Film and Video Screening

Screening Program:
Niomi Anna Cherney
(choreography and performance), Mary Margaret Wood (sound), into the spaces we breathe (2014), 7 min, site-specific live performance.
Maziar Ghaderi and Ariel Balevi, Havabazi Avesta (2014), 5 min, live performance.
Rehab NazzalA Night At Home (2009), 4 min, HD video.
Frédérique Dalia BournotWhite Noise (2014), 4 min, HD video.
Tesni Ellis, (No) Words (2014), 2 min, HD Video.
Amanda FederThe Vagina Slides (2014), 7 min, HD video.
Emily RosamondTantric Academic and her House and its Perceptions (2014), 7 min, HD video.
Rekha RamachandranI Lost / Ai Found (2014), 1.5 min, HD video.
Angela JoosseLevitas (2009), 1 min, digital video.
Dan Browneroutes (2011), 1 min, 16mm.
Kelly Eganmary/me (2004), 4 min, 16mm.
Izabella Pruska-OldenhofThis Town of Toronto (2012), 4 min, 16mm.
Stephen BroomerPepper’s Ghost (2013), 18 min, HD video.
View exhibition and screening image gallery
Stephen Broomer, Pepper’s Ghost

Stephen Broomer, Pepper’s Ghost (2013), 18 min, HD video.

Niomi Anna Cherney (choreography and performance), Mary Margaret Wood (sound), into the spaces we breathe (2014), 7 min, site-specific live performance.

Created through a series of collaborative improvisations in sound and movement, this work is a dialogue that explores how breath shapes, and is shaped by, our body’s movement in space and time.  “Fling your arms into the emptiness of the spaces we breathe.” ~ Rainer Maria Rilke, Duino Elegies: The First Elegy.

Maziar Ghaderi and Ariel Balevi, Havabazi Avesta (2014), 10 min, live performance.

Havabazi Avesta is the Middle Eastern storyteller, Ariel Balevi’s adaptation of the Zoroastrian creation story Avesta, which echoes both Biblical stories and the mythology of ancient India. This interactive performance takes the audience through a magical voyage of two duelling brothers at the onset of the birth of our world, and is augmented with gesture-recognition technology which controls abstract cosmic visualizations in real-time.

Rehab Nazzal, A Night At Home (2009), 4 min, HD video.

A Night at Home is based on footage recorded of a military night invasion recorded in Nazzal’s hometown, near Jenin in Palestine. The absence of image in the work relates to the absence of light, which necessitates the creation of image, as the material was recorded at night. This intentional removal came as a response to state censorship of the footage that was recorded by soldiers and released by court order after a four-year battle in the Israeli judicial system. In the absence of image, sound evokes shared human feelings such as fear, danger, and outrage. While interpreting images is often associated with historical knowledge, sound, by contrast, is removed from assumptions correlated with images. In addition to possessing the power of connecting humans through feelings, sound also has the power of making memories from past traumatic events return intact, whether on an individual or collective level.

Frédérique Dalia Bournot, White Noise (2014), 4 min, HD video.

Addressing multiplicities of national and cultural identities and the silencing of the voices that make Canada a so-called “multicultural” society, White Noise incorporates a mosaic of audiovisual sources that are connected yet disparate, generating a dissonance that incites the viewer to feel the mixed and conflicting feelings experienced by contemporary Québécois.

Tesni Ellis, (No) Words (2014), 2 min, HD Video.

Using photography, video, and audio media, (No) Words explores an experience that is at once deeply personal and yet also unifying and shared among people: grief. (No) Words expresses two seemingly separate aspects of the grieving process: the ongoing nature of grief as a back-and-forth rather than linear process, and the significance of the silences that accompany grief. The layered images and noises ask for audience participation and contemplation; blink and you might miss it. Attempting to express a difficult experience, the project is a complex representation of emotions, time, space, and thought.

Amanda Feder, The Vagina Slides (excerpt) (2014), 7 min, HD video.

