Each percussive ‘CLACK’ of the analog switch shifts our perspective, playing equally with camera and mic positioning, separating a/v pairs to create disjunctive relationships. When groups of switches are held down simultaneously, the signals merge to create colorful drifting and massive harmonic drones. From awkward silences to enticing fragmentation, the artist’s presence in the work both engages and repels the viewer, causing reflection on signals in their purest state, no effects, no edits, no way to erase mistakes and vulnerabilities.
A journey through a serene landscape where the trees and fields are at once surreal and familiar. Through the use of video feedback, 3D animation and color manipulations, the pictures render a new kind of space, a virtual world where only fragments of “reality” subsist.
A tragic love story about a woman and her antimatter conjugate. The two negotiate their relationship and draw closer and closer while knowing that, according to the laws of particle physics, matter and antimatter will annihilate upon contact.
Not long ago, my uncle told me the secret to life; shortly thereafter he had a massive heart attack and died. My grandfather lost both his wife and his son – my grandmother and my uncle – in a span of three years. Images of my grandfather by my grandmother’s grave talking about his own mortality and life together, are mixed with images of family.
1:56, 16mm, 2012
The title of the piece is meant to express the kind of viewing perspectives and the isolation one might experience from watching these moving images from within the confines of the situated cinema architecture. The visual material itself seems to suggest a kind of obsessive examination of the cityscape, filtered through the restless mechanical eye of the camera.
Someone once said that the only interesting story is the human face. In Behold, Phillips superimposes family portraits with handmade emulsion. The connection between the textures and the face are very energetic.
Using a palette of gestures gleaned from online fetish videos, media artist/dancer Freya Olafson addresses the dual nature of sexual performance — both alluring and repellent. The seductive quality of Olafson’s stroking, gyrating and posing is undone by her use of a distorting fish-eye lens of her web cam. A necessary supplement to her performance are the live reactions of a Chat Roulette audience, which doesn’t seem to understand that her performance mimics not genuine seduction but the dried-out ritual that unfolds in strip clubs and the like on a nightly basis.
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.
Filmed at Happisburgh, a village in Norfolk, England whose residencies, like many others near the coast, are threatened by severe coastal erosion. Many homes that were once 20 feet from the sea now sit at the edge of a cliff. Filmed using Super 8 and a reel to reel tape recorder, the subsequent footage was exposed to sea water for a period before being projected back.
Drawing its influence from WS Burroughs’ The Electronic Revolution this film emerged from the industrial culture of the early 1980s, as Einsturzende Neubauten’s F M Einheit starts to investigate the powers of recorded sounds under the influence of a mysterious dreamlike figure (Burroughs). Featuring appearances from Genesis P-Orridge and Bill Rice, the film firmly positions Burroughs’ theoretical works within the post-punk realm.
25:00, HD, 2012, English & Cantonese with English Subtitles
A young Eurasian woman in Hong Kong is grieving over the recent passing of her estranged Chinese grandmother. Haunted by the ambiguous loss, she exercises a series of rituals to find release from her memories. In doing so she discoveries a supernatural history of her family.
An abstract exploration of self-awareness through metaphysical questions of one’s self. “Don’t Look Back” is an experimental stop-motion animation that suggests that self-reflection can be an urge to move on.
“i am 23 and want to die. i can travel anywhere.” – After posting this request on an internet message board, a depressed young woman finds her prospective mercy killer in the form of an enigmatic teenage boy from Elko, Nevada. Chronicling the bizarre rituals that lead to the ultimate homicide, Elko presents a voyeuristic glimpse into the emotional disconnect and casual cruelty of the internet generation.
A “bower” is an enclosed garden but also a medieval woman’s private chambers. Embowered is a short re-telling of The Lady of Shalott and an exploration of the restrictive demands of femininity. Inspired by the imagery of Julia Margaret Cameron, this film was shot on B&W 16mm, hand-processed, and hand coloured.
A projection of 15 television sets, targets the audience like a paparazzi firing squad. Powering off older tube televisions results in the electron gun producing a unique fingerprint and sound as it collapses. These brief recordings are micro edited into audio/video concrete via real time midi sequencing. The televisions are filmed with perspectives suggesting camera flashes or machine guns.
In “Forsaken”, Phillips again abstracts images selected from found footage, this time exploring such techniques as contact printing and hand tinting and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.
Sarah Abbott | Saskatchewan
4:00, 16mm, 1997
Having faith in the unknown. The film is in memory of Marian McMahon – filmmaker, academic and independent curator whose ideas and suggestions were instrumental in the development of this film.
Manipulation of the Kodak Ektachrome 35mm slide projector reveals cryptic images of Northern Alberta rural youth, featuring a homemade archival tape cassette mix from the Banzai (Montreal) catalogue, a record label whose artifacts became as much a symbol of prestige and outsider unity as the sign of the horns.
EXHIBITION | 07 April – 20 May 2017DAILY SCREENING TIMES | 12:00, 1:15, 2:30 and 3:45 pmOPENING RECEPTION | Friday 07 April | 7 pmEVENING SCREENING AT CINEMATHEQUE | Tuesday 18 April | 7 pmPLATFORM[...]