NEW ADDITIONS #2
Thursday Evening, November 13, 7:30pm @ VIVO Media Arts Centre, 2626 Kaslo Street, Vancouver
Please join us in celebrating new works in distribution while directing public attention to the people and practices that generate them. This is the second in an ongoing series of screenings at VIVO Media Arts Centre to promote recent acquisitions for Video Out, with works by Gabriela Aceves, Margaret Dragu (produced in collaboration w/ Cinevolution, VIVO & Dragu Worker International), Oliver Hockenhull, Russell Wallace & VestAndPage (Verena Stenke & Andrea Pagnes).
Read conversations with these featured artist HERE. Please see below for work synopses, screening order and artist bios.
Still from Oppenheimer Park (2014) by Russell Wallace.
Screening Order, Running Times & Synopses:
Sin∞Fin The Movie: Performances at the Core of the Looking Glass
(2013, duration: 45:42) by VestAndPage
sin∞fin The Movie is a trilogy of films of collaborative performances by VestAndPage in epic locations around the world. Teetering between the real and the visionary, the films feature the two protagonists undertaking surreal and ephemeral acts. Amplified by the unfamiliar environments, the performances reflect on universal human experiences such as altruism, partnership and the transient nature of existence. The artists’ actions evolve in direct response to the surroundings in which they find themselves. The concluding episode, Performances at the Core of the Looking-Glass, filmed in Antarctica (2012), engages with narratives on nature and the universe.
Hand Made Electricity
(2014, 7:24) by Oliver Hockenhull
Graphical sound & visual music painting/action on film sampled, metamorphic pastels and the projection of the netted dynamic blue dot of the causal plane. Finding no time in time. A singularity expressed, drummed out like a message for you and you and.
Robot Pavlov Sputnik
(2014, 7:23), by Oliver Hockenhull
This is a confluence of intent and a revisiting of an iconic animation by Norman McLaren — “Synchromy” 1971. McLaren’s “Synchomy” is an early form of machine art, a formal modernist gesture revealing & reveling in the immediate transparency of code and signal, a chimerical fantasy of speculative references–prophetic futurism reading itself, speaking itself. Robot Pavlov Sputnik reinterprets and composits the morphic quality of code, its slippage and variability, creating a highly saturated abstracted wave ocean horizon/sunrise pulsed imagistcally by the musical track.
(2014, 2:35) by Russell Wallace
This film was shot on location on a Saturday afternoon in September 1987, as an assignment for film class. The idea was to capture a place through what it has to offer and through the people who come to space. The film captures the diversity of the neighbourhood at that time. The Music was added much later and features JP Carter, Tyson Naylor and Russell Sholberg.
(2014, 2:23) by Russell Wallace
This song was composed by Russell Wallace for “The River Home” project in Banff in 1996. The video images are from a transit ride on Hastings street in Vancouver in February 2011. The title refers to salmon swimming upstream against the flow of the river, when the flow is too great the salmon will swim close to the sides of river. In this case bus is riding to close to the sides of the traffic flow.
(2014, 5:21) by Russell Wallace
The music was originally commissioned by the University of Toronto back in 2000. My mother (Flora Wallace) translates the words into Ucwalmicwts. The poem is about age and tradition. The title refers to how our language is poetic in itself, to ask how old someone is we ask how many snows they are, or how many winters have they survived.
Waterside (The Crossing)
(2014, 2:38) by Russell Wallace
The music was originally composed for the dance performance of “The Threshing Floor”. The music is based on traditional Salish music forms. The video is from a transit ride over Iron Workers Memorial Bridge looking towards downtown Vancouver. The shot is done close to real time but adjusted to match music. The black and white aspect contributes to the greyness of a winter’s day in Vancouver.
Art Talking Women, Season Two, Episode Three: Robin Brass
(2014, approx. 14:00) by Margaret Dragu (produced in collaboration w/ Cinevolution, VIVO & Dragu Worker International)
Margaret Dragu screens a special preview of Art Talking Women, Season Two: This episode features Robin Brass, who discusses how she explores languages/auralities, her family’s histories/stories, video projections, “found” evidence/memorabilia and other materials within her very embodied performance art practice. Art Talking Women is a series of intimate conversations with Dragu’s colleagues and contemporaries featuring each artist’s creative process as well as their relationship with community and technology. Season One of the podcast series will be launching on VIVO Channel shortly after this Recent Acquisitions Screening.
