FUnders and sponsors 1

Public funders

We’re looking for the next Sponsors generation of artists, designers, inventors, digital innovators and cultural leaders. Find out how to put your imagination to work at ocadu.ca/admissions 2 STAFF AND BOARD Table of COntents 3

Clockwise from top left

Heather Keung Aily Nash Keli Safia Maksud Maegan Broadhurst Faraz Anoushahpour Emily Fitzpatrick Milada Kovacova Tyler Prozeniuk Mariam Zaidi Cecilia Berkovic

photos by Sardar Farrokhi. photo of Aily Nash by Gordon Nash.

Staff VOLUNTEER MANAGER ADVISORY BOARD Funders and Sponsors Thanks EXECUTIVE DIRECTOR Victoria Kucher Emelie Chhangur Toronto 1 18 Heather Keung BOX OFFICE Sara Diamond Toronto DEVELOPMENT DIRECTOR Barbora Racevičiūtė Atom Egoyan Toronto Staff and Board Public Programming CODE OF CONDUCT All community Keli Safia Maksud FRONT OF HOUSE Marc Glassman Toronto 2 and Education participants, including HEAD OF PROGRAMMING Amanda Clarke Shai Heredia Bangalore 19 members and guests of members, event Aily Nash EVENT MANAGER Andrew Lampert New York Tickets and Pass hosts, sponsors, OPERATIONS MANAGER Brittany Higgens Janine Marchessault Toronto Packages Off Screen presenters, exhibitors, Maegan Broadhurst FESTIVAL ASSISTANT Robyn McCallum Toronto 4 31 and attendees, are expected to abide by PROGRAMMER Rowan Lynch Charlotte Mickie Toronto the Images Festival Faraz Anoushahpour DRIVERS Serge Noël Montreal Presenting and On Screen and Live Code of Conduct COMMUNICATIONS COORDINATOR Armand Sebris Andrea Picard Toronto Community Partners 53 and cooperate with organizers who Emily Fitzpatrick Shaun Brodie Jody Shapiro Toronto 5 enforce it. Images ADVERTISING SALES MANAGER COPY EDITOR Michael Snow Toronto Spotlight Essay Festival insists that everyone who uses Milada Kovacova Andrew Wilmot Stefanie Schulte Program Quick View 68 the spaces remains Graphic DESIGNER AUDITOR Strathaus Berlin 6 mindful of, and Cecilia Berkovic David Burkes, C.A. Karen Tisch Toronto Advertisers Index takes responsibility for, their speech web Mark Webber London, UK Calendar 84 and behaviour. We Crrumb BOARD OF DIRECTORS 8 embrace respect and PROGRAMMING ASSISTANT Amar Wala Chair COVER IMAGE Title Index concern for the free expression of others, Tyler Prozeniuk Lise Beaudry Treasurer Brigid McCaffrey, Welcome Letters 87 but will not tolerate PRINT PRODUCTION COORDINATOR Mélanie Lê Phan Secretary Bad mama, who cares, 2016 12 words or actions that are racist, sexist, Mariam Zaidi Ariana Ayoub festival TRAILER Artist Index and homophobic, ageist, Michael Chisholm Basma Alsharif Awards Biographical classist, transphobic, Julia Huynh PRINTER 16 Appendix cissexist, or ableist. Respecting physical Dylan Reibling TC Transcontinental Printing 89 and emotional Max Rothschild Jury boundaries, we 17 Map of Venues do not accept oppressive behaviour, 96 harassment, destructive behaviour, IMAGES FESTIVAL @imagesfestival or exclusionary 309-401 Richmond St W Toronto ON M5V 3A8 CANADA imagesfestival actions. To read the Images Festival is produced by the Northern Visions Independent Film and full policy, please visit facebook.com/imagesfestival imagesfestival.com. Video Association, a registered charitable organization since June 10, 1988. imagesfestival.com 4 Tickets AND Pass Packages Presenting and Community Partners 5

Images Festival was founded by a passionate arts community who championed alter- natives to mainstream media and fought to open up critical dialogue. The festival is 90% run by volunteers and owes much of its success to our generous members. Please consider joining our membership today to receive benefits, and help us continue to build a platform for artists in Canada.

STATEMENT ON AGE Opening Night $15/10* RESTRICTION Admittance to all Closing Night $15/10* screenings is restricted Live Programs $15/10* to those 18 years of age or older. Images Festival On Screen Programs $12/6* believes in freedom of Pay What You Can Events $5–15 suggested donation artistic expression and is against discrimination on the basis of age. Artist Talks are FREE However, under the Ontario Theatres Act, To reserve spaces for your class or group, contact: [email protected]. film and video festivals are required to adopt Please see p. 21 for more details. a blanket adult rating in order to hold public screenings without having Advance Tickets are available online at imagesfestival.com starting March 15. to submit all works for prior classification. Film and video are the Same Day Tickets (if available) will go on sale at the corresponding venues starting only forms of expression one hour before the event. Cash or credit cards accepted. subject to this kind of censorship system in Ontario. Images Festival complies with the Pass Packages Ontario Theatres Act Passes are available in person at the box office during the festival, by email at under protest. [email protected], and online at imagesfestival.com. We accept Visa, Mastercard, and American Express.

A Charitable Limited- Preferred Festival Donation Tax edition Box Office Pass Voucher Receipt ($100) Tote Bag Privileges

Festival Tickets reserved Supporter 2 4**  2 until 15 mins $250 before curtain

the Individual Tickets reserved commons Membership 1 1 until 15 mins $60/40* before curtain

Tax receipts may be issued for a portion of ** Students, seniors, underemployed; appropriate ID required. memberships. Please ask for details. Our charitable All ticket and pass prices include HST. registration number is ** Vouchers redeemable beginning 13 April at the Box Office. Vouchers not redeemable online. #12741 8762 RR0001. While vouchers can be exchanged for tickets, we can’t guarantee availability for any given The Images Festival screening. For this reason, we recommend arriving 30 minutes before the scheduled start time Membership Program is non-voting. to redeem vouchers. Vouchers are not valid for Opening and Closing Night. 6 Program Quick View Program Quick View 7

Shakedown, Leilah Weinraub, p. 54 The Rare Event Ben Rivers and Ben Russell, p. 59 Black Friday, Sophia Al-Maria Bullet Points for a Hard Western Mercer Union, p. 42 (after Walter De Maria) Lucy Raven and Deantoni Parks, p. 57

“Mere” Recording? Documentary, Contemporary Art, What Weakens the Flesh is the Flesh Itself Public Intimacies and the Orthodoxy of Ecstatic Truth James Richards and Steve Reinke, p. 64 Jon Wang, Dani Restack, and Sheilah Restack Erika Balsom, p. 62 Super 8 Hotel, p. 43 Communing with Others, p. 55 Shorts Program

Djamilia Hemlock Forest, Moyra Davey, p. 63 Biologue, Trisha Baga, Gallery TPW, p. 33 Aminatou Echard, p. 79 Lafawndah, p. 80 8 Calendar Calendar 9

Public Programming and Education Off Screen On Screen Live Party

12 pM 1 pM 2 pM 3 pM 4 pM 5 pM 6 pM 7 pM 8 pM 9 pM 10 pM 11 pM 12 aM 1 aM

Thu OPENING NIGHT 7–9 PM 10 PM–2 AM 12 April Feature: SHAKEDOWN Opening Night Party with Myst Milano at Unit 2 p.96 Royal Cinema $15/10 p. 54 $10 or free with SHAKEDOWN stub/Festival pass

OFF SCREEN 7–11 PM Black Friday opens at Mercer Union FREE p. 42 Biologue continues at Gallery TPW FREE p. 33

