The Memory Palace


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The Memory Palace

September 28, 2012 @ 12:00 AM – 1:30 AM
100 Arthur St
Winnipeg, MB R3B 1H7
Pass / $8 / $6 Students & Seniors

Virtuosic renditions of the apparatus of the cinema, this program presents a collection of structural work that bombards us with a self-reflective ocean of luminous textiles. Symphonic obsolescence and dancing bananas, ruined churches resurrected on celluloid  and  waves of light exhaled before death.

Wingdings Love Letter

Scott Fitzpatrick | Manitoba

2:00, 16mm, 2011

noun \’wiŋ-,diŋ\ 1. A lavish or lively party or celebration. 2. A real or pretended fit or seizure; a rage. An ode to a misunderstood font is rendered by laser printing directly onto 16mm leader. Made in Microsoft Paint.

How To Disappear Completely: The School of Cybersex (soft self portrait)

Boris Eldagsen | Germany

3:33, HD, 2012

North American Premiere

In this personal work Boris Eldagsen uses webcam footage and voice excerpts of people he had cybersex with between 2000 and 2003. Exposing their guided masturbation he draws an indirect and unflattering portrait of himself, a discomforting yet honest reflection of what lies at the heart of this private addiction of many. Combining split screen and flipped webcam imagery with a heartbeat — driven soundscape “THE SCHOOL OF CYBERSEX (Soft Self Portrait)” examines another redemptive way of losing oneself.

Oro Parece

Anja Dornieden & Juan David Gonzalez Monroy | Germany

6:00, 16mm, 2011

North American Premiere

A joke so poorly told and unfunny that the characters of the joke are forced to reveal their spirit through the process of their own destruction.

The Pool

Christine Lucy Latimer | Ontario

4:14, SD, 2012

1950’s 16mm swimmers dive unknowingly into video-infested waters.

Sailing Across Images

Shinkan Tamaki | Japan

14:30, SD, 2012

Canadian Premiere

Perception changes ambiguously between moving images and sound. I went on a journey by water. I had been gazing at the calm sea for hours on the back deck. Before my eyes was endless sky, the nearly leaning sea horizon, strong sunlight shining on the surface of the water, and trails on the sea traced by the ship. The sound were of the engine and waves, vibrations propagated through the ship hull, and a pleasant breeze. I’m trying to sense every moment. I am here to watch the sea. Thinking this, I will daydream even before I know it. Occasional whistles make the scene in front of me clear.

Dark Night Sallies Forth

Marc Atkinson | UK

5:49, SD, 2012

World Premiere

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.


Heidi Phillips | Manitoba

4:30, 16mm, 2012

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.

Christ Church – Saint James

Stephen Broomer | Ontario

2:45, 16mm, 2010

Regional Premiere

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.

memento mori

Dan Browne | Ontario

29:00, HD, 2012

World Premiere


A meditation on death, as experienced through a lifetime of images. “A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.” — Jorge Luis Borges