TATTLETAPES

SUMMERS OVER AND IT'S FALL REALITY,,, "A COMMON ASSAULT". SHE WILL FLY DOWN THE SLANDERED IN FUSE MAGAZINE DAVID LOTS OF VACATED POSITIONS, FIRINGS AND NEXT MONTH TO RECIEVE THIS AWARD FROM ROSS {FORMER CURATOR AT LONG BEACH AND HIRINGS, SHAKEUP/SHAKEDOWN HAVE PRE­ INFORMATION FILM PRODUCERS OF AMERICA. NOW AT UNIVERSITY MUSEUM,BERKELEY) AND BACK TO BACK, BACK AND FORTH, COMING AND VAILED THROUGHOUT THE YEAR AT ART METRO PAUL WONG (ARTIST/ADMINSTRATOR) MADE GOING AND GONE. NOT ALL HOPE IS GONE FOR POLE, FIRST OFF WITH 5 OF THE MORE HIGH DECISIVE DECISIONS, 22 TAPES WERE SELECT VIDEO INN'S PROJECT: STATION 2. CITY PROFILE ARTIST ABANDONING SHIP TO START SELECTED FROM 189 ENTRIES, THE COUNCIL IS DRAGGING IT'S HEELS IN MAKING UP THEIR OWN DISTRIBUTION AGENCY CALLED JOB OF AJUDICATING WAS MADE THAT MUCH A DECISIVE DECISION, THEY WERE JUST . V-TAPES WHICH INCLUDES RODNEY WERDEN, EASIER BY FESTIVAL DIRECTOR STEVE AGET­ GETTING A LITTLE BORED COMMITTEE HAS BEEN ,' CLIVE ROBERTSON, LISA STEELE, SUSAM STEI N WHO PROVIDED COMFORT, ATMOSPHERE, REVITALIZED WITH LOBB I EST JUST BRITTON AND COLIN CAMPBELL. SHE QUIT/ AND STIMULANTS TO INSURE THAT THE JUDGES BACK FROM EUROPE CHARLIE KEAST (OLYMPIC SHE WAS FIRED, IT WAS MUTUAL, IT WAS WERE ALERT AND RIVETED TO THE ADVENT MARTHA FLEMING MOVING ON TO PURSUE MORE ROWING TEAM), BACK FROM EVERYWHERE BEAM, THESE TAPES WILL BE FEATURED IN WRITING,,,,,,,,,,,,,, REPLACING HER IS MICHAEL GOLDBERG AND SOON TO BE GOING LATE OCTOBER IN GALLERIES, CABARETS AND EVERYWHERE CRISTA HAUKEDAHL. '.''' '.'''''' LUNCH COUNTERS. EL~ ( E TOWME FORMERLY OF THE ART GALLERY JUST MOVED TO MORE ACCESSIBLE AND PRESTI- OF ONTARIO, FORMERLY OF A SPACE, GIOUS LOCATION HAS BEEN VANCOUVER'S SCENE IN TOWN HAS BEEN JORGE ZONTAL ASSISTANT FILM OFFICER AT JOYCE MAS-ml PIONEER VIDEO CENTER METRO-MEDIA.''' .A OF GENERAL IDEA ENROUTE TO VISIT GLENN THE CANADA COUNCIL CALLED IT QUITS OVER BIG OPENING PARTY IS BEING PLANNED.,,, LEWIS AT THE FAVORITE OF FAVE RETRE ATS IRRECONCILIBLE DIFFERENCES OF STYLE VIDEOGUIDE WILL BE THERE AND so WILL YOU. STORM BAY.'''''' .ARDELE LISTER (NEW YORK WITH FRANCOIS PICARD . REPORT IN NEXT ISSUE,,.,,,,,,,,,,,,,,,,, GAVE PRIVATE SCREENINGS OF HER NEW TAPE S.S. GIRL JEANETTE REINHARDT, MAN AGING GOING PLACES, GETTING TO BE KNOWN FACES 'SUGAR DADDY', WHICH IS ONE PART OF A EDITOR OF VIDEO GUIDE TAKES OVER AS COOR­ IS COVER GIRL ELIZABETH CHITTY, OUR TRILOGY. VERA FRENKEL (TORONTO) GAVE DINATOR AT THE VIDEO INN, NOT EXACTLY A FEATURE KIM TOMCZAK ARE OFF TO ATTEND PRIVATE SCREENINGS OF HER NEW TAPE COUP D' ETAT MORE LIKE DEMOCRATIC THE PA ~ IS BIENNALE, NO DOUBT THEY WILL ROTATION? "AND NOW THE TRUTH". THE VERY DISCREET RUN AMUCK WITH KATHY HUFFMAN WHO CURATED COOSJIE VAN BRUGGEN OLDENBURG CAME NOT VIDEO INN MEMBER, CINEWORKS MEMBER , THE AMERICAN VIDEO ENTRIES AND WITH THE TO SHOW AND TELL BUT TO LOOK N' COMMENT, PRODUCER IAT LARGE, RECENTLY A~POINTED SUPERCHARGED JOE REES OF THE INFAMOUS SHE'S OUT SCOUTff NG ABOUT FOR THE 1982 DISTRIBUTION ASSISTANT AT CANADIAN TARGET VIDEO IN BOHEMIAN SAN FRANCISCO, DOCUMENTA EXHIBITION WHICH IS STAGED FILMA~ERS DISTRIBUTION CENTER IN EVERY FIVE YEARS IN KASSEL, GERMANY. VANCOUVER, PEG CAMPBELL RECIEVED A SAN FRANCISCO VIDEO ~O JUDGES WERE 'GOLD CINDY AWARD' FOR HER PRODUCTION :

GRAPHIC AREAS 'SEATTLE GUIDE' BY PAUL CIRCULATION by Paul Wong WONG AND 'MONTREAL GUIDE' BY OUR MON­ Ann McDonald 14 Digital Overview TREAL EDITOR BARBARA STEINMAN USE Published with the assistance by Elizabeth Vander Zagg DIFFERENT APPROACHES, WE HOPE TO CON­ of The Canada Council . TINUE IN THIS MODE AND WOULD LIKE TO

FEATURE OTHER PLACES,FACES AND SPACES, Sub~C.1Up.t.<.on1> :to VIVEO GU IVE a11.e a.va..i.la.b.le a.:t $5 601t 5 -i.l>~uu.. Sen.ii cheque Oil mo~e~ Olr.deJt :to=. LET US KNOW, SEND US YOUR COMMENTS, '.IIVEO GUIVE, Sa.:te.U.ile Vi.Ii.ea Exc.ha.r19e Soc.ie:ty, Z61 Powell S.btee:t, Va.rtc.ouveJt, ~h Co.f.umb-ta. Ca.Md.a. V6A 1G3 THE MANAGING EDITORS NOTE: OuUi..de 06 Ca.rta.da. a.n.d :the U.S., pleMe a.dd $3 601t ~ub~C.1Up.t.<.on1>. 2 VIDEO GUIDE VANCOUVER GUIDE

ELIZABETH CHITTY IS A PERFORMANCE AND VIDEO ARTIST WHO HAS JUST MOVED TO VANCOUVER FROM TORONTO. THIS INTERVIEW WAS RECORDED 9/l/80 AT THE VIDEO INN BY PAUL WONG.

You've been coming out to Vancouver the past few seasons, you've been involved in various activities as a performer, as video artist irr re.sidence at the Western Front, social calls as well as stage manager for the Living Art Performance Festival last year. What makes you want to leavE? Toronto at this particular• time in your career ?

I .like the boys here .(srticker) The reason I came was because I was asked • I'm here to replace Kate Craig as the Video Director at the Western Front, she will be travelling for the next l2 months with Hank Bull. I will also be teaching a course at the Emily Carr College of Art called 'Video, P~rformance and Publications'.

What does being Video Director at the Western Front entail ?

It entails adminstrative, curatorial and techni­ cal doo dahs. Curatorial because there . are X Q) number of video productions per season . I u choose the 'artists to be in residence', -I work Cl:'. ::f. with them and I'm their slave. u £. . Why you? () 0 Well you better ask Kate that and not me .- I do .µ 0 know that I was basically her only choice, the £. 0.. only person whe was totally l00% sure of. wanting to take over her position while she was gone. But you should ask her why . I assume it has something to do with myself as an artist a nd ELIZABETH CHITTY ability to work hard and to get along With people that sort of thing. Why I came is that I've always like it here, I've always curatorial decisions about the tapes that are in as much as there is no permanent perfor . found that Toronto and Vancouver each have shown and to publicize them well. The tapes mance facility at all. It will be be quite qualities which the other lacked and that the will be a combination of local and out of town exciting, first off because it fills a very best possible situation is to' get the two together work. Also I would like to do a small publishing necessary and needed function, because there therefore,the best you can do is to go back and project which is a completely new concept. I is enough activity to necessitate permanence, forth . When Kate offered me the job I i'lad no still have to work that one out, not only budget­ also it's going to be quite low-key, non­ reason to leave Toronto, so obviously that was ary but also how the other directors feel about bureaucratic and not even likely to recieve the best reason to leave Toronto. it. What I would like to do is publish a combina­ funding for at least awhile. I think that the GAP tion artist book/document at the end of the year. will have real exciting energy and be advan­ Who have you selected to be 'video artist in Each artist that produced a work during that 1 tageous to the scene . resid~nce ? period wil(give me something on paper, either documentation .o r hopefully more from the :I haventt made all the selections yet, some but I would like to get sort of an overview of your artist boo~ sort of concept, material that is own work. I believe that you are a dancer ? not al 11 because I did not want to come here with somehow re lated to the content of the finished a tidy package all sewn up. This fall and winter, tape. Also while I 1m here I will interviewing there is COLIN CAMPBELL in September, Ah hah ! Aren't you mean. Paul you know per­ each of these artist for Video Guide. I think fectly well that I am not a dancer. I was a ROBIN COLLYER and SHIRLEY WITASALO in that will be quite useful - a good adjunct to November and DANIEL GUIMOND in October dancer, that's my past, my sordid past. I' m boost the program as well as give access to that a Performance and Video Artist. which is one person that I did not choose ur\ti l artist in an interview context. That will be a I arrived here. MARSHALORE is coming at series that will give a pretty complete view of Wnich means what ? some point but I forget exactly when, then I the activities of Western Front Video over that want a' German' for February Bl because A period of time. If you want to know how I sort of.felt when I "Space in Toronto has organized a whole series made the distinction between being a choreo­ of events in collaboration with The Goethe grapher and a performance artist, there is Institute and some of those artists will be You divide your time between the creation of something I will refer for you to read in available to travel. I would like one of those your own work and the fostering or organization Parralleogramme Retrospective 3, the one that people. out for a 3 week period to do a produc­ and adminstration of contemporary art activity? is not yet published, the one that is a year late . tion, all of that is less than tenative at this It's quite a theoretical article which was more time. Actually in recent years I'v e been involved less or less masking my own personal thoughts in adminstration that perhaps I was at one point about my work. How do you percieve the program being I've dc;me some adminstration but only in different or say even similar to that of Kate's ? 'series', like I've never been an adminstrator of a space, however I have organized and When did you first interface performance with Well similar in as much as there is a structure curated 'new dance' events for A Space. Oh video ? which I am filling in. It's not like I 1 m starting yeah there's board things like being on the from scratch , like there is X number of pro­ board of A Space and for a new space opening At .the very very beginning when I first started ductions, there is a fixed budget for showings in Toronto called GAP. I've always been a working. The first piece that I ever did was and such. I would Uke to raise the profile of. hardcore believer in artist-run ideology. while I was a student at York. University in the the 1showings1 more than I think they have been Dance Department, I had my first show at l5 in the past. What is GAP? DANCE LAB, in that was a piece with video and since then I have worked with video consistently How do you intend to do trat ? I recently did a piece called HANDICAP without GAP is the bottom floor of a noodle factory in video ·and one several year.s ago without video, By having ..•. actually I don1t really know, my which Martin Heath and Chris Ann live in the bes.ides that all my work has included video : impression is that the showings have not been a upstairs. Martin had this idea that their ought real\y important part of the programming. I to be a space in Toronto that literally filled the CONTINUED Ori PAGE 14 would like to take the effort to make some gap between the artist spaces already existing, 3 VANCOLNER GUIDE VANCOLNER GUIDE VANCOLNER GUIDE VANCOLNER GUIDE VANCOLNER GUIDE VANCOUVER GUIDE VANCOLNER GUIDE VAN SEATl HOW DOES THIS TIE UP WITH TED ROGERS AND HIS APPLICATION TO MERGE CANADIAN CABLESYSTEMS AND PREMIER?

