VIVO Media Arts Centre Archive > Sticky Impulse Sites & Sensibilities

Sticky Impulse Archive Nights

Sites & Sensibilities

June 30 – July 14


This month’s Sticky Impulse features documentaries on two Vancouver exhibitions in the 1980s that directly and indirectly raise questions about video art and its relation to site and duration. Each responded to specific moments in video art discourse on the west coast and its relationship to Canadian and international trends. 

Luminous Sites (1986) came on the heels of  Vidéo 84 (Montreal) and Video Culture Canada (Toronto), giving Vancouver its first major installation series.

Feature Length Video(1988) was responding to technological innovations that promised (or threatened, depending on your viewpoint) to move video from the cathode ray tube to the big screen.

Each documentary includes interviews with artists, curators, and document the videos/installation. 



Luminous Sites: 10 Video Installations

Video Inn & Western Front


Daina Augaitis & Karen Henry

FLV: Feature Length Video

Video In


Karen Knights & Paul Wong

” In the Luminous Sites exhibition a group of Canadian artists was offered the opportunity to present works in Vancouver and to provide a context that would involve a broad public and have significant impact on viewers. We invited artists who have worked primarily in video or in installation to explore the convergence of these two forms and eaborate on the presence of video within installation. Our intent was to introduce Vancouver audiences to the potential of video installations so that a creitical dialogue could emerge.” – Luminous Sites catalogue. Dainai Augaitis and Karen Henry [1986]


February 25 – April 4, 1986
Coburg Gallery, Community Arts Council, Contemporary Art Gallery
Or Gallery, Park Place 31st Floor, Presentation House
Sears/Harbour Centre Parkade, Vancouver Art Gallery, Western Front

“Technological improvements such as HDTV make video an increasingly popular substitute for the expense of film. Broadcast, cable, theatrical releases and the home market are coming to the realization that they must pay attention to the video revolution that is affecting their futures.” – FLV brochure [1988]

FLV was the first international festival to highlight feature length video by artists. Eight tapes were screened on monitors and state-of-the-art video projection.


September 15 – 18, 1988
Video In, 1160 Hamilton St.
Robson Square Media Centre, 800 Robson St.


Body Fluid (1986) – Paul Wong

As A Wife Has A Cow – Cornelia Wyngaarden

Through the Eye of the Cyclops – David Tomas

Cenotaphe – Barbara Steinman

Rune – Randy & Berenicci

Clay Cove, Newfoundland, Park Place, Vancouver – Kate Craig

Prototype, 1986 – Max Dean

Spawning Sockeyes – Tomiyo Sasaki

On TV – Ian Carr-Harris

Lost Art: A Cargo Cult Romance – Vera Frenkel


New York-Batavia  – Rien Hagen (Netherlands)

Green Card: An American Romance – Bruce & Norman Yonomoto (USA)

Playing With Fire – Marusya Bociurkiw (Canada)

Gertrude Stein and A Companion – Ira Cirker (USA)

Out of Order – Jonnie Turpie, Birmingham Film and Video Workshop (UK)

Tristesse Modele Reduit – Robert Morin (Quebec)

Quartet for Deafblind – Norman Cohn (Canada)

I Do Not Know What It Is I Am Like – Bill Viola (USA)


About Sticky Impulse

Sticky Impulse is a monthly series featuring works from the Crista Dahl Media Library & Archive. Its’ title references the materiality of video – from the originating electrical impulses that transfer content to magnetic tape, to a videotape’s inevitable demise from deterioration of its core elements – and evokes the problematic,things difficult to navigate or to let go of, creative spontaneity, compulsion, euphoric abandon, or the urge to act. Expect video (often), but also textual records, audio, photographs, legacy technology, and ephemera from our collection.