Too Soon: New Acquisitions Screening

Too Soon: New Acquisitions Screening

Still from Gaëlle Cognée – Blind Alleys as Ocular Ex Voto [2015]

VIVO Media Arts and Video Out are pleased to invite you to join us for Too Soon, a selection of video work drawn from a call for submissions that was circulated in the spring. The call, (http://www.vivomediaarts.com/call-for-submissions-too-soon/) invited video producers to submit works that deal with contemporary experiences of history. Internationally, nationally and locally we received many excellent submissions from which we have drawn together the following screening program.

Thursday AUG 31, 2017
Doors 7PM
Screening 7:30 PM

The screening runs roughly one hour in length. There will be a brief intermission and an opportunity for discussion at the end. Drinks and concession as well as complimentary popcorn will be on-hand.

Laurie McDonald – Private Parts [1978]

Private Parts is a document of how police raided the eponymous, allegedly pornographic photography exhibition, organized by students of the Rhode Island School of Design. In response to a newly passed Obscenity Law just days prior to the opening, McDonald’s journalistic footage of the show and raid, along with the subsequent news story, provides coverage of the controversial exhibition from all sides.

Maria Antelman – Untitled (Travels) [2010]

A dynamic camera surveys a stretch of lunar land from above, as the first manned mission to the moon tries to target its location for landing. A voice-over recounts the impressions of the 19th century traveller, Chateaubriand, after visiting an ancient site for the first time. The visual exploration of the unknown, juxtaposed against the recounting of an old travelogue, makes for an interesting tension as the viewer is asked to simultaneously revisit different moments of conquest.

Sandra Araújo – Telephonophobia [2015]

Sourcing old school video games like Space Cavern, Bugs, Threshold, Turmoil, Air-Sea Battle, Araújo combines glitch and collage to create a retro-futurist landscape held together by an eerily captivating soundtrack by APOCA-LIPS.

Giuliana Racco – Mezomaro [2016]

In Racco’s visual essay, Mezamaro (“Mediterranean” in Esperanto), she skillfully weaves together an array of media from archival reproductions to self-shot footage, inviting the viewer on a historical inquiry of human conquest.  Mezomaro’s narrative grows outward, using the tiny island of Lampedusa as a entry point into philosophical questions of how we got here, and where to go next.

Marko Schiefelbein – The Archetype Project [2016]

When our protagonist, the ‘Actor’ is immobilized by stage fright, all attention falls onto the ‘Hero,’ a gruff archetype based on the Marlboro Cowboy.  He takes the spotlight to deliver a cliché-ridden monologue pieced together from old Marlboro campaigns and psychoanalytic portraits of the smoking cowboy.  The comically serious self-reflexivity of these two men reveal the inherent power dynamic that lies at the root of all capitalist narratives.

Steven Davies – The Re-naming of PKOLS [2015]

The WSÁNEC First Nations take a revolutionary step to reclaim and re-name PKOLS, a sacred mountain in their traditional territory formerly known as Mt. Douglas (after the Colonial Governor Sir James Douglas).

Jamie Si Chen – Rolling On [2016]

Using appropriated footage from old documentaries and films that lean towards post-WWII nostalgia, Rolling On reflects on how the gendered gaze operates as the colonizing gaze.

Mackenzie Reid Rostad – This Place, Here [2017]

Vancouver’s metro system, the “SkyTrain” is subject to inquiry in Rostad’s video, one that is both a lively formalist experiment and a gently critical portrayal of the bureaucratic veneer that is the public sector.

Gaëlle Cognée – Blind Alleys as Ocular Ex Voto [2015]

In the impassive labyrinth of a historical museum, a place that seems to have lost its chronology, paranoia is growing out of an unsurpassable contradiction: a moving present has to keep frozen a past that would rather escape. A turtle, like a prehistoric silence, almost takes on the role of a museum object, dismantling both the historical and filmic narrative.