Well it's with Ted t~at we have been discussing the whole area of a UHF broadcast licence. . we intervened very strongly against the merge~, but if the C.R .T.C. in its wisdom does approve it then again the whole geography will shift and we may well be able to discuss that possibility further .

THEY ARE NOW DELIBERATING THE PRO­ POSED MERGER. WHEN WILL THEY BE MAKING THEIR ANNOUNCEMENT?

I don't know. I don't think anybody knows for sure at this point in time. I suspect three or four months. but I don't think there has been any official date given. ,~...... _.., , ...... COULD YOU SUMMARIZE BRIEFLY THE - .. _., - MAIN ISSUES FOR THOSE WHO ARE NOT FAMILIAR WITH THE HEARINGS? MANY PEOPLE WERE NOT AWARE OF THEM UNTIL THEY WERE OVER.

I would say that our platform or our argument is much the same as checkered. There have, certainly, we have delivered at the l9st three been some improvements and I think attempts of Premier to sell its it's fair to say that some of the shares to other interests. We iDprovements that have been made disagree with the premise of large have been partially as a result of media monopolies. Large mergers suggestions we've made. On the . are not .in the best interests VCTA other hand, it has been quite a of the citizens particularly INTERVIEW '3Y SHEILA SYMTH frustrating experience in many way~ because it leaves less and l ess because we are conti~ually severely control in the hands of the com­ limited in the Mays th~t we are muni ty--less and less ability for PENNY, AS THE CURRENT PRESIDENT OF ?ermitted to Make any contribution input, more and more paternalistic THE VANCOUVER COMMUNITY TELEVISION to the station. We feel that there control not only of the television ASSOCIATION, COULD YOU GIVE ~E A should be a real community presence medium but also of the radio and BRIEF SUMMARY OF THE HISTORYZ in the running of the station, and print media these consortiums own. Premier and Vancouver Cablevision's Yes. The V.C.T.A. is an umbrella idea is that an advisory board DO YOU SEE A COMMUNITY CONTROLLED group of individuals and community should simply be advising in the STATION AS HAVING SIGNIFICANTLY groups interested in the politics area of programming. . so that DIFFERENT PROGRAMMING FROM WHAT IS of broadcasting with particular was a real basic difference we had CURRENTLY DONE ON CABLE 10 OR reference to the community channel. from the very beginning and actually WOULD IT BE A QUESTION OF MONEY It was formed in 1976 and continues led to a hiatus of the whole ad­ GIVEN TO PRODUCERS? to grow. At present, I think the visory board function which came count is 300 individual memberships to be in November of last year. No, I don't see any great change and 70 groups, some of those groups We convened a meeting and we in­ in the programming per se. What being considerable in size, such as vited representatives of the would change is the sense of in­ the Consumers Association whi~h C.R.T.C. It was very apparent volvement and also I think when numbers many thousands. Init]ally, th~t Premier had no intention of you have a real feeling of something the V.C.T.A. was formed with the sanctioning our advisory board being your station you start to aim of working to improve and con­ Th role any further and simply identify with it and it begins to tribute to the betterment of the cia considered us on the same standing have a life that has a character and community channel, specifically as anybody that might come into a personality and I think that's mo Channe l 10 here in Vancouver with their office and offer suggestions lacking in Channel 10 at the so an ultimate interest in community and/or criticisms. moment. Not that it doesn't have de' control of the community channel . really good facilities, because it em One of th ~ first functions wa~ to WHERE DOES THE V.C.T.A STAND AT does in many ways and can produce provide a citizens advisory board ind THE MOMENT? and help people to produce interes­ to Channel 10. We met on a monthly gra ting material, but the station basis with the staff at Channel 10 se ~ Our aims continue to be the same. itself doesn't have a personality and brought many suggestions, some cia They have never wavered despite that connects with people and this critiques of programming and 3ome de ~ the fact that the C.R.T.C. has not is reflected, ~ believe in the fact ideas for future programming. So, looked kindly on our ideas of that very few people watch it. I ex~ the V.C.T.A. is quite a unique community control of the community don't think the reason people con organization inasmuch ·as it is channel. . and we' re not averse principally don't watch it is and principally a lobbying group to the possibility of operating because the quality of the programs of a i nter e~ted in seeing community a UHF broadcast licence. In many is not as slick and professional programming improve and develop. ways it might serve a lot of our as the other stations, I think it's interests. . but we would clearly because they don't still quite know KAH have to go into it very, very arti DO YOU THINK CABLE 10 HAS LMPROVED what it is and don't feel identi­ carefully and be absolutely sure AS A RESULT OF V.C.T.A.S OUTPUT? fied with it. If it was very clear An what, if any, strings there were it was their station and it was TV attached and where that would place Ke ll, our history since we've been being run by them then I think there pro us in our stance as a community the advisory board has been fairly would be a change in the. ambience. No lobby in the broadcast area. Tra ciov qne way video and two way audio. The purpose He is to assist Northwest Territories Legislat­ 197 CRTC PREVIEWS AND REVIEWS ive Assembly while working in Baler Lake for an eight .day session 1,000 miles away from ne ~ APRIL 1980- Statement by Minister of Commun­ decided not to set aside or refer back to Yellowknife. The idea is that this will save pen ications Francis Fox in respect of a request the CRTC announcement. on travel and accomodation costs and keep sta by the CBC to set aside the CRTC decision to However the general policy concerning these legislators in touch with the advise of in issue a temporary network licence to "<:able 'licences are concidered of great importance. their officials, while enabling these public of a Satellite Network" for distribution of the Does the CBC have a special role? What re­ servants to remain at their duties at Gover res proceedings of the House of Commons. lationship does the new National Satellite Government headquarters. wit April 1980 statement issuer.I both CBC and CSN Cable Network have? Bea temporary network licences. The commision June 1980 Ottawa- Teledon, the Canadian den also annnounced that it was prepared to Undoubtedly, these questions and more will videotex/teletex technology has been select­ lucn soon come up at a CRTC public hearing. ed for the first United States consumer issue a temporary network licence to any trial of teletext, to be conducted at PBS Stat group of licencees wishing to form a net­ lope work to carry the house proceedings. May 198 Montreal - The federal government is station l~ETA in Washington D.C., starting in putting 1.2 million towards the development late 1980. PSA Since March 1979, CBC has had temporary net­ of a very sophisticated multi-service two time work licences issued by CRTC to provide live way cable tv system. Telecable Videotron, a Teledon is a two way tv system which allows tows satellite distribution to cable systems major MontreaT cable tv firm is prime mover users to retreive information stored in com­ con\ across the country, to televise proceedings behind this 4.5 million puter data bases by means of a keypad. The to h of the House of Commons. behind this four year, 4.5 million project. information, either text or graphics, is displayed on a slightly modified tv set. The CBC president requested that the Govern­ June 1980 Ottawa- The ANIK B communications er in Council set aside the decision of satallite is in the picture again and will Various feild trials using about 2,000 April 1980 which related to the issue of the host an experimental video conference Telidon terminals are either planned or in 4 licence to CSN. GOVERNOR GENERAL IN COUNCIL between Yellowknife and Bal~r Lake with operation in Canada. VANCOLNER GUIDE VANCOLNER GUIDE VANCOUVER GUIDE VANCOLNER GUIDE VANCOUVER GUIDE VANCOUVER GUIDE VANCOUVER GUIDE VANO

~ [FD~®uWD®\YM7 by Jeanette Reinhardt

JR How about sane personal history? You were OOrn in Victoria •..•.

KT I JlOVe d to Vancouver 10 years ago. I was a painter then.I went to arts school for about 4 years, by the time I got 0ut I was sick of painting. That's the nature o;E art school, to make you sick of what you are doing.I start­ ed to do photography as I graduated. I was a horrible photographer for 4 years till I finally figured out how to take a picture. That's about all I did for a a:niple of years. JR Why do you use polaroid?

KT I use polaroid because the people I take pho­ tographs of feel rrore canfortable if I can show than how they look, right away. I can qet their instant approval. Alot of people are very touchy about having their faces blown up that large. I don't want to print sanething that they will be erobarrased about. I print the way I do (high contrast) be­ cause I'm after a certain graphic quality which is not n~sarily photographic but ioore of a design based thane, similar to ink drawing. I 'm not a great photographer in the cl9.ssical sense. I don't have a great deal of techniquec I 've got one basic thing ... I know how to get a negative that I can print ••• and I kmw how to print from it. I haven't really explored many elanents of photography, basically be­ cause I'm not interested in photography as a medium. It's good if it can serve purpose, and that's the way I use it. My photographs are in a sense a recording of history. It's a responsibility that art has been and continues to be .... a responsi-­ bility for recording contenporary history. I'm not convinced of the necessity to do that, must be sensitive to that also.I have to con­ same performance twice. Once is enough. This but I am convinced enough to continue"doing stantly remind myself that what we are in Paris thing is an exception. I had to p=vide it. To pick and chose people that will be right now is a small piece of continuum of an sane factual material for than to go on, so historically interesting. overall history, all the political things that I'm going to do the performance I did at the are going on now, all the fluctuations of western Front called "End History". That's why I'm so interested in the whole history, will chan9e. It's the sa.'T\e for the process of polaroid ... the instant feedback. art that I do. It will become visible and in JR An excellent performance! We start off with a bad proto and "V.Urk our invisible, a=rding to place it will find way to a good one. It's usually the last one itself in history, accepted or not accepted, KT Well that was the complicated one. I'm going we keep and throw away the rest. There are according to the things that we see. I always to rewrite it to make it a bit rrore clear. several people that you can't take photos of. remenber the times when people "V.Uuld play Performance is usually on the dark side of They may not be in the right mood or they music for me, and I w::iuldn 't hear it. I w::iuld reality, usually religious in nature. My par­ don't pose that well. listen to it a year later, and suddenly hear ticular generation is really lost or dis­ So, that led into video, which is rrostly what was going on. I think it is a matter of &iciated with the rituals that are i.-;plied what I do row .•. that and elPctronic audio. being out of time. by religious activities and the limitations Electronic audio, is developing very slowly that are required to enjoy religion. because I don't really understand music Video led me into doing performances. theory very well, although I've had a certain Video seems to be an irrrnediate medium, though JR You are a catholic aren't you? arrount of success with my audio v.orks. not as irrrnediate as performance. With perform­ ance you can derronstrate. I prefer to call my KT Yeah, I was b=ught up that way . JR What about the use of film in your videov.orks? performances derronstrations becii.use I usually derronstrate an idea that I want to try out on I was an alter l:oy and I went to alot of KT Alrrost all of my tapes have super 8 in them. a group of people. They are really orient­ funerals. I actually miss going to than now For practical purposes it is easier to trans~ ated towards an audience. There is no reason because I used to really enjoy those quiet port a super 8 camera around with you.I still otherwise. rrorrents you v.ould have with the dead b:X!ies think I see in painterly terms. Super 8 re­ right there.The funerals that I have gone to cords those kind of gestures, quite ac=ately JR After your derronstration to an audience you lately have been so pathetic. There isn't any sanetimes. A video camera is a' little bit tco restructure your ideas to video format? respect for the person. They are cremated, honest •.. too direct. buried, and put away out of sight and mind KT Yeah. "100 Years of Agression" which was per­ so quickly, you dont actually have time to Flooding the subject with light? formed at the Performance Festival, and "Dem­ think about it. onstration of the Fear of Pain" were rewritten Everthing is made to be so mystical. I KT Right, I shoot ooth with video and super 8, for video. "Fear of Pain" is a simple per­ think that a bis attraction to the Chri stian but with super 8 the lighting is so flexible, formance, it "V.Urks because there are three religion is mystery. That is what I would it's cheap , it's easier to shoot outdoors and things going on at once. There is enough there like to devote my performances to ... mystery. I don't have portable video equiptrnent. to hold your attention and the audio track is I "V.Uuld like to have the people not quite I feel my tapes have alot rrore in ccmnon quite intense.I tried to do another perform­ know what is going on, but to be there for with paintings than they do with television ance for video but it didn't "V.Urk at all. the experience of it and to go away and have or film, which means that it is a bit of a They are tw::J hugely different mediums. I think that experience crop up in their every day to contradiction because there are always people you can use them in the same way but they are day existence. watching the tapes who are used to watching really very different. I dorlt think I 1.\0uld television. For people to translate the tapes ever want to video tar:;e my performance live. TAPES PRODUCED BY KIM 'IOMCZA.'< APE: so that they may sit and watch them is quite . Vlhat has been quite successfull with me is a chore because the only way they can be ap­ first of all if you try it out on an audience Herman Nitsche preciated is in a background type of effect. you can usually tell if it wrks or not,just 1978, Colour, 10 min. People tend to study video,where they just by the way it feels while you are doing it. watch television, and as long as people study So, once you have gone that far, it's not Everything is Illusion Except Power my tapes they aren't going to appreciate them : much farther to translate it onto video.You 1978, Colour, 5 min. that much. Now I don't know if that is my pro­ have gotten a certain arrout of feedback and a problan or the viewers.I suppose ooth, but better idea about it already. 100 Years of Aogression there is a problerit. I think that's why they 1979, Colour, 20 min. aren't accepted that -well. JR Obviously your performances have been success­ full. You've been asked to attend the Paris A Derronstration of the Fear of Pain We've been v.Drking on a cable show (The Bienalle. 1980, Colour, 15 min. Gina Show) for a couple of years now. We have an idea of what people want to see, so to KT Performance is so challenging ••• you're right speak. I don't think it's up to the artist to Vancouver, Canada- They Chant Fed Up 1980, Colour, 23 min. cater to the whims of the viewers.I think one up front ••• it is rare that I \\Uuld do the VANCOLNER GUIDE VANCOLNER GUIDE VANCOWER GUIDE VANCOLNER GUIDE VANCOUVER GUIDE VANCOUVER GUIDE VANCOLNER GUIDE VA CROSSING THE LINE Michael Goldberg Peter Lipskis There's no question about it, the line's gotten fuzzy, or moved or something. I mean, VT is not TV, and not slide/sound, and certainly not movies. I wrote series of articles on the differences. Some peo­ ple still believe that electronic video is FIL &VIDEO the essence of video -art. How important is the distinction between film and video? They're two closely re­ I've found that working in both film and lated, different ways of achieving moving video has been more beneficial to me as The VIDEO INN maintains a medium­ pictures with sound. I'm sure that acade­ an artist than if I'd worked exclusively in centred philosophy. That is, the library mic-formalist filmmakers and conceptual one or the other. The process of film - does not take in films transferred to video, s video -artists will disagree, to try and making tends to make one extremely con­ no matter how well-done. Otherwise, it J maintain separation and purity. But in scious of shot composition and duration, A might be swamped with film-makers' work, this age of innovation and multi -media because every second is selected and of much of which is (unfortunately) sitting on hybrids, there aren't any rules except the costly. Video, on the other hand, gives shelves, waiting for distribution or re cog - ones we decide to make and break. instant results with sync-sound for longer nition: Video is still young, compared to periods of time, and is invaluable as a the backlog of interesting 16mm and super­ FILM - a thin skin or membrane learning tool for practise. Both use the s stuff already in the can, and it is the aim - a thin coating or layer same optical and sound mechanisms for of the iNN to promote and help .independent - a motion pict.;re inte'rpreting and translating the physical video only. The one exception is the few - a flexible strip of chemically trea- world into audio-visual information. films which have been censored for political ted material used in taking pictures reasons, too hot to handle. MOTION PICTURE- a series of still pic­ The advantage of film is being able to take tures thrown on a screen so rapid­ a camera almost anywhere without trans - More artists have been using multiple tech­ porting a lot of equipment, or dealing with niques in the recording process, part of ly that they produce a continuous picture, in which persons and wires and electricity. Video is much more which is film. I don't mean work like Al direct during the editing stage because film objects appear to move Razutis', which flips back and forth from sound involves numerous transfer process­ VIDEO- relating to or used in the trans­ photo-chemical film processes to electro­ es. In terms of playback, there are more mission or reception of the te le - nic image manipulation, and ends up as a video facilities than motion picture projec­ vision image tape or a film. I am referri~g to those who tors available, so it's usually easier to insert segments of film: a dream; a memo­ TELEVISION - transmission and reprodu­ show work on a television. ry, a document not otherwise avai_lab le. ction of a rapid series of images There's no percentage-point system that by a device that converts light What's the essential film experience? If makes it "video" as opposed to a dub of a waves into radio waves and then it's sitting in a dark room watching pro­ film, like the Canadian-content regulations converts these back into visible jected moving images, what do you call of the CRTC. Perhaps we could cop out light rays seeing a movie on TV? If the essential and say it's video if it's available only on MEDIUM- a condition in which something television experience is an electron cath - tape. That does not remove judgemental may function or flourish ode - ray tube, what's a video projection criticism - is it good video, or good art, - something in a middle position screen? It's cheaper and a lot easier to or a relevent social document? - a means of effecting or convey- buy 1 /2" videocassettes of some films than ing something to rent them from a distributor. Nothing Video or un -video considerations aside, - a channel of communication will be the same once video-discs hit the some images work on that small screen - an individual held to be a ch an - scer;e. It's predicted that 40 mill ion play­ and some don't. Certain styles of working nel of communication between the ers will be sold in the coming decade. are more appropriate for video . The pro­ earthly world and a world of cess is quite different, and this can show spirits What will people be watching 1 0 years from in the results, sometimes in subtle ways - material or technical means of now? Unless there's an extreme economic that many people couldn't care less about. artistic expression depression or restrictions by goverviment Film-makers are justifiably upset to see TECHNIQUE- the manner in which techni­ bureaucracies, many of us will have impro­ some of their expansive imagery reduced cal details are treated or used in ved quality, large projection screens, hook­ to parallel dots on a TV ... even for money accomplishing a desired aim ed· up with hi -fi sound systems, to watch an to make their next flick. TECHNOLOGY- applied science increased variety of "video-film" albums. - a technical method of The National Film Board of Canada realized, achieving a practical purpose like independent Quebec film-makers, that rentals of their films had dropped off. • School systems were renting them once, making a copy on video, then using the tape. rapport with off-air TV and cable, whereas Crossing the line, that was the title of this Copyright becomes a real issue with copy film festivals abound. Tnere are fewer article. For years after I first started in . technologies like video, although Hollywood technical impediments to world-wide pre­ video (1 968), I was a purist. I did feedback; lost its suit against Sony for infringement. sentation on film, and so many incompati­ played with target and beam; set up a 30 sec. Now there's "Copy-Guard", which makes it ble TV standards and viaeo playback formats. live delay; I colourized ... sure had a good almost impossible to make a dub of a tape Nevertheless, many film-makers f ind .it time. Whenever someone picks up the cam­ with this protection in the recording. The more convenient to travel with 3/4" dubs of era, they discover feedback again. Serious­ NFB uses Copy-Guard on its videocassettes, their work, at least those coming from here ly, I tried to use video in ways that were which -it dubs from its own films, to prevent and heading for Europe. It would serve our unique to the medium. Now when people illegal copying, and to cash in on the 'grow­ interests better, in the long run, if audien­ ask how my work is different from film, or ing video market. Unfortunately, BVU decks ces got used to hearing: "Hey, did you see TV, I don't have the patience to explain, (Sony 3/4" broadcast) wouldn't even play that great video?", rather than seeing the once again. It's like the "distinction" bet­ the guarded tapes. stronger work boosted to film. Video can ween art and politics, or artists and admin­ make for a quicker, more efficient alterna­ astrators. Once in a whil,e a new question Le VIDEOGRAPHE, Montreal, worked out tive - CE>mmunications system. When ttie arises, but usually it' S · back to the basics a deal with the Qu~bec CINEMATHEQUE, War Measures Act (martial law in Quebec) or nit-picky conservatism. to dub classic films for their video library. was invoked, real -time, instant video could This became very popular with their view­ have let us know what that meant to artists, Wnen acrylic paint was first discovered, ers. It would be impossible otherwise to intellectuals, workers, and people in the remember some people touting it as a preview the priceless flicks for just 2 or 3 streets there . "quick drying oil paint". Certainly, you interested viewers. In truth, here video could imitate some oil techniques, parti­ served as cheap film. CEAC, the ex-Toronto group, got grants cularly impasto. It became evident that from the Canada Council and Wintario to plastic paint had potential which also made "Pea Soup" and other social commentary purchase a European standards VTR and it quite different from oil. So it is with · tapes of merit have been blown up to 16mm camera. In order to solve the costly video and related media. There is indeed film. The NFB will sometimes do this at computer -assisted transfer process to and an area of overlap, which some people low cost for non-commercial work, and from the NTSC norm, they planned to make sanctimoniously avoid. It is this ground their transfers' quality have been improving. film copies of tapes (kinescope), then do that now interests me . I have no fears of It makes sense to do this (if you can afford another video dub (te lecine)on the other being sucked into commercial or mass­ it), if you are concerned with getting your standard. It was a risky proposal, which audience trickery, nor am I afraid of being stuff seen by the largest number of people in never got off the ground ... although it did seduced by "the big screen" . The line is the shortest possible time. It's like brO'ad­ slip across the border, as far as I heard. fuzzy, true enough; that!s what makes it casting, I guess. We are still developing a excitingl (®'J 6 ~ ams iwww. -- ---. ~ - ... ------.. - --- 'W. - ,__ - --- -. --. ---- -...... VIDEO --~------,_,__-- - ':,,,-- ...... ~~- .. : "== ": == -- ...... - GUIDE ------

• ~ E • ~ s mTv P I L O T I S s U E Kagaaine the nndependent februaryao 8 Letter for RK/JB by John Cage THE INDEPENDENT is for and about indepen­ 9 Understanding Television dent film and video makers. It publishes a wide range of media related articles; by John Hanhardt cornrnunity television,cable, production, la The TV Pill: An Explanation and An Apology broadcasting, festivals,reviews and more. by Richard Burgin This 24 page b/w magazine is published CAL FORN A 14 Confessions of a TV Watcher 10 times yearly by the Foundation for by Ann-Sargent Wooster Independent Video and film, Inc., 99 1 '1 Review: Two Tapes by Richard Foreman Prince St., N.Y.C., N.Y. 10012. Subscrip­ by Jonas Mekas Subscription is included in membership to the organization. 18 · Local Television News Program Analysis for Cable Television by Dara Birnbaum and Dan Graham VIDEO 18 First Name Journalism CALIFORNIA VIDEO was organized to present the by Marvin Kilman newest ideas expressed by young artists living on the West coast. These works are evidence of a strong SI Excerpts from Rabbit Ears (for Adults and Children Only) commitment to television as an obvious step in the by Christa Maiwald Bay Area Video Coalition accelerating evolution of artistic development within a 34 Post-Video I: The Satellite 2940 16th Street, Room 200 mass communication technology. In these single channel San Francisco, CA 94103 video art works, individual idealogies are explored, the by Douglas Davis complexities of life are examined, and contemporary 3'1 Proposal for QUBE A 12 page monthly newsletter which pub­ social issues are exposed using TV's style of fast paced by Peter D'Agostino lishes information on grants, distribtion editing, sophisticated color, lighting and sound. Tt)e workshops, exhibitions, festivals, hard­ interest and general direction of these artists towards 40 Soho Wants to Know/Interview wear and more. broadcasting their ideas is close to becoming a reality. Recent technical advancements in small format video 44 Soaps Piece Vol. 4 No. 1 includes a Bay Area facil-­ equipment and the growing social concerns that video by Andrew Kelly ities Guide. artists share combine to challenge commercial ' 4'1 Erasing Concepts in Time and Space televisions powerful influence on society. Subscriptions included in the BAVC mem­ by Jonathan Price bership. $10. for one year. A black and white glossy catalogue with 48 TeleFocus a listing of eighteen video artists and their works. TV MAGAZINE is published by the Artists' Television Network, 152 Wooster St. ,NYC, ...... ~ ...-.. .-.. .-.. ...-... ~ .-=.... ~ available through: NY 10012, (212)254-4978 ------~---- LONG BEACH MUSEUM OF ART _,. _,_~------_._ - _.. .-...~~ -~_,_,,_ ------~--_ 2300 East Ocean Boulevard, ---~ ~ "'11!1111' ~~ ~~ --~~ Long Beach, California, U. S.A. 90803 The first video tape catalogue published Tel. (213)439-2119 by Synapse Video Center. The catalogue ' lists independent video works available for purchase to exhibit and broadcast. on the World 1 s First T.V. Convention 33 glossy pages with b/w photos·for each of the produ~ers listed. send $3 to: Q I n Synapse Video Center, 103 College rylace, i Syracuse, New York, 13210.(315)423-3100 ; ,) l

ACCESS VIDEO is an Australian publication which covers video in its various aspects, such as art, women's issues, festivals, community tv, politics, equip­ video etc ment, technology, production, cable, etc. Prepared for the course team by Simon Nicholson THE OPEN UNIVERSITY ACCESS VIDEO is published four times a year by Open Channel. Subscription rates A Second Level Interdisciplinary Course Art and Environment are: $6 individual, $10 institutions and $30 overseas (postage included.) VIDEO ETC ... is a 24 page b/w magazine Make cheques payable to: ACCESS VIDEO designed to initiate tape exchange in­ 13 Victoria St. formation by compiling an international Fitzroy 3065 directory of groups and people actively Australia involved with community access of radio, film, and video, via print, software, hardware, etc ...... AM Media Study /Buffalo ART METROPOLE MEDIA STUDY /BUFFALO is a unique Western Z17 Richmond Street West New York regional center established to Toronto. Canada MSV 1W2 encourage the creation and understanding Telephone (416) 362-1685 media - especially photography, film, video and sound composition. It is also ART METROPOLE is an archive/distribution exploring the electronic and computer­ agency established to document,collect, generated arts, visual and aural, and is publish and disseminate information on researching broadcast and cablecast, the activities of artists working in new microwave and other concepts. contexts and multiple media formats,in­ cluding publications, recordings, and an installation by Raul Marroquin video tapes. · This 16 page tabloid covers information relating to: Access,Workshops, Exhibi­ The Bank tions, Information and Proiects, ?roduc­ · Haarlemmerstraat 118 The videotapes listed in this catalogue tion Projects and Management. For more Amsterdam 020 - 26 53 92 comprise our tapes for rental or sale, information about this periodical(sub­ for broadcast and for archival use. scription rates, etc .. ) write to.: There is a separate listing for all in­ This complete package includes a stallations involving video and film. MEDIA STUDY/BUFFALO unique 12 page artist publication, Those tapes which are archived cannot be 207 Delaware Avenue poster and "The Sets"- a 45rpm with rented or bought, and are for viewing at Buffalo, N.Y. 14202 Vinyl rcaa and others. ART METROPOLE at the discretion of the artists and ART METROPOLE. 7 THE Pl ONTREAL COMPILED BY BARBARA STEINMAN

COOP VIDEO de MONTREAL ART MONTREAL PRIME VIDEO 970 est, rue Rachel JOE BE This year Art Montreal has expanded to produce 307 ouest, rue Ste. Catherine, Montreal (514) 52l-554l six one-hour colour videotapes dealing with (514)844-0063 Production company working within a coopera­ SEX-A­ performance artists in Quebec. The show Video art center with colour, b / w equipment fo tive struct...1re. Documentaries about n uclear produced by Tom Konyes will include on location for shooti -, g, editing, v iewing and a growing MAY 1 and solar e r.ergy, senior cit izens, children . shooting in Chicoutimi, the setting for the videotheque. Also sponsors 'prime temps' Also tapes of perso.1al experimental work. Internation Sculpture Symposium & Performance screening series and special e v ents: Tape catalogue available. Began in 1977 INTERG Festival, Summer 80. performance, installations, guest productions, USING Co'ltact: Lorraine D·...1four Assisted oy the Canada Co'..lncil Video Office. cab le casting. SPECIAi "hyprofile" publicity publication . Funded by BEEF Al Canada CocJnci l. Begun ir l97l. TROMP' OEIL Contact: David Rahn GROUPE d'INTERVENTION VIDEO (G.I.V.) 1393 rue Dorchester est, Montreal UNE PUBLICATION OE prime Video - (514)527-4888 1•• 3963 rue St. Denis, Montreal hyprofile (514)849-4404 Cafe/Bar: starting September 1980, a series of We are revising our postal list. If you wish to Non-profit company working in video. Committed weekly_ 4-hour video showings of local and receive our publications, please fill in this to producing and distributing material for alter - international source tapes ranging from post­ form and return to us with a cheque for $2.00 native eaut:o.cion - tapes on u nions, feminism, modern video art to post-video art. to cover annual postage costs, payable to advertising. Tape catalogue available. Began 1975. Contact: Daniel Guimond Prime Video- Video Vehicule. !I Contact: Nicole Hubert, Diane Potvin S. V. P. POINTEZ-UN / PLEASE CHECK ONE I EXP( VIDEOGRAPHE realisateur(trice)/video maker A tra LES PRODUCTIONS. COMMUNAUTAIR~_§ _ME:DIA 1604 rue St. Denis, Montreal =spect;ateur(trice)/ video viewer I prodL 970 est, rue Rachel, Montreal (514)844-7619 __ecrivain(e)/ video writer (514) 521-9590 __institution I gallery I EXP( Videographe is a production and distribution by Sil Non-profit organ ization specializL·1g in audio­ center for audio and video documentaries. NAME------~ I by Da visual production with/for the com-munity. There is a videotheque with 200 tapes and a ADORES SE b Currently working on educational documentaries. ~------~ video theatre for group screenings. Rental of purs 16 mm film, 3/4", 2 11 video, slide shows, print. I playback equipment and l/2" and 3/4", b/w primE!"•dlo heures: atten Space available for cultural events. Evolved and colour equipment. un prolongement de Video Vihicule mardi. samedi: issue out of MEDIA GALLERY, began in 1971. 307 ouest, rue Ste-Catherine midi :117.00 Funded by The Canada Council, begun in l97l I large Cor·,tact: Lucette Bouchard, Roland Degani, metro: Place des arts vendredi: Contact: Norman Thibault. Montreal. Ouebec H2X2A3 emph Denis Racine. 'Tlidi i 18.00 I Montr I cente ti cal I tarie5 devel form I provi I tion a I I

I conce I altho speci I behav POLO I JTW Guim I FILM 1.:m~ THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE . NATIONAL PER F.OR MANCE ~VI DE 0

.------~ ~~ ...,.. I~ ~

~:oNTY CANTS I tl RES TRI CTI ON JUNE 21 MUSEE D/ART VIVANT VEHICULE/ PRIME VIDEO.

1 I AM MONTY CANTSIN EXTRATERRESTRIAL BUSINESSMAN, SPY AND NEOIST, TEMPORARILY HAVING HUMAN BODY AND PRODUCING DISTRESS SIGNALS IN THE DANGER ZONF. CLOSED CIRCUIT .VIP.EO/ ACTION BETWEEN MR. SUBMARINE AND MUSEE D'ART VIVANT VEHICULE.

JOE BEEF r·~ARSHALORE SEX-A-PHONE INVASION .OF NEI GH30URING SPACES fo MAY 10 DARWIN'S GAZEBO BAR r1AY 24 PRIME VIDEp

INTERGRATED ART-ENTERTAINMENT THIS PIECE IS AN EXERCISE IN FUNCTIONING s, USING ADVANCED TECHNIQUES. IN AN INCREASINGLY OVERPOPULATED WORLD. SPECIAL PERFORMANCE WITH JOE BEEF AND HIS BROTHER GEORGE. VIDEO PERFORMANCE/INSTALLATION, leo · 1••~••••••••••••••••••••·~~~~~~::~~1

and foriegner attitudes. • 0 I EX· PO RT 80 Marshalore's TROP(E)ISM and Robert 1 Morin's MA VIE C'EST LE RESTANT DE 1 MES JOURS :i.re simplistic uses of the : medium, single camera shoots with 1 minimal straight forward editing. TROP I E I EXPORT 80 I post-production, Each of these tapes I (E)ISM is staged for the camera frame, A travelling exhibition of video works use techniques of optical transferring, which depicts 5 modes of animal like I produced in Mo'ltreal 1980. I hands on manipulation of recording pro- I behaviour with Marshalore and an 1 cedures which result in distorted pie- accomplice in varied states of angst. MA I EXPORT 80 is a selection of videotapes I ture and sound. These techniques are I VIE C'EST LE RESTANT DE MES JOURS I by six artists. This selection organized inherent and possible in l/2" editing. basically translates as 'this is my life so by David Rahn and Barbara Steinman is l/2" editing is still the most accessible I I let me live it.' Again we observe human I intended to focus attention on 'video art' standard available to artists in Montreal. 1 behaviour but unlike the other tapes this pursuits in Montreal. Perhaps due to the I POLONIUM :i.nd IT WAS A SMALL SUI - I I attention placed on the complex political GIDE not only employ the same techniques takes place in a rural setting. The unstaged 1 pedi: DO issues of Quebec this area of activity has I but are similar in intent and content. It is I observations reveal people interacting in I largely been ignored. The primary not surprising that Dion and Guimond have a bar, first being sexually teased by a 1 emphasis of independent video activity in I collaborated on numerous past projects, I male then followed by a female stripper. I Montreal and Quebec in general, has both tapes utilize wandering hand held The tape is uncomfortable because of it's 1 centered around that of social and pol i.- I camera work in which the recording of the I honesty, disturbing because it's so every I ti.cal concerns in the form of documen- main subject(s) is as important as cap - day, it's subjects slightly banal and silly. 1 taries. From that, a distinct style I turing the environment in which the I I developed, this highly developed Quebec actions are taking place. The camera If these tapes are indicative of videowork 1 I f orm h as b ecome a l mos t c l1c. h e; for I _framing and the alteration of time in I being produced in Montreal, then there 1 ~:~v~~i~~~:~:;i~~~~~~ ;~;0~~a~;:~~ editing, enhance, loosen and purposefully !~o:~~i~ez 1 at~~~~~::a~e:~h~~tlho: cer _ 1 I fragment the works · I tain disturbance level, in content and in 1 The six tapes in this selection do not I Both NEW YORK TOURIST/FILMNIDEO the handling of the imagery. The tapes I reflect nor do they attempt to assimilate are about alienation, they confront and 1 and SEDUCTION by Alan Sondheim are that style· If anything these tapes are in 1 are personal statements in which the I based on footage originally shot on film. I reaction to formal video standards. That I camera acts as the catalyst for recording 1 The urban landscape provides the back is not to say these tapes are not I the surveillances conveyed to the viewers I concerned with social and political issues, dro~ for alitenatLed str~ngNers iyn nekw S d who are given ·the privelege of being 1 environmen s, aser 1n ew or , on - I although rooted in 'art' each tape reflects voyeurs· I heim in Montreal. An english speaking I specific social conditions, attitudes and Perhaps not all the tapes would prove 1 'American' Sondheim's often paranoid behaviour codes. 1 interesting outside the context of EXPORT I observations of Quebec culture and poli - I · l D. Ph'\ p l · I BO, but in this context each has it1s place 1 POLONIUM (D anie ion, 1 o onl), tics is fascinating and very real. His I .el in this exhibition, creatively expressing IT WAS A SMALL SUICIDE (Danl I confused insights with a certain sense of I I on video a statement from and/or about I Guimond) and NEW YORK TOURISTI panic and urgency are based from living Montreal. I F_ImLMlaNIDhaEnOdl~Lgeonf tLhaser)taH e mdplo_y I and woHrki.ng in ':"'ontreal_over the past I G (~) S 1 1 1 1 _ .r- ..; .;. .;.m.;.;r;. ;n~ -- ;;r·1·m=;;~ti;; ;:e~h;. -- ;;~:.- -- • -- _ 1 g - - - CONSIDER ADVERTISING IN --·-- -·--- VIDEO GUIDE call for entries C_anada's guide to Wel_come to the 1980 Athens their publicity must be mailed alternative television activity Video Festival! The Video Com­ or shipped to reach . Athens by petition is an integral part of Sept. 26/80. the Festival, and this year we is read by over 2000 READERS have added a new catagory, Checks or moneyorders are to be 'Performance', to try and made payable (U.S.$)to: better accommodate the broad. ATHENS VIDEO FESTIVAL WHOSE PARTICULAR range of tapes being produced. Entries forwarded by mail While the festival will main­ should be addressed to: tain the same entry fee ATHENS VIDEO FESTIVAL INTEREST IS VIDEO! structure, the awards have BOX 388, ATHENS, OH, 45701 USA been increased to $1500. Entries shipped by UPS or other carriers should be addressed to •PUBLISHED 5 TIMES A YEAR The goaL of the Video Competi-: ATHENS VIDEO FESTIVAL tion is to encourage new, LINDLEY HALL, Rm 384, *DISTRIBUTED ACROSS CANADA · creative uses of the video OHIO UNIVERSITY, ATHENS, AND IN EURASIA medium by providing visibility OHIO, 45701 USA through cable and public All entries must be technically screenings and to establish fit for cable transmission and •REACHES ARTS ORGANIZATIONS, an annual forum where works can compatible with US standards. be discussed. In addition, the COMMUNITY GROUPS CABLE Festival will provide a meeting Tapes are to be shipped in an SYSTEMS, PRODUCERS &ARTISTS place for producers, artist~, appropriate mailing container scholars, writers and others marked "Contents-Video Tape" *REASONABLE RATES who share a commoninterest in and include a label with return independent video.Please join address. All reels, cassettes us for the 1980 Athens Video and containers should be marked Festival .. David Burke with the title of the tape. When more than one tape has been entered, each tape should have it's own reel or cassette ELIGIBILITY: and container: Open to all original video works submitted on l-," reel to Note: All entrants are advised reel and 3/4" cassette by video to follow entry procedure to artist, producer or distributor. minimize delays in the return All entries must have been com­ of entries. pleted during 1979-80 and not have been entered in previous Athens Video Festival compet­ FESTIVAL PROCEDURE: -- itions. Film transfers not el­ igible for competLtion. All entries will be pre-screened by a Festival Selection Committee COMPETITIVE CATEGORIES: which will decide which entries RATES will be cablecast on Athens Cable 1) VIDEO ART/EXPERIMENTAL Television. These entries will be (HEIGHTXWIDTH) 2) VIDEO DRAMA judged by a panel of local judges who will determine the finalists 2 11 x 3 1 /211 (BUSINESS CARD) •••••••••• $ 25 3) DOCUMENT ARY in each category. The finalists 11 3 5/1 6 x 3 5/16" (1 COLUMN SQUARE)- $" 40 4) EDUCATIONAL VIDEO will then be publicly screened and judged by invited Festival 2" x 7 13/16" (2 BUSINESS CARDS) ••••• $ 45 5) PERFORMANCE guests during the Festival (Oct. 3 11 /1611 x 3 5/16" ••..•••••.•••••.••.••• $ 45 11 23-25) 5 5/8" x 3 5/16 •••••••••••••••••••••••• $ 65 ENTRY PROCEDURE: 5 5/8" x 6 3/4" ..••••••.•••.•••••••••••. $120 Awards totaling $1.500. will be 11 5 5/8" x 10 5/16 ••••••••••••••••••••••• $175 Entry forms arid fees must ac~ made at the discretion n of the 11 company each tape entered. The Judges and the Festival Director 7 9/1 6 x 10 5/16" (HALF PAGE) •..••••• $225 15 5/16" x 10 5/16" (FULL PAGE) ••••••• $350 running tim~ determines the to winning entries. Only inde­ entry fee as indicated below: pendent video artists will be eligible for these awards- Running time 3/4 & 1/2 Note: The Festival reserves the 20 min OT less ...... $10.00 right to broadcast all winning VIDEOGUIDE IS EDITED BY THE PUBLISHERS OF THE ACCESSIBLE PORTAPACK MANUAL AND THE. 40 min OT less ...... $20.00 entries. Please indicate on the entry form if special permission INTERNATIONAL VIDEO EXCHANGE DIRECTORY · 60 min OT less ...... , .. $30.00 is required for broadcast of tape over 60 minutes ...... $45.00 ••.,.,, ,,.,., ,,,,,,,, JllPU• llPr •n111rT11 All tapes submitted to the Fest­ gEE E:~~E EE: ~ES~~ ~i§§ggii§§~ ~~§~~ ~ ~ ival are returned following the The Festival reserves the right Festival-postpaid and insured. 2BI POWEll S( VANCOUVER, B.C., CANADA VBA 1&3 t6 decide if a series of work All tapes are handled with great on one individual tape consti­ care during the festival and are tutes a single entry: if not, played on tested equiptment by each segment will be concidered experienced operators. The Fest­ as a single entry (requiring ival thus resumes no responsibil­ separate eTLtry fees). ity to any entry or loss of entry during screening or shipping. Entry fees are not refundable. Fees cover registration, screen ing, judging and return ship For further information writ..e to: ping costs (insured for $100). ATHENS VIDEO FESTIVAL P.O.BOX 388 Note: All ·entries give cable ATHENS, OHIO 45701 CCEC transmission rights to the 1980 614-594-6888 CREDIT UNION Athens Video Festival (for co~­ The Athens Video Festival Is a p peti tive screening) for the program of the .Athens Center for 205 East 6th Awinue duration of the Festival's Film and Video and is supported ,, Vancower, B.u activities (se·pt. -Oct. 25). by grants from the National En­ VST 1J7 dowment for the Arts, the Ohio Tel: 876-0910 The official deadline for all Arts Council, and the Ohio Uni­ entries is SeptL_26 / 80. All · versity College of Fine Arts. 10 entry forms, fees and tapes with SEATTLE ~SHINGTON the promotion of major brand VHS and The m:)st interesting new piece of hardware BETA tapes for off air recording. This was the just released HVC 2000 color 'sales pitch' also included an inkling of camera, although we did not actually get 'video art' with displays by the AND/OR to test this camera, we have received good GALLERY and scheduled showings of the reports on it, that it is very good quality award winning tapes in the VIDEOSHORTS for it's price, lightweight 2.9 kg (6\b. 6oz.) National Comoetition. with 2/3 inch MF Trinicon tube. Worth SEATTLE VIDEO WEEKEND VIDEOSHORTS sponsored by Videospace checking out for around $1300. July 25,26,27,1980 Inc. and was intended to coin.icide with Most everything else in passing is not worth A sypnopsis of what's what , an extract Videospace 1980. Videospace Inc. the pre - noting with the exception of the really tacky of a visit to Seattle by PAUL WONG. dominant company at the fair has pro­ items: AMBIENCE was a display of so­ claimed itself as the 'nation's largest called 'video furniture', CARTER LIMOU­ videotape store' and evidently the slickest SINE displayed a "VCR equipped limousine' with staff, volunteers and expositions with dressed chauffeur to match. VCR organizers all sporting yellow videospace equipped consisted of a playback unit t-shirts. plunked onto the front seat and wired to a television.receiver i n the passenger area. The busiest booths at this exposition were those that displayed video games. THE SPECIAL EVENTS SECTION included worKshops 'MUSIC IMAGES' by pioneer special effects destgner and director RON HAYS, a panel discussion 'THE VIDEO VIDEOSPACE 1980 adverti.sed as the ENVIRONMENT OF THE 80's' moderated northwest's first video exposition included by WESTIN NISHIMURA the sponsor of displays and demonstrations by 50 exhibi - this exposition. B. PARKER LINDNER of tors as well as a series of special events. the AND/OR GALLERY and HIGH HOPES The main emphasis of this exposition was gave a lecture on 'GENRES OF VIDEOART'. in the promotion a n d sales of consumer electronics, of pre-recorded programs (predominantly Hollywood movies) and

photos P Wong

The glossiest catalogue was from the Hollywood based VCX (Video Cassette X-Rated Film),boasted the 'finest in adult 1 entertainment' and that the future iS vex. I The representative from VCX was by far the most outgoing and more than willing to . assist us Canadians in anyway possible. He point-ed out that the Canadian mark et was starved for materials and that if we could manage to get the tapes into the cou«1try, he would offer us a ver y good deal. n graphy by Ted Tin was fortunately saved VIDEOSHORTS by the special effects and fast edits. "THE INTENT OF THE FESTIVAL IS TO 3 of the LO tapes dealt with humour: DEMONSTRATE TO THE PUBLIC THE VIDEO INSTANT THIS - INSTANT THAT by WIDE VARIETY OF STYLES AND Twin Art was a day in the life of Ellen APPROACHES POSSIBLE IN VIDEO SHORTS and twin Lynda Kahn, a parody on PRODUCTION, AND TO ENCOURAGE commercialism and consumerism in PUBLIC INVOLVEMENT IN THIS MOST America today, simply produced and an POTENT COMMUNICATIONS MEDIUM . " ;c;· effective means in which to look at the HIGH HOPES a Seattle based production ' fast food, instant serv ices , short-cut and consultative team organized the VIDEO living standards of the ;11odern western SHORTS competition on behalf of Video - world. The other 2 humour works were' space Inc. Tapes were judged in 3 cate­ collaborative efforts by Peter Keenan and gories: experimental/art, documentary Teddy Dibble of which 1THE COUGH , the and professional/industrial. Criteria on most comprehensive view of the subject entertaining, informative or innovative to date was definitely the public favourite content. Suggested length, 5 minutes or in the festival. My own favourite was the under. LO works were selected from total TlfE FIRST NATIONAL VIDEO SHORTS FESTIVAL only narrative work THE TRUTH ABOUT entries of 78. Each winning tape received MY LOVE b y Diane C. Mikuls, a highly an award of $\00. Most of the entries as and montage sketch of Igor StravinsKy. An comp\ ex, potent and melodramatic well as the sinning tapes were submitted adaptation which combined two recorded story about a love triangle. The use of from either the east or the west coast of 'off the air' programs on Stravinsky, one various locations and costumes helped the United States. program a biography the other with Stra - depict the many personality conflicts and vinsky conducting the Philadelphia Orches­ 6 of the lO selected works were of a .emotional modes. The almost monotone, tra. Rauh layered the visuals with fire, synaesthetic nature, the combining of exhausted voice-over punctuated the water, smoke, still photo's into a work numerous special effects (usually the more concern, the loss of self-respect, the that revealed the intensity of the man and the better), computer graphics, keying and his work. falling out of love which ends in suicide. colorizing. To be honest I have a difficult 3 of the lO were dance /movement re lated. Despite the ' you may be offended warning' time with this genre of expression at the Interestingly enough 2 of these in.olved given about THE TRUTH ABOUT MY best of times. In this particular case I was women who have been involved in LOVE and LANDING ON LAKES UNKNOWt-.J, actually embarassed by Bill Swenson's experimental film and video for well over Tom DeWitt and Vibeke Sorenson, Video­ LOTUS AND SEVENS, delicate feedback of a decade. CHANG[f: by Doris Chase was shots is entertaining, non-offensive and a n pulsating mandalas in mellow pastel colors a figure of a dancer multiplied and altered easy to qraso selection of short works. Sponsor Weston Nishimura thinks that with just as insipid a soundtrack. 7 of the with ,.an out\ ine generator combined with the hour package is an excellent " ·vehicle . lO soundtracks were music, most were a spectrum analyzer reading of the music. to introduce people to creative uses of processed or regenerated sound. The most Shirley Clarke was given special credits video". He is considering possible distri­ successful interface was John Rauh' s in Brian Roberts STORY OF ARA, a bution of VIDEOSHORTS throuqh Video­ L 'OISEAU DE FEU (The Firebird), the futuristic parody on 'Star Wars', a space Inc . longest work in the festival was a tribute spoof on life in the future, the choreo - .... ------~~=~~11 X-RATED VIDEO, PORN STOP, PORN SHOP: Consumer merchandise, objects, accessories, magazines, films and video cassettes available on VHS and BETA. Seattle's district for hookers, strippers, and adult movie ··theatres and shops is ideally located just off central downtown' near the waterfront, alongside .the very popular 'Public Market' and sandwiched ESCAPE between historical 'Pioneer Square' and the rapidly developing Belltown the artsie district. AS DEPARTURE POINT Strictly enforced canadian legislation has AS AN ESCAPE MECHANISM circuit video systems, the more progres - prohibited the size and selection of porno-­ sive clubs such as 'Hurrahs' in N.Y.C. graphic merchandise available in Canada. The availablility of the video projection has inhouse recording as well as playback. Porn shop hopping, peep show viewing is system q.;ickly became a fixture in most In most instances video is treated and pre­ a favourite american past-time ·if not an high profile taverns and drinking establish sented as a 'non-focal point' visual aid. It indigenous culture. These often_ sleazy and ments . What can be a better attraction doesn't much matter that the visuals do not foul smelling premises attract a wide than rounding up the boys, to sip on beer correlate with the music, the content ran;ie of male clientele, 'from avid and to watch the favourite seasonal sports usually consists of record company demo practisioners to the weekend novelist, the broadcast on a really big screen ? It's tapes of popular rock bands, snippets ·:)f out of town businessmen to the suburban where the boys can be boys, in comfort, old cliche films and in some instances gawker. It is n o t surprising that an safe from nagginq wives and screaming tapes created specifically for the nightclub estimated 6 0-70'% of the' home video mar­ kids. The viewing of live broadcast merged climate. ket' is directly attributed to the sale of with the playback of pre-recorded broad­ x-rated materials. Much of this business cast, movies and of course x-rated films. We visited two such clubs in Seattle, is transacted throug h mail orders with Popular culture if we like or dislike it, is TUGS and WR.EX, both gay and mostly discretion assured through unmarked . ultimately responsible for the acceptance brown enevelopes. With or without legis­ male. Both clubs, promoted and encouraged or rejection of new technology. Without this lation, the canadian market is big. Pricing participation in theme evenings. The market the development and availability of of the materials on video is slightly more evening we visited TUGS was 'jungle 'video tools' utilized in our adventurous and expensive than the same materials on film· panic nite', the decor included sand on the refined work would be at a minimum anrl The ease of operating v ideo playback floors, plants galore, makeshift exploding at highly inflated costs. You may hate equipment more than compensates for the • volcanoes (Mt. St. Helen's), scads of popular culture but it does have it's place. extra few bucks spent. X-Rated videotapes leopard and zebra patterned tablecloths and loin clothes. Film 3.nd video projections are the highest priced software on the home The emergence of the 'new wave' has were meant to further enhance this theme, consumer market. Prices fluctuate . included video in more sophisticated lots of jungle animal cartoons, raging between $40-$100. Most distributors of surroundings than the tavern, places such elephants and swinging baboons. The 'entertainment video' include an adult as disco's, cabarets and the night club viewer can either take it or leave it, section. Many claim they would be out of atmospher_e. The so cal led sanctions of tired of the dancing or watching the dance' business without this selection and that 'hip' (bored) are also the places constantly the video can be a social device as a business canl'.lot afford to ignore this mar­ in need of facelifts, . The current rage has departure point for conversation or as an ket or deny what the consumer wants. everyone that is anyone installing closed escape mechanism.

permanent and rotating collections. A high SEATTLE PUBLIC LIBRARY percentage of the other tapes are from MEDIA AND PROGRAMME SERVICES previously broadcasted shows. Magnavox still is the only disk system on the market. The program o riginally be,;ian in l::-373 as Consequently, it is the sole source of disk part o f the Contin•...1ing Adult Education programming, most of which are second­ Programs. It operated with a minL nal run or old movies. The disk system has collection o f slides, fil•TI, audio , print and proven popular with library patrons. • v ideo services. The video section currently Seating can comfortably accomodate 15 on has 4 standards: minimal matntenance of headphones. Advance booking of tapes and the 1/ 2 11 b /w reel-to-reel equipment acqu­ players is highly recommended. Playback ired in 1973 two 3/4" players; two VHS hardware is presently limited to the two players, p~rchased in 19 79 ; and a Magna­ VHS, one U-matic and one l /2". There is vox Video Dis -<. Player, introduced this no in-house screening of films; projectors and Films are l oaned out. Filmstrips are past May. The library operates 6 days a ....••• family watching "JAWS" •.••••. week, providing in-ho use and o...it-of-ho.;se available, 20 programmes to date. It is services. Programming is available to possible to play audio cassettes, but there anyone with a valid library card. Materials are no tapes on hand. Approx. 1 00 slide can be borrowed for out-of-house viewing, programmes are a v ailable. a maximum of 3 tapes, for two days at a time. 1 O part-time and full-time staff members administer the Media & Program Services The permanent collection consists of approx. department. A major overhaul of the faci- 200 3/4" titles and 100 on video disK. The 1ities is currently underway: 1000 title VHS collection is part of a rotating - a VHS distribution system throughout the videocassette circuit shared between 24 building; California libraries and the Seattle Public - in-house rearview projection system Library. Unfort.;nately there is seldom for 16 mm film; more than 50 titles at a time to choose from. - and ... a more agressive acquisitions Time-Life is the major source for both the policy. 12 • SEATTLE GUIDE SEATTLE GUIDE SEATTLE GUIDE SEATTLE GUIDE SEATTLE SEATTLE GUIDE SEATTLE GUIDE SEATTLE GUIDE SEATTLE E

KAREN HELMERSON

Karen Helmerson and Andrew Keating in production at KING 5 f9r and/or G< PHOTO: Rolon Bert Garner

The hated '30 second television commer - Karen was first introduced to the v ideo introductory techmque which for her is n o w cial is a highly developed art form. This medium in 1973 where she was a student a distinct trademark in the form of a 2 or most loathed of 20th century crafts which of 'Contemporary Arts History' at the 3 second 'pause' at the beginning, which sets so rudely interrupts our viewing pleasure Cornish School of Applied Arts. The the tone and is designed to recall the develops and utilizes the latest technology, following season she tool< advantage of attent ion of the viewer. Criteria for a PSA employs the best graphic designers in the the 'Artist Television Wo,~kshop' at KCTS- i.s to have a logo at the end which requires industry and pays For most of the pro­ 9, a local PBS affliate. Under the direc­ 5 or b seconds for comprehension, this gramming which reaches our television tion of RON CIRO resident programmer combined with another 4 seconds for tran­ sets. The 30 second television commer - and ANNE FOLKE a co-founding member sitional time she works with approx. 17 cial is the highest profile marketing of the And/Or Gallery she was trained in seconds. She uses two approaches with a device available to advertisers and is an the use of 2" b/w studio production. This shot formula of 4 to 5 edits: expensive proposition. The creation of a once a week workshop operated from 1973- the use of dissolves with live studio activ ity commercial is a very serious business 1975 and was a vital spawning ground for activity combined with special effects and takes numerous man hours and months artist use of television in the Seattle area. such as key ing, ·wipes and co l oriztng . of consultation and script development. This includes the like of ALAN LANDE 1 - the second a,pproach KEN LEBACK, another instrumental force "straight video anifnation" is a cor1 tinuo·.Js behind the And/Or Galllery BERT GARNER, KAREN HELMt::RSON is a 26 year old shot of choreographed special effects o n PAUL LENTI who is currently art critique artist who creates PSA's (Public Serv ice a single or flat field. Announcements) for broadcast over KING in Mexico City. From there Karen con­ TV an NBC affliate station which provides tinued her training at a cable outlet learn­ programming throughout the Paci.fie ing to use 3/4" color equipment. Access Most of her preferred contracts are Northwest including British Columbia. to this facility was available at a n·omi.nal with cultural organizations. Most o f these organizations are just beginning ""!""rained i.n commercial advertising, win­ rate between $5 & $10 an hour. Throughout to realize the importance of the Public dow dressing, graphic design and video, this period she continued her interests Service Announcement as the "most Helmerson started producicig PSA's in in commercial desi.gn, graphi.cs,with valuable resource and access to public 1977 and has created 15 to date. She has regular visits to Vancouver and indulging broadcast" . Part of this realization is never 'sold' a commercial product and in performance art activ ity, assuming the growing commitment to quality pro­ perfers to "make and deliver non-profit an alias as 'Superwoman' as a work o f motion and the budgeting for such pro­ statements". She is clearly not iriterested liv ing art. duction. i.n commercial products because "i.t's less Hav ing developed a work able method has of a .Pure form, less experimental, very allowed Karen more time for the concep- restrictive and confining, and works Asked why her fascination with producing tion and production of her own work which she within ri.gi.d already codified structures." PSA's she replied: "30 seconds is wonder­ .. she describes as " starting a new period Because of FCC regulations the indepen - fully short and a concise time frame within of work, video as poetic imagery, dent production of PSA's is becoming a which to apply all her skills in video and writing for video as one writes for music" . lucrative means of income in the United com••i::rcial design." She further stated Not unlike her PSA's her personal work States. In Canada the CRTC has not deve that she has now developed a method and loped as rigid a policy concerning television structure of working : " Un.derstanding 30 is short and concise. MORNING, 1980 a 3 minute tape was one of the award PSA's. Although stations provide broadcast seconds as a musical structure - presenting winners in VIDEOSHORTS. time they only provide nominal assistance a statement or effect over time. 30 seconds -.,, towards the actual production. Clients is not unli.ke a phrase or 2 or 3 i.n music. " She is currently working on a long term contact Karen directly or are referred (As a child she had received some formal contract developing and producing a series to her by KING TV. musical training.) A PSA requires an of PSA's on bicycle safety.

PAUL WONG (~) .... --;-:~~------~------....113 I .

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DIG ITAL OV ERV IEW Apple computer by Video A ssociates Labs pro d uced o n. Fantasy c o nv ersio ns depe nd By ELIZAB ETH VANDER Z AGG o f Texas has no NTSC out . This o ptio n o n hig h pixel count. State o f the art has t o be purc hased for ano ther $ \000. conscious is applied aesthetically t o tidy This SIGGRAPH 80 CONFERENCE on little business g raphs, structural compute r graphics held in Seattle this Dig itizing Tablets and Sty lus e s are analy sis, t o ol design and s o metim es t o sum~e r s ho we d the latest dig it al g raphic c hang ing . Ho ld it a foot a wa y fro m the 3-D sem i M o ndrian urban landsc ape s. and animation d evelo p m ents , The major surfa c e and t he line drawn b y the light The tec ho id look is definitely pale for p r o blems whic h are constant ly be ing pe n sti I l r e g isters in s o me s y stems. s umm e r . S ome o f the hy brid analog m ade less by the compe titive compan ies ___,_ The drawing s o f the pseudo fa c e in the dig ital systems provide ecoo:omic advan­ are ' color a nd r esolution'. Colo r has a ccompany ing g raphics were pro duced tag es t o v ideo in that the imag e processo r -become so complex t hat ,some system s on an 'Evans & Sutherland Pictur e generate -.1 p to 10 , 000 varia tions o f g r ey S yatem ' using the g rax program c reated or effects g enerato r can be programmed and t he video sig nal dig it ized for q -.1 ick scale. T he B ally people who p r oduce by JERRY BARRENHOLTZ a t Simo n r etrieval and lo w no ise. This p r o bably dig it al ' ping pong ' have taken t he Fraser University . The E&S Pic t u re the most p ractical applicatio n of d ig ital gut s of t he arcade m a c h ine and hire d S ystem has come out wit h colo ur display T O NY DEFANTI (whose p rog rams Fo r 64 hue and 7 s atu ration values. Since t he tec hno logy t o today 's electro nic m a king interpo lation a nd accessib le user language g raphic data is con verted t o line s e gments industry . have eased t he industry ' s sof~wa r e lag) for t he display , the colo ur dis play Generally it is difficult to apply 'soap to wr ite a n ani m a t io n pro gram fo r it. doesn't show the 4K -bump that would o pera' ideas t o economi c reality. This machine is a vailable for·a mere occur if the entire screen were t o have $3000 , b ut the images displayed have r efr e she d for colo r infro matio n. Mega­ that c ha racterist i c squared-o ff pixed tec h p uts o ut a raster scan animation r esolution seen on the v ideo g ame displays. s ystem o f hig h reso lutio n, speed and c ost. LIZ VANDERZAGG is an artist and is The r esolutio n is 3 20X 204X 2 bits/ pixels, B.C.I.T. bo ught Control Data's currently employed as a technical assistant no t all the s ystems that appear to be lo w m o derately priced system on which the in the Media Department at the Emily budget are c ompatible to video. The accompanying digit graphic was Carr College of Art in Vancouver.

duced a tape , which is still waiting to be ELIZABETH CHITTY INTERVIEW · edited that has ·no performance manifestation conti nued from p~ge 3 * * * * * * * * * * .* * * * in it at all. (workirrlg title: DO THE DOGMA) Why? * video roma *

I think at the time it was a less articulated need What do you think of your first tape TELLING which I can articulate now. At that time it had TALES being exhibited at the PARIS 'BIENNALE : ~ ~: to do with the availability of the equipment just sitting there and that I started out with an Well, it seems a bit odd to presented as a * _OO)JJ Ir. * attitude that was one of innova~ion. I came from video artist seeing that I've only produced one 1 The second Roman Video Festival will be held an art form entrenched in incredible tape, when I've been performing since 75 • It's in Rome from Nove_mber 4th through 22nd, 1980. anachronism and because my attitude was one a bit odd but no big deal, I'm not going to look of relevance, contemporary sort of relevance a gift horse in the mouth. This y ear's Festival will include: and by that I don't mean running around making JAPANESE VIDEO, art and documentary , approx. stories about Canadian content but a relevance So what are your immediate plans ? 1 o screening hours (in collaboration with the in terms of what living in this world is. Japan Foundation and the Japanese Cultural Obviously technology has it's place, I've always I'm assisting Colin Campbell in the production Institute in R o me). 1 believed in artist uses resources available to of PEACH LAND. 1 m giving 2 performances at VIDEO AS A DEVELOPMENT TOOL, pro duced them and video was a resource that was the Vancouver Gallery, HANDICAP which I in India, Indon-esia, Jordan, Mali, Jamaica, available to me. Both from a more theoretical presented last year at The Art Gallery of Peru (in c o llabo ratio n with FAO & UNESCO). point of view of technology in our society and Ontario and the premiere of HISTORY, COLOR VIDEO IN PSYCHOTHERAPY , a worksho p. from the point of view of it sitting in front of my T. V. AND YOU. Directly after that I'm going SALON OF INDEPENDENT VIDEO PRODUCERS , nose, I picked it up. Also my dance work was to the opening of the Paris Bien nale. In October where we e x pec t r e prese ntatives of RA! (public I will perform at the opening of GAP in very oriented against my dance training, there­ telev isio n) and s ome o f the 150 private Italian TV fore it was quite simple, even if I didn't . Toronto. In November I will attend the Per­ stations, as well as other Euro pean broadcasters. approach it in those terms at that time, to look formance Symposium in Montreal being organi­ at video and to realize it was a language that I zed by Parachute Magazine. I think that will * DEADLINE FOR SUBMISSIONS * could interface with my dance ideas. I did be extremely exciting because of the IS NOW OCTOBER 15, 1980 . eventually reach the point in disgust where I international atmosphere. The symposium is gav e up on the dance language all together. split into two sections, panels at the beginning * VIA DELLA .CROCE, 00187 ROMA, ITALY * It's fairly logical that I would turn to 'perfor­ and performan:: es at the end ••••••••••••.•••• * TEL. 6542011-6543994 * mance', a different language which I knew absolutely nothing about _and which has it's .. excitement. * * ************** So you went from using video in a live perfor­ mance context to creating work specifically VIDEO IN THE NOUVEAU GROOVEAU DISCO'S ARE CONTINUED FROM PAGE for the camera ? TATTLETAPES 3 THE RAGE,,, .PRODUCERS READ THE FINE PRINT, WATCH YOUR COPYRIGHTS,,,,,,,,,,,,,,,,,,,,, Right, that's just a very recent jump. It's some thing that I have thought . about for the past year COLIN CAMPBELL (ROBIN OF TORONTO) JUST NAM JUNE PAIK'S VIDEOTAPE "GLOBAL GROOVE" or two, that I would like to produce just video­ COMPLETED THE PRODUCTION OF 'PEACHLAND' tapes as opposed to videowork in context of a WHICH STARS CHARLOTTE MOORMAN I FLICKED AT THE WESTERN FRONT, SCORES OF JAPAN~SE performance. TELLING TALES produced last ALONG TO THE DISCO BEAT AT THE l BEAM IN year at the Western Front was the first tape , INCLUDED THE RETURN OF KEIGO YAMAMOTO, but even that had a performance sensibility, the SAN FRANCISCO.,,,,,,, ,CROTCH SHOTS CAUSE work was concieved with both a live performance FUSAO TAKAMURA AND THE VERY BEAUTIFUL CENSORSHIP OF MUSEUM OF MODERN ART (NEW and vldeo views in mind. Although it was only MAKO IDEMITSU WHO WILL BE REVIEWED IN THE YORK) TOURING SHOW IN JAPAN,,,, .THE SELEC­ ever performed once, it still maintains for me 1 NEXT GlllDE' I _a performance edge. I've just recently pro- TION OF VIDEOTAPES IS WELL WORTH CATCHING 14 VIDEO FESTIVALS, VIDEO COMPETITIONS AND S:-:' OULD IT COME YOUR WAY, )

tJ --

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V /tape is a recent collaboration between five independant video producers to self-distribute Susan Britton their works. The five artists constituting V /tape want to provide a direct service between prospective programmers and themselves. Installations, performances, commissioned Colin Campbell productions and lectures are also available in addition to individual tapes. Clive Robertson Rental Rates Single play Multiple play Lisa Steele up to 112 hour $50 up to 1/2 hour for one week $100 Rodney Werden up to 1 hour $100 up to 1 hour for one week $200 (no more than 3 tapes per hour) distribution Purchase Price V/tape All tapes are priced individually. Contact the artist through V / tape. 136 Simcoe Street third floor Purchasers will be charged for raw tape costs plus transfer fees. - Toronto MSH 3G4 Canada .,______All tapes purchased or rented are subject to copyright and may not be reproduced or shown __.15 under any circumstances except those outlined in accompanying contracts . iiiiiiii. ~

Vancouver Art Gallery 1145 West Georgia Street, Vancouver, B.C., Canada, V6E 3H2. (604) 682-5621 September - December, 1980 TV/ART

September 26 - October 26 The North American premiere of an exhibition organized by the Stedelijk Museum, Amsterdam of landmark films and videotapes produced in Gerry Schum (193B·1973J 1969/70 for German television. Productions by Schum in collaboration with major European/American artists including Giovanni Anselmo, Keith Amatt, John Baldessari, Joseph Beuys, Alghiero Boetti, Marinus Boezem, Stanley Brouwn, Daniel Buren, Pierpaolo Calzolari, Jan Dibbets, Gino de Dominicis, Ger van Elk; Barry Flanagan, Gilbert & George, Wolf Knoebel, Gary Kuehn, Richard Long, Walter de Maria, Mario Merz, Dennis Oppenheim, Klaus Rinke, Ulrich · Ruckriem, Reiner Ruthenbeck, Richard Serra, Robert Smithson, Franz Erhard Walther, Lawrence Weiner and Gilberto Zorio . • November 1 - December 7 A selection of videotapes produced by Vancouver artists for The Gina Show, Cable 10, Tuesdays, 11.00 p.m. The Best of Gina The public is invited to participate in a production at the Vancouver Art • Gallery, Sunday, November 16, 1980, 2-5 p.m.

December 13 - January 11 . A selection of videotapes produced by Vancouver artists for TBA/TV, Cable 10. The Best of TBA/TV .The exhibition will include a special video installation and photographic works. TV/ART EVENTS Wednesday, October 22, 8.00 p.m. David Ross is presently Chi.ef Curator at the University Art.Muse~m. Berkeley and on staff at the Video/Performance department of the San David Ross Berkeley, CA . Francisco Art l.nstitute. A former curator of video at Everson Museum, Syracuse (1971-1974) and Long Beach Museum of Art (1974-1978), Ross will lecture on the early history of video in Europe and North America, especially that related to artists' use of television.

Wednesday, November 5, 8.00 p.rn. The Raymonds, artist-producers of the award-winning P.B.S. programmes Bad Boys (1978), Police Tapes (1977) and An American Family (1973), Alan and Susan Raymond New York will premiere a new tape and discuss access to broadcast television for the independent producer. Co-sponsored by videospace and Video Inn.

Sunday, November 16, 2.00 p.m. Production qf The Gina Show in videospace, courtesy of Cable 10's mobile van. The public is invited to participate. The Gina Show Vancouver

Wednesday, November 19, 8.00 p.m. Currently a Fellow at the Center for Advanced Visual Studies, M.l.T. Boston, Muntadas has, for the past decade, produced videotapes which Muntadas Barcelona/Boston analyse mass media. He will give an audio-visual presentation and discuss The Artist and Media Reality.

Wednesday, Decembei10, 3.00 p.m. Trefois is presently Director of Videographie, a highly regarded programme of artists' productions for Belgian Television. He will present Jean-Paul Trefois Liege, Belgium selected Videographie programmes and lecture on access possibilities I video artists in Europe.

SPECIAL EVENTS

Wednesday, September 17, 8.00 p.m. Toronto performance artist Elizabeth Chitty, presently Video Director at The Western Front, will present Handicap (slides, recorded and spoken Elizabeth Chitty Vancouver text plus song "Arbeitverbot" by Andy Paterson of The Government). This will be followed by the premiere of a new videotape. Co-sponsored by videospace and The Western Front.

Wednesday, December 10, 8.00 p.m. Ms. London, curator of the video programme for MOMA, has recently returned from an extensive Latin American tour. She will present tapes Barbara London Museum of Modern Art, N.Y. from South America as well as discuss the past and future video programme at MOMA.

Organized by The Vancouver Art Gallery. Funded by The Canada Council.

,.