From: email suppressed
Date: Wed Aug 11 2010 - 08:49:59 PDT
Sites for Seeing: Out of the Cineplex and Into the Marshlands
Faucet Media Arts Centre & Struts Gallery are thrilled to present Sites
for Seeing: Out of the Cineplex and Into the Marshland -- a series of four
outdoor experimental film screenings in the Tantramar marshes. Four
internationally acknowledged filmmakers and curators have chosen a
delicious selection of films for viewing under the stars, and will be
attending the screenings in person. They will also visit with local
artists' studios during their visit to New Brunswick.
Coming to Sackville are four established curators who maintain dynamic
professional practices with a history of publication: Kika Thorne from
Berlin, Gerda Cammaer from Toronto, Mike Hoolboom from Toronto, and Solomon
Nagler from Halifax. A major component of the Sites for Seeing project is
bringing these artists to Sackville to engage with the local community.
During their visit, they will meet with local artists and residents at a
reception before the screening, as well as through individual studio visits
the day after the screening.
The screenings will also mark the launch of Sift; a new cultural
broadsheet devoted to critical writing, interviews, and images about
contemporary art. Each curator has been asked to write an essay about the
films they are presenting. The essays, along with interviews will be
printed in the inaugural issues of Sift as well as published on our
website. We asked the programmers to consider accessibility and innovation
in their approach by encouraging non-traditional forms of writing. Kika
Thorne, for example, will print her own essay by hand using a silkscreen
process and inks made from local vegetables left over from a potluck
dinner. The limited edition prints of her essay will be available at her
screening on Friday, August 20.
These screenings provide an exciting opportunity to see unique
experimental film and video work outside of the institutional walls of the
gallery. This opens the project up to wider New Brunswick audiences who
might not normally cross the threshold of artist run centres. It also
removes the work from the realm of normal expectations and places it into
an environment where anything is possible.
Friday, August 20, Kika Thorne will present Apartment by Marina Roy and on
Saturday, August 21, Gerda Cammaer will present WATERLINES, WETLANDS AND
WHIRLPOOLS: Canadian Experimental Films that hold Water. Both of these
screenings will take place at the Campbell Carriage Factory Museum, with a
reception at 7:30 pm, an artist talk at 8pm, and the screening itself will
start after sunset at 8:30pm.
The other two screenings will take place in September, with Mike Hoolboom
presenting Fear of Flying: Beauty and Power on Friday, September 17, and
Solomon Nagler presenting Blissful Discretion on Saturday, September 18.
Sites for Seeing is made possible through the support of a dissemination
grant from the Canada Council for the Arts. For more information on this
project, contact email suppressed or phone 506-536-1211.
Apartment by Marina Roy
curated by Kika Thorne
Friday August 20
Apartment is a expansive animation loosely inspired by Georges Perec's
1978 novel, La Vie Mode D'emploi, in which the author takes us through each
room of an apartment building in Paris, following the pattern of the
knight's move in chess. Roy, after Perec, transforms this structure to
weave intersecting images of indulgence and dreaming, chaos, illness, and
Wild plants and animals take over the slowly deteriorating rooms as the
residents, and indeed the whole space, succumb to a mysterious virus.
Apartment (2008) Marina Roy, digital video, colour, 56'
WATERLINES, WETLANDS AND WHIRLPOOLS,
Canadian Experimental Films that hold Water.
curated by Gerda Cammaer
Saturday August 21
This film program presents an inspiring selection of Canadian experimental
films that hold water. It is constructed as a voyage on the sea of time and
into a whirlpool of creativity that overflows with sparkling ideas, moving
watercoulours, changing waterlines and exciting sound waves. As one film
after another swims into view, water will serve as a metaphor for
remembering and forgetting, for pain and healing, for fear and security,
for weakness and power, and through all these ups and downs, it always also
operates as a sensual and creative force, one that moves and inspires, no
matter whether one sinks or swims.
Action : Study (2008), Richard Kerr, digital video, 5 min, B&W.
When the mind hears (1995), April Hickox, 16 mm, 7 min, B&W.
Waving (1987), Ann Marie Fleming, 16 mm, 7 min, coulour.
Zyklon Portrait (1999), Elida Schogt, 16 mm, 13 min, coulour.
Surfacing (2005), Barbara Sternberg, 16 mm, 10 min 30 sec., coulour.
Adrift (2005), Farheen HaQ, digital video, 4 min 15 sec., coulour.
Marshlands (2000), Penny McCann, digital video, 6 min, coulour.
Lake Ontario (in my head) (2006), Penny McCann, 16 mm, 5 min, coulour.
Stroke (2009), Ellen Besen, digital video, 4 min 15, coulour.
The Importance of Doing Nothing (2010), Pierre Tremblay, 4 min 12,
Poolsong (2000), Jonathan Inksetter, digital video, 6 min, coulour.
The Bather (2000), Cameron Esler and David Bateman, digital video, 5 min,
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