Fri Artist Talk 3–5 PM 13 April Annie MacDonell and Maïder Fortuné Gallery 44 FREE p. 21

OFF SCREEN 4:30–7 PM LIVE 10–11 PM Steve Reinke Vtape FREE p. 21 Bullet Points for a Hard On Screen 5–7 PM On Screen 7–9 PM Western 11 PM–2 AM Shorts: Communing with Mid-length: Mediums TMAC Cam Lee at TMAC Others, Innis Town Hall Innis Town Hall $12/6 p. 56 $15/10 p. 57 $10 or free with Bullet Points $12/6 p. 55

Sat OFF SCREEN 12–1 pm Public Intimacies Reception 14 April 12–6 PM Exhibition open at the Super 8 Hotel FREE p. 43

Gallery Tour 12–2 PM OFF SCREEN ARTIST TALK 3–5 PM Meet at Super 8 Hotel 2 PM Oraib Toukan ON SCREEN 5–7 PM ON SCREEN 7–9 PM ON SCREEN 9:30–11 PM 11 PM–2 AM Lobby FREE p. 21 Oraib The Commons FREE p. 21 Shorts: Space Without Feature: The Rare Event Guest Program: BAMBII at Cinecycle Toukan Path or Boundary Innis Town Hall The Informants $10 or free with The Informants stub/ YYZ Artists’ Innis Town Hall p. 58 $12/6 p. 59 Innis Town Hall Festival pass p.96 Outlet $12/6 $12/6 p. 60 FREE p. 34

Sun OFF SCREEN 12–6 PM Public Intimacies at the Super 8 Hotel FREE p. 43 ON SCREEN 7–9 PM LIVE 9:30–11 PM 15 April Mid-length: Mid-length: LECTURE 3–4 PM ON SCREEN 5–7 PM What Weakens the Flesh Excavated Erika Balsom Mid-length: is the Flesh Itself Narratives Innis Town Hemlock Forest Innis Town Hall $12/6 p. 64 Innis Town Hall Hall Innis Town Hall $15/10 p. 65 FREE p. 62 $12/6 p. 63 10 Calendar Calendar 11

Public Programming and Education Off Screen On Screen Live Party

12 pM 1 pM 2 pM 3 pM 4 pM 5 pM 6 pM 7 pM 8 pM 9 pM 10 pM 11 pM 12 aM 1 aM

Mon OFF SCREEN 12–6 PM Public Intimacies at the Super 8 Hotel FREE p. 43 16 April Artist Talk 3–5 PM ON SCREEN 7–9 PM ON SCREEN 9–11 PM Jon Wang, Dani Restack Mid-Length: Canadian Artist and Sheilah Restack Watching the Detectives Spotlight: Steve Reinke The Commons FREE p. 21 Innis Town Hall Innis Town Hall $12/6 p. 66 $12/6 p. 67

Tue Artist Talk 3–5 PM ON SCREEN 7–9 PM ON SCREEN 9–11 PM 17 April Onyeka Igwe International Student Feature: Streetscapes and Aliya Pabani Showcase: Liminal States [Dialogue] The Commons FREE p. 21 Innis Town Hall Innis Town Hall $12/6 p. 72 $12/6 p. 74

Wed PUBLIC PROGRAMMING AND EDUCATION 1–4 PM OFF SCREEN Bárbara Wagner 18 April Images Research Forum 6–9 PM & Benjamin de Burca The Commons FREE p. 20 opens at AGYU FREE p. 20

Thu On Screen 7–9 PM On Screen 9–11 PM 11 PM–2 AM 19 April Feature: Local Program: Festival Lounge Spell Reel Redacting Bodies Cinecycle FREE p. 96 Innis Town Hall Innis Town Hall $12/6 p. 75 $12/6 p. 76

Fri On Screen Shorts: Closing Night 8:30–11 PM LIVE 12:30–2 AM 20 April 6–8 PM In Search of Feature: Djamilia 11:30 PM–12:30 AM Closing Night a Likeness Innis Town Hall $15/10 p. 79 Party with Innis Town Lafawndah Chippy Nonstop Hall Please note: Awards Ceremony The Garrison at The Garrison $12/6 p. 78 will precede screening p. 16 $15/10 or free with Djamilia stub/Festival pass p. 80 12 Welcome Welcome 13

The arts and culture have a powerful capacity Welcome to the 2018 Images Festival! The Ontario Arts Council is delighted to support Welcome to the 31st annual Images Festival. to bring together people and communities, to the Images Festival, now in its 31st edition. Toronto Arts Council is proud to support this reconcile and to bridge distances. The media arts offer bold and exciting ways to tell groundbreaking, interdisciplinary festival. our stories, and provide new perspectives on our For more than 30 years, the Images Festival has When we put the arts at the heart of our ever-changing world. The Images Festival gives connected audiences and artists in new media The City of Toronto, through Toronto Arts Council, communities, the aspirations of young people, emerging and established artists from Canada and arts experiences. The Festival continues its legacy invests public funds in the arts to bring the highest and our daily lives, we invite new perspectives, beyond a chance to share their vision, inspiration, of showcasing diverse and engaging cinematic, quality artistic programming to millions of Toronto raise issues that matter, initiate conversations and and talent. performance, and interactive works that are both residents and visitors. We recognize the work re-imagine together a shared future. That’s why thought-provoking and entertaining. that Images Festival does to nurture local and the Canada Council for the Arts has committed to Our government is proud to support events like this Canadian independent media artists, and applaud increasing its support for the arts by encouraging that provide Canadian audiences with high-quality On behalf of the OAC board and staff, I wish you it for providing a forum for exceptional narratives ever more diverse audiences to engage with the arts artistic experiences, while fostering dialogue within a warm welcome to the Images Festival. and exploratory forms of creation through the and across communities. and by expanding the reach of Canadian art locally, — screenings, exhibitions, and performances that it nationally and internationally. As Minister of Canadian Heritage, I would like to showcases. Le Conseil des Arts de l’Ontario est heureux The Canada Council for the Arts is proud to support thank all the dedicated organizers, artists, and Congratulations to the staff and volunteers at volunteers who made this event possible. d’appuyer le festival Images, qui présente cette Images Festival in the vital work it is doing to shape a année sa 31e édition. Images Festival. Enjoy the shows! new future through the arts. — Depuis plus de 30 ans, le festival Images a permis — — Bienvenue à l’Images Festival de 2018! aux artistes et au public de vivre de nouvelles Je vous souhaite la bienvenue au 31ème édition L’art et la culture ont cette formidable capacité de expériences en arts médiatiques. Le Festival du festival Images. Le Conseil des Arts de Toronto Les arts médiatiques nous permettent de raconter poursuit sa mission de mettre en valeur des rapprocher, de réconcilier et d’abolir les distances nos histoires avec audace et passion, en plus de est fier d’appuyer ce festival innovateur et entre les personnes et les peuples. créations cinématographiques, des performances, interdisciplinaire. nous présenter de nouvelles perspectives sur notre et des œuvres interactifs qui sont à la fois Placer les arts et la culture au cœur de nos monde en constante évolution. L’Images Festival stimulantes et divertissantes. La Ville de Toronto, par le biais du Conseil des communautés, des aspirations de la jeunesse, de donne la chance aux artistes établis et émergents, Arts, investit dans les arts afin d’assurer que la nos vies, c’est permettre à la création de très haut d’ici et d’ailleurs, de faire connaître leur vision, leur Au nom du conseil d’administration et du personnel programmation artistique du plus haut calibre calibre d’éclairer, de soulever des questions et inspiration et leur talent. du CAO, je vous souhaite la bienvenue au festival puisse être accédé par de millions de résidents et Images cette année. d’établir des dialogues, et d’imaginer l’avenir, notre Notre gouvernement est fier d’appuyer des de visiteurs à chaque année. Nous reconnaissons avenir. C’est pourquoi le Conseil des arts du Canada rencontres comme celle-ci, qui font vivre au public La Présidente du Conseil des arts de l’Ontario le travail que fait le festival Images pour épanouir a pris l’engagement d’augmenter son soutien aux arts canadien des expériences artistiques de grande les œuvres d’artistes indépendants Torontois et en suscitant la participation accrue envers les arts qualité, tout en favorisant le dialogue au sein de nos Canadiens et nous l’applaudissons pour la création d’un public toujours plus diversifié et en favorisant communautés et entre elles. d’une plateforme à travers laquelle une myriade le rayonnement des arts d’ici aux échelles locale, d’histoires exceptionnelles et nouvelles formes de nationale et internationale. À titre de ministre du Patrimoine canadien, je création peuvent être explorées. remercie tous les dévoués organisateurs, artistes Le Conseil des arts du Canada est fier de et bénévoles qui assurent la présentation de cette Félicitations à l’équipe et aux bénévoles, et bon soutenir Images Festival. Pour nous, cet appui est rencontre. festival! fondamental parce qu’il vous donne une occasion de participer à façonner un nouvel avenir.

Simon Brault, O.C., O.Q. The Honourable / L’honorable Claire Hopkinson, M.S.M. Director and CEO, canada council for the arts Mélanie Joly Rita Davies Director AND CEO, Toronto Arts Council Le directeur et chef de la direction, Minister of Canadian Heritage Chair, Ontario Arts Council Directrice Générale, conseil des arts du canada Ministre du patrimoine canadien La présidente du COnseil des arts de L’ontario Conseil Des Arts De Toronto 14 WELCOME Welcome 15

Welcome to the 31st Images Festival, one of the most enduring and respected I joined Images Festival because this is an organization that centres the peripheral— platforms in the world for the exhibition of moving images. the voices that aren’t heard, the images that haven’t been seen, and the approaches that have never been tried. This breeds a culture of experimentation, of strange, new This spring, we welcome you to experience the most current, unconventional, objects that we don’t yet understand—and inspires further creation. The periphery surprising, and inventive moving images through 13 gallery exhibitions, 78 new is also a liminal zone in between established spaces, which allows for flexibility, on-screen works, and five astounding live performances happening throughout the movement, and a fecundity of possibility. Here protocol is unfixed and conventions GTA. Providing artists with a supportive and professional forum in which to present are challenged. their work is a priority for the festival. This year our free public programing, which includes the Images Festival Hub, Research Forum, and Artist Talks, strives to take us Images positions itself at the intersection of the visual arts and film, two worlds that on a journey through the evolution of cinema and the future of moving image culture, have so much in common but often remain socially, discursively, and economically expanding how audiences interact with the festival, the artists, and their works. separate. This festival is the occasion for these different approaches, traditions, and conversations to come together, to inform and inspire each other—to create more We are thrilled to welcome our new Head of Programming, Aily Nash, who brings a overlaps, connections, and affinity. wealth of knowledge about the most highly anticipated artists and concerns in the international media art sector. Images continues to focus on presenting an inclusive, It has been important to me to insist that this celebration of the periphery go beyond ethical, progressive, and diverse festival. Aiming to nurture a Canadian-driven aesthetics, beyond form, to the political—to expect that a diversity of voices inhabit conversation about the direction of independent moving image culture within an this hinterland of moving image culture. What many of the works and artists in this international context. As such, our 2018 program unapologetically brings bold new program have in common is the skill to take care, to listen, to watch, and to learn from perspectives that further challenge, uproot, and complicate the dialogue around others—this is the most urgent practice today, and the most radical. experimental media art practices. I encourage you to take the time to explore something new and to participate in conversations that expand your viewpoint. We bookend the festival with our opening and closing night films, both born from the filmmakers’ decades-long investments in distinct communities. They share the Deepest thanks to the small group of dedicated staff at Images, to our public experiences and desires of women worlds apart—from an African-American lesbian funders, sponsors, presenting partners, co-presenters, patrons, volunteers, and strip club scene in Los Angeles in Leilah Weinraub’s Shakedown, to various board. To the artists and the passionate community, thank you—we would not exist generations of women and girls in Kyrgyzstan in Aminatou Echard’s Djamilia. You’ll without you! see in the following pages that similarly, many films and installations in the festival were created through a practice of daily tenacity and resistance.

Thirty-one years in, Images is still centring the peripheral—those in flux and those who challenge the dominant. Of course this means something entirely different in 2018 than it did in 1988, and this evolution is a sign of political change, which we’re sure these radical artists’ voices have had a hand in, just as we are sure that the works we present this year speak to a future that is still unknown to us.

Heather Keung, Executive Director Aily Nash, Head of Programming [email protected] [email protected] 16 Awards JURY 17

Join us for our TD Bank Group Award Overkill Award annual Images Sponsored by TD Bank Group. Sponsored by an anonymous donor. Festival Awards This award honours the best media Established in 2000 to honour former Ceremony where artwork at the Images festival. The Executive Director Deirdre Logue, this our hard-working recipient receives a $1,000 cash prize. award is presented annually to an artist jury reveals their whose work approaches extremes selections of this More with Less Award of incorrigibility through form and/or year’s winners! Sponsored by CFMDC, CARFAC Ontario, content, and challenges our notions of Erika Balsom is senior lecturer in Film Christina Battle is a media artist, Charlotte Selb was Director of Charles Street Video, Dames Making experimental practice. The recipient Studies at King’s College London curator, organizer, and educator, Programming of the Montreal Fri 20 April, Games, Gamma Space, ImagineNATIVE, receives a $500 award. and the author of After Uniqueness: and has been an active member of International Documentary Festival 8:30 PM LIFT, SAW Video, Toronto Reel Asian A History of Film and Video in a number of communities including (RIDM) from 2010 to 2015. She is now Innis Town Hall International Film Festival, Amar Wala, Marian McMahon Akimbo Award Circulation. She has contributed to Toronto, San Francisco, and Denver. an international programmer for Hot and anonymous. This award was Sponsored by Akimbo Art Promotion. publications including Grey Room, She is currently based in London, Docs, and works as a freelance film established in 2015 to honour Scott This award is given to a woman e-flux, and Artforum and is the Ontario. Her work considers the critic and curator. She sits on the Miller Berry (Images staff 2001–2015) and filmmaker each year to honour strong winner of the 2018 Kovács Essay parameters of disaster—looking to it advisory council of the Leonard & is presented annually to a project whose work in autobiography, complexity Award for “Instant Failure: Polaroid’s as action, as more than mere event Bina Ellen Gallery and the nomination artwork does more with less and honours of “subject,” and the spirit of Marian Polavision, 1977–80.” and instead as a framework operating committee of the IDA Awards. the resourceful spirit. The recipient McMahon. The recipient is funded to within larger systems of power. receives a $1,500 cash prize. attend the annual Independent Imaging retreat (Film Farm) and workshop in OCAD University Off Screen Award Mount Forest, Ontario. The recipient also Sponsored by the Ontario College of receives $500 worth of transfer services Art and Design University (OCADU), courtesy of Frame Discreet. this award honours the strongest new Canadian or international installation York University Award for Best Student or new media work in the festival. Work on Screen The recipient receives a $500 award. Sponsored by York University’s Getting Department of Cinema & Media Arts. Steam Whistle Homebrew Award Awarded to the best student work on Sponsored by Steam Whistle Brewing, screen. The recipient receives $500. Independent Films this award honours excellence and promise in a local artist. The recipient Trinity Square Video Award receives $500 and a Steam Whistle Sponsored by Trinity Square Video. On Screens Everywhere Prize Package. This award honours the best GTA media artists at the Images Festival. The recipient will receive a $100 membership + $1000 in-kind Since 1967 equipment rentals.

www.cfmdc.org 18 Thanks Public Programming and Education 19

The festival acknowledges the ongoing support of our partners in the public sector Youssef El Jai, Line Dezainde (Canada Council for the Arts); Paula Shewchuk (Canadian Heritage); Uwe Rau & Jutta Brendemuehl (Goethe-Institut Toronto); Mark Haslam, Carolyn Vesely, & Lisa Wöhrle (Ontario Arts Council); Caroline Polgrabia (Ontario Ministry Tourism, Culture & Sport); Waqar Khan (Spring Board, Employment Ontario); John Dippong & Risa Veffer (Telefilm Canada); Claire Hopkinson, Beth Reynolds, & Peter Kingstone (Toronto Arts Council). Public Programming and Education generously supported by TD Bank Group.

Special thanks to sponsors and awards sponsors Kim Fullerton (Akimbo Art Promotions); Sally Lee (CARFAC Ontario); Greg Woodbury & Ross Turnbull (Charles Street Video); Lauren Howes (CFMDC), Michelle Johnson (CIUT 89.5 FM); Jennie Faber (Dames Making Games); Corrine Briseboise (DHL Canada); Mia Nielsen & Erica Lefaive (Drake Art); Justin Lovell (Frame Discreet); Henry Farber (Gamma Space); Sven Pinczewski (Goethe-Institut Toronto); Phil Hoffman (Independent Imaging Retreat); Jason Ryle & Daniel Northway-Frank (imagineNATIVE); Chris Kennedy & Renata Mohammed (LIFT); Sara Diamond (OCADU); Penny McCann (SAW Video); Luis Ferreira (Sheridan College); Tim McLaughlin (Steam Whistle Brewing); Susan Shackleton (Super 8 Hotel); Vanessa Runions (TD Bank Group); Chris Chin (Toronto Reel Asian Int’l Film Festival); David Plant (TSV); Kass Banning (U of T Cinema Studies); Deirdre Logue (Vtape); Rob Sandolowich & Dwayne Slack (Westbury); Barbara Evans, Ali Kazimi, & Brenda Longfellow (York University).

A HUGE thanks to our indispensable local and national colleagues Margie Zeidler (401 Richmond); Daniel McIntyre (the8fest); Emelie Chhangur (Art Gallery of York University AGYU); Brian Hunter (Border Crossings); Kate Monro (C Magazine); Nicholas Brown (Canadian Art); Martin Heath (CineCycle); Jennifer Scott (Cinemascope); David Burkes (David Burkes CA); Sylvia Nowak & Katy McCormick (DocNow Festival); Shannon Cochrane (FADO); Leila Timmins & Noa Bernstein (Gallery 44); Eyan Logan (Innis Town Hall); Charlotte Selb (Hot Docs); Andrew Murphy & Winnie Luk (Inside Out); Ben Donoghue & Adriana Rosselli (MANO); Julia Paoli & York Lethbridge (Mercer Union); Matthew Hyland (Oakville Galleries); Kelly Neall (OIAF); Dr. Blake Fitzpatrick (School of Image Arts, Ryerson University); Heather Kelly (The Royal Conservatory); Simon Vidoczy (The Royal Cinema); Allan Lochhead (Slate Art Guide); Pablo de Ocampo (Western Front); Scott Miller Berry (Workman Arts); Emily Gove (Xpace Cultural Centre); Tiffany Schofield & Dorica Manuel (Y+Gallery); Young Associates; Ana Barajas (YYZ Artists’ Outlet).

And thanks to the following international organizations James Latimer (Berlinale); Dennis Lim (Film Society of Lincoln Center); Julian Ross & Maaike Gouwenberg (International Film Festival Rotterdam); Christopher Y Lew (Whitney Museum); Susanna Callegari (Greene Naftali Gallery), Sybel Vazquez (The Third Line); Nick Irvin (Galerie Buchholz); Ekrem Serdar (Squeaky Wheel); Yuki Aditya, Hafiz Rancajale (ARKIPEL); Victoria Brooks (EMPAC); Shai Heredia (Experimenta India); Benjamin Cook & Matt Carter (LUX); Rebecca Cleman (Electronic Arts Intermix); Garbiñe Ortega (Punto de Vista), Oona Mosna (Media City Film Festival).

And the following individuals Jon Davies, Michael Connor, Sunny Kim, Alex Nagy, and all of our festival volunteers and interns.

Special thanks to the Founding Board of Directors of the Images Festival Richard Fung, Marc Glassman, Annette Mangaard, Janine Marchessault, Paulette Phillips, Kim Tomczak, and Ross Turnbull. Canadian Artist Spotlight 2017: Deirdre Logue. photo by Sardar Farrokhi 20 Public Programming and Education Public Programming and Education 21

Schedule of refreshments. Missed a program or Public Programming Sat 14 April, 12–2 PM Mon 16 April, 3–5 PM Exhibition Openings Purchase tickets at simply want to revisit one and Education Walking tour of Super 8 Panel Discussion: oakvillegalleries.com of our screenings? On Hotel and 401 Richmond Public Intimacies Thu 15 March, 7–9 PM Screen content will be Sat 7 APRIL, 2–5 PM Meet at the Super 8 Hotel The Commons Gallery TPW Thu 12 April, 7–11 PM publicly available at the Workshop: lobby. A conversation between Biologue p. 33 Mercer Union, a centre Mediatheque. Soft Turns Join writer and curator Jon Wang, Dani Restack, for contemporary art and Serena Lee Daniella Sanader on and Sheila Restack, our Fri 23 March, 6–8 PM Black Friday p. 42 Images Research Forum 8eleven Gallery a public walking tour featured artists at the Gallery 44 Soft Turns and artist starting at the Public Super 8 Hotel moderated Communicating Vessels Fri 13 April, 4:30–7 PM The Images Research Serena Lee will lead Intimacies exhibition by Richard Fung. p. 43 p. 35 Vtape Forum returns again. This a tactile, discursive at the Super 8 Hotel Steve Reinke: Rib Gets in educational initiative takes workshop on digital (p. 43) continuing to 401 Tue 17 April, 3–5 PM Wed 4 April, 7–11 PM the Way p.41 place during the festival. materialism. They Richmond, including YYZ Artist Talk: 8eleven Gallery consider the “critical Artists’ Outlet (p. 34), Onyeka Igwe and PLANT/PIXEL p. 36 Sat 14 April, 12–6 PM Understanding the need zone” at the scale of Trinity Square Video Aliya Pabani Super 8 Hotel to support the creation bodies—straddling (p. 37), Gallery 44 (p. 35) The Commons Fri 6 April, 6–8 PM Public Intimacies p. 43 and dissemination of metaphor and literal and Vtape (p. 41). A talk by artists Onyeka Trinity Square Video critical thinking and embodiment—drawing Igwe and Aliya Pabani Corrections p. 37 Sat 14 April, 2–3 PM dialogue, Images Festival from material processes Sat 14 April, 3–5 PM as they expand on their YYZ Artists’ Outlet is inviting undergraduate of recycling and Artist Talk: project Corrections on Fri April 6, 7–10 PM When Things Occur p. 34 and graduate students to circulations of internal Oraib Toukan view at Trinity Square Xpace Cultural Centre explore contemporary energy in tai chi. The Commons Video. p. 37 Expedition: Elsewhere Wed 18 April, 6–9 PM moving image culture A conversation with Oraib p. 38 Art Gallery of York within the context of FRI 13 APRIL, 3–5 PM Toukan, our featured artist Wed 18 April, 1–4 PM University (AGYU) the festival and with Artist Talk: at YYZ Artists’ Outlet, Images Research Forum Sat 7 April, 7–10 PM Bárbara Wagner & mentorship from leading Annie MacDonell and about her video When The Commons. p. 20 Y+ contemporary Benjamin de Burca p. 44 international curators, Maïder Fortuné Things Occur. p. 21 to prepare for a longing, artists, and researchers Gallery 44 Fri 20 April, 8:30 PM an itch p. 39 Festival Hub and in the field. A conversation between Sun 15 April, 3–4 PM Awards Ceremony A free bus will be the Mediatheque the artists about their ex- Lecture: Innis Town Hall available at the Art Gallery Canadian Art hibition Communicating Erika Balsom Join us on Closing of Ontario at 7 PM. Please This year our festival hub Spring School Hop Vessels. Innis Town Hall Night for our annual arrive 15 minutes early to and Mediatheque will be A lecture by writer Images Festival Awards ensure seating. at the newly renovated For the tenth year, Images Fri 13 April, 6–7 PM and scholar Erika Ceremony, where our The Commons on the 4th Festival is pleased to Artist Talk: Balsom entitled: “Mere” hard-working jury reveals Sun 8 April, 2:30–5 PM floor of 401 Richmond. partner with Canadian Steve Reinke Recording? Documentary, their selections of this Oakville Galleries We’ll be open every day Art for its annual School Vtape Contemporary Art, and year’s winners! p. 17 Sara Cwynar p. 40 during the festival from Hop, which introduces A talk by our Canadian the Orthodoxy of Ecstatic ARTbus pick-up and 12–5 PM, except Sun 15 Toronto-area high school Artist Spotlight: Steve Truth. p. 62 drop-off at Ryerson April and Fri 20 April. students to contemporary Reinke, preceded by the Image Centre. visual art! exhibition reception and $10 donation includes screening of his work Rib transportation to all Visit canadianart.ca for Gets in the Way (2014). galleries and afternoon more information. an Ontario government agency un organisme du gouvernement de l’Ontario EXCLUSIVE WEWORKWITH CONTENT

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october 10 - 21, 2018 MINDSET : EXPOSURE call for submissions now open! OPENING MAY 23, 6-9PM no submission fees & artists fees paid! MAY 20 - JUNE 2 www.workmanarts.com ARTSCAPE YOUNGPLACE Off Screen 31 ROAM FREE.

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*Valid only for the Toronto City Center, ON (15417). © 2018 Super 8 Worldwide, Inc. All rights reserved. All Super 8 hotels are independently owned and operated. Sophia Al-Maria, Black Friday, 2016 32 Off Screen 3 March–31 May Off Screen 15 March—21 April 33

Havarie Biologue

Germany, 2016 Philip Scheffner Trisha Baga USA, 2018 93 min Havarie traces a complex network of political, geographic, and affective relations With Biologue, American artist Trisha Baga extends her recent work into a new Gallery TPW Goethe-Institut orbiting around a visible centre: a three-minute YouTube video of a tiny boat 170 St Helens Ave Toronto two-part video installation. Throughout the work, cells subdivide via mitosis, Tue–Sat 12–5 PM Goethe Media Space jammed full of refugees attempting passage to Europe. Stretched to feature length, languages collapse into phonemes and misheard sounds, objects dissolve into 100 University Ave each of its frames displayed as a discrete object, the visual material accumulates detritus, and digital images shatter into pixels and artifacts. While preoccupied with Reception North Tower, 2nd Fl a density of meaning as the audio track becomes populated with a cast of voices, these processes of fragmentation, Baga is equally invested in reassembling and Thu 15 Mar, 7–9 PM Tue 1–6 PM including passengers on both crafts—the refugee boat, and the luxury cruise ship recombining their elements into new narratives. Wed–Thu 3–7:30 PM Co-curated and from which the video was shot. An Algerian woman living in France speaks about Sat 9:30 AM–1:30 PM co-presented with her decade-long immigration and her imminent deportation; a Ukrainian cargo ship Biologue collages video footage of the artist’s family road trip through the Gallery TPW. Co-presented by captain reflects on his separation from his family and the political tensions among Philippines, audio from Hollywood soundtracks, and objects both readymade and Goethe-Institut the transnational crew; while other migrants speak about their desire for Europe, hand-crafted. A circuitous journey that reflects how culture and its signs travel Toronto, Hot Docs, the things they are fleeing, and their repeated attempts at passage. (The extreme, and ScotiaBank and shift, Baga’s work alludes to Philippine history and the layers of colonialism the CONTACT near-geologic temporality of the image registers visual events as tectonic shifts, country has endured, and considers the resulting cultural and aesthetic osmosis Photography Festival. while what is visible becomes increasingly entangled in an ever-more expansive and through repeated translations and mistranslations. open web of relations.) Havarie is both a document of Afro-European migration and a formal experiment in documentary aesthetics. Baga collapses disparate spaces and languages, creating an immersive 3D-video environment that playfully explores the promise of “immersion” across both physical and virtual spaces. Biologue invites viewers to become subsumed in its flows, and to make meaning from simultaneous but diverging sensory and perceptual experiences. 34 Off Screen 17 March–28 April Off Screen 23 March–28 April 35

When Things Occur Communicating Vessels

PALESTINE/UK, 2017 Oraib Toukan Annie MacDonell and Maïder Fortuné Canada, 2018 28 MIN Curated by Leila Timmins When Things Occur is based on Skype conversations with Gaza-based Gallery 44 YYZ Artists’ Outlet photographers, fixers, and drivers who were behind specific images that were 401 Richmond St W 401 Richmond St W Communicating Vessels is a newly commissioned work consisting of writing, Suite 120 Suite 140 transmitted from screen to screen in the summer of 2014. The film probes the face video, and sculpture produced in collaboration between Annie MacDonell and Tue–Sat 11 AM–5 PM Tue–Sat 11 AM–5 PM of mourning and grief—its digital embodiment, transmission, and representation. Maïder Fortuné. Following the premise that water will always find its level, the It asks how the gaze is channelled within the digital realm, and how empathy travels term Communicating Vessels describes the way liquid moves between conjoined Reception Reception Fri 23 Mar, 6–8 PM digitally. Equally, how the documentary signifier—and its abstraction—operates containers: gravity and pressure conspire to keep the surfaces aligned, pulling the Sat 14 Apr, 2–3 PM when viewing suffering. What exactly is viewing suffering “at a distance”? How many shared liquid back and forth until the separate vessels come into balance. Like the Co-presented by Co-curated and metres or kilometres is that? What is the behaviour and political economy of war relationship between a mother and a child or fluid passed from mouth to mouth, Gallery 44 with co-presented by imagery? Who is the “local” in the representation of war? What is the daily routine of meaning, intention, and understanding constantly flow back and forth between us. additional support YYZ Artists’ Outlet. those who represent war? It is the fundamental connectedness of all things, how ideas migrate and shapes shift, from Partners in Art, –Oraib Toukan The French Consulate, and the possibility of individuation without individualism. Bringing together fictional Trinity Square narrative, personal anecdote, and private conversation, Communicating Vessels Video, and Artscape explores how we infect and influence each other in ways that are both positive and Gibralter Point. negative, yet always urgent and necessary. –Leila Timmins

Oraib Toukan will give an artist talk on Sat 14 April. p. 21 Annie MacDonell and Maïder Fortuné will be in conversation on Fri 13 April. p.21 36 Off Screen 4 April–22 April Off Screen 6 April–28 April 37

PLANT/PIXEL Corrections

CANADA, 2018 Soft Turns Onyeka Igwe and Aliya Pabani CANADA/UK, 2018

8eleven Gallery Designated as the “Critical Zone” by environmental scientists, the immediate area The Central East Correctional Centre in Lindsay, Ontario administers restrictions on Trinity Square Video 888 Dupont St 401 Richmond St W Thu–Sun 12–5 PM one metre above and below the surface of the Earth has become the focus of intense materials that can be sent to detainees. Among the forbidden items are photographs Suite 121 study in recent years. Recognition of its astonishing complexity has necessitated of any correctional institution/facility­—a restriction Igwe and Pabani chose to subvert. Tue–Sat 12–6 PM Reception cross-disciplinary collaboration between previously isolated natural sciences in the Wed 4 Apr, 7–11 PM field. In the lab, scientists maintain controlled environments, isolating all variables, Corrections originates from a series of lenticular postcards depicting correctional Reception Fri 6 Apr, 6–8 PM shutting out interference. Similar controls are used in tests for managing future facilities that Igwe and Pabani sent to the Central East Correctional Centre. Correspon- Co-presented by 8eleven Gallery with greenhouses remotely in outer space. dence that violated this policy was returned to the artists, accompanied by a form Co-presented by additional support from the Ontario Ministry of Community Safety and Correctional Services and hand- Trinity Square Video. from the School Substrates, moulds, and plants in outer space are only some of the elements that come written notes by the mailroom employee tasked with deciding what constitutes an of Environmental together in PLANT/PIXEL—an exhibition by Soft Turns, the collaborative effort of artists admissible representation of a correctional facility. The services of a graphologist were Sciences Residency Program at the Sarah Jane Gorlitz and Wojciech Olejnik. Their video-centric installations closely look employed by the artists to develop psychological profiles of this employee based on University of Guelph. at the small human gestures and intimacies that make up daily life. Thinking through the their handwriting. “Critical Zone” by centring elements that make it up, they access other contentious sites of human interaction—on Earth, in soil, in space, and in the ever-expanding digital The exhibition includes a multi-channel video installation that charts the correspon- and virtual realms. Taking over the basement space of 8eleven, Soft Turns will present dence of images and text from the year 2000 to the speculative 2025, reflecting an expansive installation where they create encounters between the material and the adaptations to the function and purpose of incarceration over space and time while digital to better understand the world around us. questioning the limits of visual representation. –Soft Turns –Onyeka Igwe and Aliya Pabani

Soft Turns will have a workshop on Sat 7 April. p.21 Onyeka Igwe and Aliya Pabani will be in conversation on Tue 17 April. p. 21 38 Off Screen 6 April–5 MAY Off Screen 7 April–28 April 39

Amanda Low, originofthe.net, 2017 Expedition: Elsewhere to prepare for a longing, an itch

CANADA, 2018 Sonia Beckwith-Cole, Dylan Glynn, Kai Lumbang, Asunee Kira Reau, and Nicole Ji Soo Erika DeFreitas Canada, 2018 Guest curated by Amanda Low and Philip Ocampo Xpace Cultural An exhibition about objects and bodies. Of objects of character and marrow, and Y+ contemporary Centre 1345 Morningside Ave 303 Lansdowne Ave As demonstrated by the fantastical worlds created by studio giants, animation is bodies of her. In multiples. Of fingertips and overgrown cuticles. I suppose. A draft of Unit 15, Scarborough Unit 2 a powerful exploratory tool that allows viewers, for a brief moment, through their a draft of how to think about what is there and what is there and not. A language for Fri–Sat 12–5 PM Tue–Sat 12–6 PM screens, to imagine worlds beyond their own. The ever-changing stylization of translating a pause in gesture and what history punctures and movement punctuates. or by appointment characters, objects, and environments continuously presents us with alternate Reception Reception realities. What happens when you take this grandeur and extend it beyond the single- There is just so much space for these objects that sit and watch before directing. Fri 6 Apr, 7–10 PM Sat 7 Apr, 7–10 PM channel screen and into three dimensions? What happens when the viewer becomes The slipping of peony petals between fingers and open wounds. All lining the mouth bus details on p. 20 Co-presented by the explorer? Expedition: Elsewhere moves the viewing experience beyond the act as a spectre. A spectre of gesture. A recital. A rewriting of scores inherited from the Xpace Cultural of just gazing: spatial integration allows the animator to transport the body into the hands that tended gardens and those that fell limp upon rendering. Intrusions and Co-presented by Centre. realities they create, and to inspire awe and wonder on a more expansive scale. auras. Perhaps this exhibition is about these objects and bodies. Y+ contemporary.

Expedition: Elsewhere aims to take advantage of animation’s ability to push the –Erika DeFreitas boundaries of reality with five artworks that reach beyond the perceived limitations of the medium. to prepare for a longing, an itch is a solo exhibition of new work by the multi- –Amanda Low and Philip Ocampo disciplinary conceptual artist Erika DeFreitas. Comprised of collage, video, and photography, the exhibition explores the artist’s interests in collecting and archiving as a means of understanding post-memory, hauntology, and the enduring presence of loss. In conjunction with the exhibition, the artist will be in residence at Y+ contemporary from January through March 2018. 40 Off Screen 8 April–3 June Off Screen 12 April–11 May 41

Sara Cwynar, Tracy (Chanel), 2017

Sara Cwynar Rib Gets in the Way

CANADA, 2016–2018 In her first museum exhibition in Canada, Vancouver-born artist Sara Cwynar Steve Reinke (with Jessie Mott) CANADA/USA, 2014 presents her acclaimed works Soft Film (2016) and Rose Gold (2017) alongside the 52 MIN Oakville Galleries debut of her newest film. Through her canny use of voice-over, fast-moving collage, In his 30 years as a maker of moving images, Steve Reinke has never hesitated to Centennial Square Vtape 120 Navy St, Oakville and footage of the artist herself working in the studio, Cwynar’s densely layered films show all and tell all. Reinke speaks to the body, to death, and to this certainty about Bachir/Yerex Tue–Thu 11 AM–9 PM sift through a range of subjects of unmistakable relevance to our current image- the end that gives shape to our lives. Presentation Space Fri 12 PM–5 PM saturated moment, including the circulation and value of objects over time, the 401 Richmond St W Sat 10 AM–5 PM potent emotional and aspirational charge of material consumption, our relationship Rib Gets in the Way is Reinke at his most epic—his irreverence so monumental it Suite 452 Sun 1 PM–5 PM Mon–Fri 11 AM–5 PM to technology and advertising culture, and colour as an object of desire. Cwynar’s almost reads as normal. Reinke presents us with an animated version of Friedrich Sat 11 AM–5 PM Reception photographic works, also on view here, expand on these themes, asking critical Nietzsche’s Thus Spoke Zarathustra, a parable on the death of god. He also Sun 8 Apr, 2:30–5 PM questions about the power politics at play in the distribution and consumption of illuminates Kanye West’s “Blood on the Leaves”, which leads with Nina Simone’s Reception bus details on p. 20 images and things. cover of “Strange Fruit”, and combines it with a text that reads like a stream of Fri 13 Apr, 4:30–7 PM consciousness from a linguist performing an autopsy. The video is a mixture of Co-presented by Co-curated and Oakville Galleries. appropriated clips—a lecture by Jacques Lacan from YouTube, a George Kuchar co-presented by video, macro close-up flowers in super slow motion—and his own footage, all Vtape. accompanied by Reinke’s signature voice-over, combined with precisely chosen pop music clips whose lyrics command the viewer to “Come outta your body” and “Go missing.”

The exhibition at Vtape will also include a number of Reinke’s recent text drawings.

—Lisa Steele Steve Reinke will give an artist talk on Fri 13 April. p. 21 42 Off Screen 13 April—2 June Off Screen 14 April–16 April 43

Sophia Al-Maria, Black Friday, 2016 Jon Wang, From Its Mouth Came a River of High End Residential Appliances, 2018

Black Friday Public Intimacies

Qatar/UK, 2016 Sophia Al-Maria Jon Wang, Dani Restack, and Sheilah Restack Super 8 Hotel 222 Spadina Ave Mercer Union, Sophia Al-Maria’s exhibition Black Friday foregrounds the artist’s ongoing investiga- Public Intimacies is an exhibition of moving image installations taking place in hotel Sat–Mon 12–6 PM a centre for contemporary art tion into the accelerated development of the Gulf Nations and the sobering signs of rooms at the Super 8 Hotel in Toronto’s Chinatown. Speaking to the boundaries be- Reception 1286 Bloor St W a hyper-capitalist future to come. tween public and private space, the works challenge our notions of domesticity and Sat 14 Apr, 12–1 PM Tue–Sat 11 AM–6 PM contemplate themes of intimacy, expressions of sexuality, desire, and identity. The large-scale single-channel video installation Black Friday (2016) features hyp- Co-presented with Reception Toronto Design notic renderings of Qatari shopping malls that are often distorted and refracted, From Its Mouth Came a River of High End A Hand in Two Ways (Fisted) Thu 12 Apr, 7–­11 PM Offsite Festival, Art Residential Appliances Dani Restack and Sheilah Restack creating a dizzying disorientation of space. Through its vertical projection, booming Spin, and Toronto Reel Jon Wang USA/CANADA, 2017, DIGITAL VIDEO, 7 MIN Co-curated and soundtrack, and ominous voice-over, the work offers a distinctly apocalyptic take on Asian International HONG KONG/USA, 2018, DIGITAL VIDEO, 22 MIN A two-way portrait composed from a series of co-presented by Film Festival. the mall as a consumer sanctuary. Al-Maria’s likening of the mall to a sacred temple is At the edge of Hong Kong, high rise buildings intimate and banal excerpts from the artists’ Mercer Union, linked to her decade-long examination of Gulf culture with its ideological mistrust of stand as gates to the city’s frontiers. A series of lives together, we are sent through a looping a centre for rectangular voids are designed to allow for the meditation of bodily encounters. Guided by a contemporary art, Western values and simultaneous embrace of American-style consumerism. In 2007, passage of dragons. This contemporary archi- collective intuition, a fluid movement begins and presented in Al-Maria coined the phrase “Gulf Futurism” to describe the coexistence of these tectural manifestation of “feng shui” prioritizes through opaque landscapes of flesh, into partnership with cultural extremes and the dystopic future that they profess. the flow of energy between the natural and nocturnal mystery, and erotic expressions. Scotiabank CONTACT built environments. A buoyant camera takes Photography Festival. Black Friday will be paired with The Future was Desert, Parts 1 & 2 (2016), a two- the audience on a passage through these holes channel video that pays homage to the desert as a harsh fictional landscape, as a disembodied voice meditates on the serving as an impending site for human civilization. By pairing the two works, desire for queer futures. the exhibition depicts Al-Maria’s imagined Gulf future—one that is punctuated by prophetic isolation. Jon Wang, Dani Restack, and Sheilah Restack will be in conversation with Richard Fung on Mon 16 April. p. 21 44 Off Screen 18 April–24 June

Bárbara Wagner & Benjamin de Burca, You Are Seeing Things (Still: Dayana Paixão), 2016

Bárbara Wagner & Benjamin de Burca

Brazil/GERMANY Curated by Emelie Chhangur

Art Gallery of York Bárbara Wagner and Benjamin de Burca’s work celebrate—and reframe—vernacular University (AGYU) Accolade East Building cultural forms as they manifest through time: as popular traditions become pop 4700 Keele St culture. The artists examine how cultural forms of the past adapt in response to Mon–Fri 10 AM–4 PM changing economic conditions—particularly in emerging economies or post-colonial Wed 10 AM–8 PM geographical contexts—and where popular genres persist through cultural mixing and Sun 12–5 PM diasporic re-fashioning.

Reception Wed 18 Apr, 6–9 PM Their practice looks to how performative forms of colonial cultural resistance in Brazil’s northeast—such as capoeira—continue today in revised expression, such as Co-presented by in frevo, the subject of their film Set to Go. For the film’s protagonists, self-fashioning the AGYU, a Primary Exhibition of the becomes a means of economic and social survival. This subtle cultural re-valuing Scotiabank CONTACT is a key concept behind the film You Are Seeing Things that features members of Photography Festival. Recife’s brega scene, a once regional musical genre that has since broken into the global music industry via social media. Straddling the border of documentary and fiction, the artists have developed a subtle system of pointing that reveals rather than classifies. In the slippery spaces between the staged and the actual, the gendered, racialized, and socio-economic contexts of the subjects emerge. And, it is precisely there that the self-generated strategies of visibility and subversion between the fields of pop culture, high art, and tradition are performed anew. —Emelie Chhangur BFA | MFA | MA | PHD Mel Hoppenheim School of Cinema FILM GRAIN & PIXEL Concordia.ca/cinema

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EXPLORING ART THROUGH TECHNOLOGY

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Steve Reinke and James Richards, What Weakens the Flesh is the Flesh Itself, 2017 54 ON Screen Thu 12 April, 7 pm opening NIGHT FEATURE ON Screen Fri 13 April, 5 PM SHORTS PROGRAM 55

Patrick Staff, Weed Killer, 2017 Korakrit Arunanondchai, With History in a Room Filled With People With Funny Names 4, 2017 Communing with Others

Art and Theft Weed Killer Sara Magenheimer Patrick Staff USA, 2017, DIGITAL VIDEO, 7 MIN UK/USA, 2017, DIGITAL VIDEO, 17 MIN Framed within a countdown of the time it takes Weed Killer orbits around a poignant to rob a house, Magenheimer brings together a monologue that draws from Catherine scene from Scorsese’s After Hours, outtakes of a Lord’s memoir The Summer of Her reporter filming outside Trump Tower, and details Baldness, recounting her experience from a Hieronymus Bosch painting to examine the with breast cancer and the effects of construction and manipulation of narrative across chemotherapy. Thermal imaging is used media. as a visual metaphor for the extent to SHAKEDOWN which bodily experience, and threats Classified Digits to it, are invisible to the naked eye. Staff 72 MIN Leilah Weinraub Christine Sun Kim and Thomas Mader composes vibrant expressions of illness, 54 MIN GERMANY, 2016, DIGITAL VIDEO, 6 MIN aging, and queer identity, climaxing in a USA, 2017, DIGITAL VIDEO, 72 MIN The Royal Cinema Through a playful performance, Kim and Mader performance by artist Jamie Crew. Innis Town Hall 608 College St reflect on nuances in communication expressed University of Toronto, Propelled by pulsing beats and lyrical visuals, SHAKEDOWN is an intimate time in American Sign Language. Details such as shapes With History in a Room Filled With 2 Sussex Ave $15 general admission capsule of a weekly party founded by and featuring African American women in and sizes are relayed through “classifiers,” and the People With Funny Names 4 $10 students, seniors, Los Angeles’ underground lesbian strip club scene in the early 2000s. This party was index finger indicates a single person. This digit is Korakrit Arunanondchai $12 general admission mobilized to explore commonly experienced Thailand/USA, 2017, DIGITAL VIDEO, 24 MIN underemployed a crucial community-organized space of queer expression where black women’s $6 students, seniors, Ticket price includes social situations. Arunanondchai’s video expresses the underemployed desires, power, and autonomy were centred. Weinraub, a participant and member entry to Opening contemporary global condition through Night Party. of this community, began documenting the party’s events, backstage banter, and the scaled vantage of the drone spirit Co-presented in unforgettable performances when she started attending in her early twenties. Chantri, voiced by the artist’s mother. partnership with Co-presented in The film combines Weinraub’s footage with archival material and party posters, Narrated in a poetic style reminiscent Rendezvous with of Chris Marker’s Sans Soleil, the work partnership with and includes up-close portrayals of several of the key figures, including creator and Madness and Buddies in Bad Times surveys political unrest across the Canadian Art. Theatre, Inside Out emcee Ronnie-Ron, star dancers Egypt and Jazmine, and the mother of the scene, world, symptoms of the Anthropocene, Festival, The Rude Mahogany. SHAKEDOWN shares the unique cultural expressions of this community, and interspecies relations, all the while Collective, Unit 2, and which have often been appropriated by mass culture, yet are rarely seen and shown circling back to the personal with reflections on Arunanondchai’s family Hot Docs. on their own terms. history and his aging grandmother. The work affectively communicates the invisible relations that bind our shared existence on the planet, and is held together by the rhythm of breath.