(2011-2013, 14:24, looped in monitor w/ audio) by Gabriela Aceves
Escribiendome explores the ways in which words and languages shape our sense of self and how, in turn, through our life experiences we blur, transgress and shape the meanings of the words that are used to define and categorize us. In one channel of video I write words in English such as friend, artist, designer, student, Mexican, Canadian, migrant, landed immigrant, Latin, woman, minority, citizen, spouse, alien, mother (…). In the other channel of video I write words in Spanish such as hija (daughter), sobrina (niece), nieta (granddaughter), prima (cousin), mujer (woman), comadre, amiga (friend), tapatía, (…)
(2003-2004, 9:46, looped in monitor w/ audio) by Gabriela Aceves
Mnemonic Landscapes explores the construction of cultural and gender identities through a Mexican landmark known as el Paso de Cortés, the site where Spaniards and Mexicas met for the first time in times of the conquest. It is located in the central valley of Mexico and two volcanoes, Iztacihuatl and Popocateptl, flank it. Iztacihuatl is an inactive volcano and is known as female. Popocateptl is an active volcano and is known as male. The site marks the birthplace of what would become Mexico. The video records the movement through el Paso de Cortés, and features the ambient sound from the location.
La Coyolchauqui (or prelude to the fragments)
(2001- 2002, 1:43, looped in monitor w/ audio) by Gabriela Aceves
Coyolchauqui or Prelude to the Fragments consists of seven silent 1min. video sequences presented in seven different TV monitors (or as a single channel piece). The TV monitors are placed on the floor forming a circle looking upward. The images of these videos consist of parts of the body performing various actions such as: hands being painted with black ink, hands playing with a dictionary, and other parts of the body submerging in water with ink. The arrangement of the TV sets is based on the layout of the stone sculpture that depicts the Coyolchauqui, a pre-Hispanic goddess that represents a fragmented woman after encountering a fight with her brother and mother.
Russell Wallace is a composer, writer, producer and is a traditional Lil’wat singer from Mount Currie. Wallace’s music has been part of a number of soundtracks (film, video, television) and theatre/dance productions. Wallace studied Film Studies and Creative Writing at Capilano University and University of British Columbia and has been published in anthologies and periodicals. Currently Wallace is the Culural Coordinator at NEC Native Education College, and teaches at Simon Fraser University and Capilano University’s Kexwusm-ayakn Student Centre.
VestAndPage, German artist Verena Stenke and Venetian artist and writer Andrea Pagnes, have been working together since 2006, generating art in the mediums of live performance, filmmaking and writing, and as independent curators. VestAndPage perform, exhibit, lecture, conduct workshops, and curate internationally. Their practice is a psycho-geographical response to social contexts, natural surroundings, historical sites or architecture, always subdue to the given conditions. It examines fragility, vulnerability and failure of the individual and the collective in social or environmental spheres. Animated by a nomadic, confrontational spirit, they apply the themes of acceptance, resistance, endurance and union with a poetic bodily approach to art practice.
Oliver Hockenhull works in film, video, hyper media installations, writing, and design. He has taught at Northwestern University in Chicago and presented at Universities in Canada, the US, and Europe. He has completed numerous documentaries, dramas, comedies, experimental and political films and his works have shown internationally to critical acclaim.
Margaret Dragu is the first artist featured in Canadian Performance Art Legends (a performance and publication project initiated by the Toronto-based organization FADO) to highlight the work of senior Canadian performance artists. She is a 2012 Laureate of the Canadian Governor-General’s Award for Visual Art and Media. She is also the recipient of City of Richmond’s Most Innovative Artist Award, Ethel Tibbett’s Woman of the Year Award for The Arts, Richmond Women’s Centre’s Inspirational Woman Award, & Mall Peepre Award for Outstanding Fitness Leader. She is an internationally famous cleaning lady.
Gabriela Aceves is an interdisciplinary media artist currently based in Vancouver. Her work explores the body as a site of cultural and gender inscriptions. For over a decade she has combined her artistic practice with research, design and education. She received a Master Degree in Art History from the University of British Columbia in 2007, and Master Degree in Fine Arts from York University in 2001. She obtained a PhD in Cultural History from UBC in 2014. Gabriela’s work has been exhibited in Canada and internationally in Mexico and Chile. She has taught courses in Kwantlen Polytechnic University, the University of British Columbia and York University and she is currently a lecturer at the School of Interactive Arts and Technology at Simon Fraser University.
DON’T MISS our next Recent Acquisitions Screenings in the Winter and Spring of 2015!
Site Accessibility and Conditions: Our new venue will be refurbished for wheelchair access, but not before this screening. There are five steps past the entrance door (each is a foot deep and seven inches high, with hand rails to the left and right). There are two undesignated, one-stall bathrooms (one with a urinal). Seating consists of armless folding chairs. ASL interpretation is not provided and the films are not captioned. Please contact us if other information is required and we will update this notice accordingly.