Excerpted from Amanda Feder’s forthcoming MA research-creation thesis, The Vagina Slides is a documentary about the first human sexuality class offered at Concordia University in the early 1970s. This project uses the documentary format as a way to bring stories of the past to life, engaging with cinematic strategies that attempt to capture but also problematize the issue of memory in film, reflecting on relationships between archival media, memory and emotion.

Emily Rosamond, Tantric Academic and her House and its Perceptions (2014), 7 min, HD video.

Using video footage of sculptural objects, associative imagery and voiceover, Emily Rosamond’s video describes a fictitious tantric academic, her house and some of the instruments it contains. These appear in the narration as they might in a script’s setting and list of characters, before the plot begins. The tantric academic and her instruments, we are told, cultivate new forms of love, and strengthen hearts against the pitfalls of precarity. This work examines the relationships between sculptural objects and narration; it also navigates the desire for art objects to perform an ameliorative role, or to act as tools for cultivating emotion.

Rekha Ramachandran, I Lost / Ai Found (2014), 1.5 min, HD video.

I Lost/Ai Found explores the artist’s relationship with the Tamil language, which is her father’s native language, and a language she never learnt. The video includes imagery of Tamil alphabet motor skills worksheets for children, completed by the artist. The one Tamil letter included is the orange colored ‘ஐ’, which makes an ai sound. The audio component repeats various voices reciting tabla bols. A bol, meaning “word” in Hindi, is a mnemonic syllable that corresponds to a sound produced when playing the tabla drum, which is commonly heard in classical Hindustani music. Both image and audio components focus on the sensory experience of language, in the form of rhythm, line, shape, intonation, and weight, contemplating the space where language becomes meaningful. I Lost/Ai Found exemplifies a longing for a ‘lost’ language, while considering the significance of language itself in the shaping of identity.

Angela Joosse, Levitas (2009), 1 min, digital video.

A visual music study that plays with airborne things, this piece was created while Joosse lived in New York near the Brooklyn Museum, and became enamoured with its impressive sidewalk fountain, as well as the constant flow of airplanes making their way along the path towards landing.

Dan Browne, routes (2011), 1 min, 16mm.

A short improvised study for camera depicting the artist’s “family tree”, photographed in the backyard of the home where he lived as a child, this film-poem links matter and memory through the physical gestures of sight and the interpolations and aberrations of hand-processing techniques.

Kelly Egan, mary/me (2004), 4 min, 16mm.

mary/me is a handmade cameraless film which uses collage techniques to sculpt the images and sound. The visual composition was made by meticulously cutting, shaping and collaging pages from “Cosmopolitan” magazine onto the film strip, combined with handpainting on the film. The sound treatment is created by pasting the words of an article from “Cosmo” titled “Why Men Marry Some Women and Not Others” directly onto the film’s optical soundtrack, with the letters themselves forming the audio as their graphic shape is translated into sound.

Izabella Pruska-Oldenhof, This Town of Toronto… (2012), 4 min, 16mm.

Taking an unconventional approach to the genre of the “city symphony” by extending its temporal dimension past the span of one day to 108 years, This Town of Toronto… weaves together some of the earliest motion picture documentations of Toronto with contemporary images. This archival footage helps introduce more than one perspective of the experience and feel of the city, conveying the spirit of city life as plural and ever changing. In the tradition of city symphony films, This Town of Toronto… emphasizes rhythm and tone, adopting the technique of polyphony to its visual composition, and juxtaposing the past energies of the city with those of the present. In facilitating tension from this collision, it hopefully engenders deep resonance in the viewers.

Stephen Broomer, Pepper’s Ghost (2013), 18 min, HD video.

How we may see in a Chamber things that are not! Here, mutations of light, through fabric, glass, and colored gel, make bodies and objects transparent. Let there be a chamber wherein no other light comes but by the door or window. Let pictures be set over against this window. For what is without will seem to be within, and what is behind the spectator’s back, he will think to be in the middle of the room, as far from the glass inward as they stand from it outwardly. Clearly and certainly, he will think he sees nothing but truth.


One thought on “Film and Video Screening

  1. Pingback: Cross Sections Art Show | Thinking|Feeling

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