrei Gravelle at TIFF, Matsuyama Yuiko and Ishida Takashi (Tokyo), Christophe Bichon at Light Cone (Paris), Ralph McKay at Sixpack Film (Marfa TX), Michaela Grill & Brigitta Bürger-Utzer at Sixpack Film (Vienna), Chrisstina Hamilton (Ann Arbor), Larissa Fan at CFMDC (Toronto),Vaidute Fischer at Deckert Distribution (Germany), Dominic Angerame and Lauren Sorensen at Canyon Cinema (San Francisco), Peter Hutton (Tivoli NY), Pablo de Ocampo and Scott Miller Berry at the Images Festival (Toronto), Doina Popescu at the Goethe Institut (Toronto), Joost Rekveld (Amsterdam), Patrick Friel (Chicago), James Bond (Chicago), Kelly Langgard at the Canada Council for the Arts, Lisa Wöhrle at the Ontario Arts Council, Chris Gehman (Toronto), Nicole MacDonald and Brandon Walley at the Detroit Film Center, Derek Shantz at Vistek (Toronto), Grant Wiedenfeld and Carl Bogner at the University of Milwaukee, Tess Takahashi and Mike Zryd (Oberlin College/ York U.), Chris Kennedy (San Francsico), Martin Blazicek (Prague), Mark McElhatten (New York FF), Tom Taylor and Martin Heath at Pleasure Dome/ Cinecycle (Toronto), Ana Herrera at the IDFF Navarra

Films of Victor Asliuk distributed by Belarusfilm, Minsk, contact Alena Yurkevich: belarusfilm@tut.by Films of Patrick Beveridge and Rosalind Nashashibi distributed by LUX, London, contact Mike Sperlinger as above. The Room of Chromatic Mystery (Cantrills) is held by the National Film and Sound Archive of the Australian Film Commission, Canberra. Films of Ben Pointeker distributed by Sixpack Film,Vienna, in the Americas contact Ralph McKay: amovie@sbcglobal.net Take into the air my quiet breath (Speculative Archive) distributed by Video Data Bank, Chicago, contact Brigid Reagan: info@vdb.org Films of Willie Varela distributed by Canyon Cinema, San Francisco: films@canyoncinema.com Quartet (Nicky Hamlyn) distributed by CFMDC, Toronto, contact Larissa Fan: edu@cfmdc.org

AVAILABLE AT THE DOOR or IN ADVANCE (as of FEB 20) at ARTCITE INC. and THE ART GALLERY OF WINDSOR

TICKETS

$8 CDN ($6 students w. ID) PER EVENING (all events) $25 CDN FESTIVAL PASS

• CINEMAGE at the Detroit Film Center is $5 US (Media City passes not valid at this event, tix avail. only at DFC) • Receptions/artist talks with ZOE BELOFF at Artcite and DAVID ROKEBY at the AGW are free to attend

LOCATIONS

CAPITOL THEATRE 121 University Ave. West, Windsor ARTCITE INC. 519 977 6564 109 University Ave. West (next to Capitol)

• ART GALLERY OF WINDSOR (AGW) 401 Riverside Dr. West 519 977 0013

DETROIT FILM CENTER (DFC) 313 961 9936 1347 E. Fisher Fwy (in the Eastern Market)

INFORMATION

519 977 6564

www.houseoftoast.ca

DFC is 5 mins from tunnel exit; take Randolph to Gratiot Ave, take Gratiot NE to Russell St, left onto Russell then first left onto Chrysler Dr/E.Fisher Fwy, DFC is immed . on right Windsor venues are minutes from the tunnel exit: