For Video Out’s latest call-for submissions, moving-image makers were invited to submit works that responded to the idea of a post-patriarchal present-future. It’s taken the work of many for so long to reach our current moment, and if we’ve learned anything, hopefully it’s that with deconstruction comes the need to rebuild.
Thursday June 13, 2019
Screening 7:30 PM
This event takes place on the Unceded Coast Salish Territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations.
The screening runs roughly 70 minutes, with an intermission and an opportunity for discussion at the end. Drinks and concession as well as complimentary popcorn will be on-hand.
Aí – Valentina Alvarado Matos (Spain), 2019
Esoteric (pt 1) – Stephanie Gagne (Canada) , 2019
Watching Us – Paige Smith (Canada), 2018
Konfessions of a Klabautermann – Hardeep Pandhal (UK), 2017
The Art of Fugue: A Polyphonic Instrumental Video Featuring Five Women Working in Trades (excerpt) – Emilie Crewe (Canada), 2019
Absolute Panic – Trevor McEachran (Canada), 2019
Rosalie – Kaija Pepper (Canada) , 1978
Object – Sydney Southam (Canada), 2017
Tulips are my father’s favorite flower – Nisha Platzer (Canada), 2018
Esoteric (pt 2) – Stephanie Gagne (Canada) , 2019 7
mom and her music – Rajee Paña Jeji Shergill (Canada), 2016
*Still from Aí, by Valentina Alvarados Matos
Our wheelchair ramp has two runs: the first is 20 feet long, and the second is 26 feet. The ramp is 5 feet wide with a 1:12 slope.
The ramp is concrete and has handrails on both sides, leading to a door that is 8 ft wide.
Our washroom has a 33” wide door, toilet has an 11” clearance on the leftside with handrail. Washrooms are gender inclusive.
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Emilie Crewe is an interdisciplinary artist working in Vancouver, British Columbia, Canada. Her work often takes the form of video installation, single-channel video, multi-channel video and sketch-work (drawings, collections & archives). She holds an MFA from the School of the Art Institute of Chicago, and a BFA from the Nova Scotia College of Art and Design University. Her artwork is exhibited internationally in galleries, museums, artist-run centres, experimental film/video festivals, and as public art.
Through a multi-disciplinary artistic practice, Valentina Alvarado Matos (Maracaibo, 1986) explores the hybridisation of the various aesthetic languages she uses – collage, ceramics, celluloid – giving rise to a dialogue in which poetry and politics make up a significant part of her work. Her work has been exhibited at the Fundación Sala Mendoza, Periférico Caracas, Henrique Faría Gallery, Oficina #1, Àngels Barcelona, Fabra i Coats, Arts Santa Mònica, and JUST Mad, among others. Her film productions have been screened at the S(8) Cinema Mostra Periférico, Xcèntric, L’Alternativa, Antimatter Film Festival, International Film Festival Rotterdam, the Oberhausen Festival, Festival Punto de Vista, Zumzeig, Premi Miquel Casablancas, San Francisco Cinematheque, La Casa Encendida, etc.Early in 2020, she travelled to Canada in the context of a film residence in the Liaison of Independent Filmmakers of Toronto in cooperation with the S(8) festival and ACE Cultura. In October 2020, she presented the installation project Y si ver era el fuegoalongside Carlos Vásquez Méndez in the context of the LOOP Festival at the Filmoteca de Catalunya, curated by Carolina Ciuti and Marina Vinyes. She currently works and lives in Barcelona, where she is a resident artist at the La Escocesa creation factory.
Hardeep Pandhal lives and works in Glasgow. Pandhal works with non-linear forms of digital video which layer lurid hand drawn cartoons, psychedelic and disorienting narratives with his own rap music, presenting them within wider installations and wall drawings. For the Jarman Award, Pandhal presented from a body of work that reroutes the misogynist and racist imagination underpinning white supremacy into cartoon phantasms that haunt contemporary life. The frustrations of societal structures are projected into satirical cartoon worlds, where viewers are presented with seemingly infinite perspectives of recurring yet disjointed scenes.
Paige Smith is an experimental filmmaker, media artist, and podcaster based in the territories of the Coast Salish peoples, including the Musqueam, Squamish and Tsleil-Waututh nations, also known as Vancouver, Canada. She received a BFA in Film from Simon Fraser University in 2018.
Paige’s artwork has recently been shown at the Dawson City Film Festival (20), Vines Art Festival (20), Richmond World Festival (19), and Victoria Shorts Film Festival (19). She also produces two arts and culture podcasts, SFU’s Vancity Office of Community Engagement’s podcast Below the Radar, and Sad Hill Media’s podcast Film Formally.
Alongside her artistic practices, Paige works as an arts educator. She has previously instructed at VIVO Media Arts Centre, the Vancouver Art Gallery, and The Cinematheque. She has taught classes in cinematography and podcasting techniques.
Sydney Southam is a visual artist, filmmaker, performance artist, and professional pole dancer. She often works with archival 16mm film, exploring themes of nostalgia, death, memory, and identity. Her current work explores the backstage and domestic lives of exotic dancers and how their private and professional lives are defined through ideas of Feminism, objectification, power, and love. Sydney is one of the founding members of Vancouver-based Iris Film Collective, and the curator of the potluck dinner and artist talk series Special Sunday Supper. Her films and artwork have shown across Canada, Europe and Asia, at venues such as MOCA Taipei, Gabriel Rolt Galerie (Amsterdam), Athens International Film and Video Festival, Antimatter Media Art Festival, Aesthetica Short Film Festival, Access Gallery, Emmedia Gallery, Yinka Shonibare Guest Projects, Vivo Media Arts Centre, Cinema Spectacular, Western Front, Cinemateque Vancouver and the Haida Heritage Centre. She graduated from Central Saint Martins with a BA Fine Art First Class Honours in 2011 and from the University of Toronto with a BA in English, Philosophy and Cinema Studies in 2007