Followed by Opening Night Party at Unit 2. 56 ON Screen Fri 13 April, 7 pm MID-LENGTH PROGRAM LIVE Fri 13 April, 10 Pm Performance 57

James N. Kientiz Wilkins, Mediums, 2017 Photo by Lucy Raven

Mediums Bullet Points for a Hard Western

67 MIN Mediums Preceded by (after Walter De Maria) 60 MIN James N. Kientiz Wilkins Sex Without Glasses Innis Town Hall USA, 2017, S16MM on DIGITAL VIDEO, 38 MIN Lucy Raven and Deantoni Parks Toronto Media Arts University of Toronto, Exhausting the logic of the medium Ross McLaren Centre (TMAC) USA, 2018, performance, 60 MIN 2 Sussex Ave shot, Mediums depicts a series of CANADA, 1983, 16MM, 12 MIN 36 Lisgar St subjects participating in the voir dire A playful examination of the artifice of cinematic $12 general admission process as potential jurors in the space, Sex Without Glasses forefronts the Artist Lucy Raven and musician Deantoni Parks come together in this live $15 general admission background by centering the rear-projection $6 students, seniors, American legal system. The dialogue is performance and film screening inspired by the artwork and music of $10 students, seniors, underemployed composited and culled from an array of process shot. Figures inhabit various scenes underemployed Walter De Maria. Originally commissioned by DIA, Bullet Points for a Hard found texts including technical literature including a busy urban street, the beach, a rainy Co-presented in from the internet, a jury selection garden, and the classic driving shot in this intriguing Western is an evolving response to the artist’s work, in particular his films— Co-presented in partnership with pamphlet, an automotive manual, formal experiment. including Hard Core (1969), which will be screened here in its entirety, and partnership with Montreal International a union constitution, a fast food franchise TMAC, Drake Art, Dear Phone for which De Maria composed the score—and his early percussion work Documentary Festival contract, a health insurance FAQ, and and MusicWorks. Peter Greenaway with the proto-Velvet Underground band The Primitives. and POV. blog posts. Channelling this content, UK, 1977, 16MM, 17 MIN the characters function as mediums A series of humorous incidents involving the use themselves, sharing advice and a sense —Lucy Raven and misuse of public telephones—all featuring of civic duty with their fellow citizens. characters with the initials H.C.—is narrated over a montage of banal depictions of phone booths. Greenaway’s classic performs a critique of the arbitrary relationship between text and image. 58 ON Screen SAT 14 APRIL, 5 pm SHORTS PROGRAM ON Screen Sat 14 April, 7 pm FEATURE 59

Karrabing Film Collective, Wutharr, Saltwater Dreams, 2016 Hiwa K, View from Above, 2017 Space Without Path or Boundary

View from Above Sangre Seca Hiwa K Colectivo los Ingrávidos GERMANY/IRAQ, 2017, DIGITAL VIDEO, 12 MIN MEXICO, 2017, 16MM ON DIGITAL VIDEO, 9 MIN In 1991, the Kurdistan region was considered a safe Various historical moments of political zone by the UN, and many European countries activism in Mexico are layered together only granted refugee status to those coming from and corroded on the emulsion of expired unsafe zones. An anonymous narrator recounts the film. Footage from the International experience of a refugee who is under interrogation Women’s Day in 2017 is coupled with for asylum. Learning to forget where he comes from, the recording of a powerful speech that he adopts a map of a fictitious place instead. speaks to the gruesome aftermath of the 2006 civil unrest in San Salvador Atenco. The Rare Event Anti-Objects, or Space Without Path or Boundary Sky Hopinka Wutharr, Saltwater Dreams 63 MIN Ben Rivers and Ben Russell USA, 2017, DIGITAL VIDEO, 13 MIN Karrabing Film Collective UK/SWITZERLAND, 2018, S16MM ON DIGITAL VIDEO, 48 MIN 59 MIN Drawing from the theories of architect Kengo Kuma, AUSTRALIA, 2016, DIGITAL VIDEO, 29 MIN Innis Town Hall Hopinka unravels the physical and visual elements of The breakdown of a boat motor propels University of Toronto, Innis Town Hall two prominent structures in Portland that embody the retelling of an Indigenous ancestral The Rare Event revolves around a forum involving a Preceded by 2 Sussex Ave University of Toronto, a complex relationship to the Chinookan people story of sweat, land, and spirits through cast of notable thinkers, writers, artists, and critics 2 Sussex Ave who inhabit the same land. Entangled histories of a series of surreal re-enactments by $12 general admission gathered to imagine the possibilities of Résistance, Invocation of My Demon resistance emerge through the audio tapes of the extended family members. The story Brother $6 students, seniors, the unrealized sequel to Jean-François Lyotard’s $12 general admission last speakers of Chinuk Wawa, as these monuments unfolds across overlapping points of underemployed Kenneth Anger $6 students, seniors, are explored beyond their perceived physicality. view that intertwine the pressures from 1983 exhibition titled Les Immatériaux. Tasked UK, 1969, 16MM, 11 MIN underemployed the settler colonial state, the Christian with documenting the three-day “forum of ideas,” Co-presented in Almost 50 years since the faith, indigenous ancestry, and their day- partnership with collaborators Ben Rivers and Ben Russell intervene in conception of the film as Co-presented in to-day realities. Regent Park Film the philosophical discussion by gesturing toward the “an attack on the sensorium,” partnership with Invocation of My Demon Festival, Cinema promises of Lyotard’s conceptual project concerned Cinema Scope and Politica, Toronto Brother still retains the with the obverse side of communication: noise, Ottawa International Palestine Film Festival, possibility of “resistance” Animation Festival. and Squeaky Wheel. distortion, and magic. Through the use of a haptic through satanic manifestation surround sound mix that is often deferred and delayed and magic. in time, the circling presence of a “Green Man,” and the dense digital environments of artist Peter Burr, a parallel event begins to appear, one that wanders in and out of the discursive space and toward other dimensions of sensibility and experience. 60 ON Screen SAT 14 APRIL, 9:30 PM GUEST SHORTS program 61

Kent Monkman, Dance to Miss Chief, 2010 Shelley Niro, Overweight with Crooked Teeth, 1997

The Informants Sioux Ghost Dance Instant Identity Ritual ( x ) x + [ ( x ) x { x } x x ] { x } + W.K.L. Dickson and Thomas Guillermo Gómez-Peña and Kite Edison Gustavo Vázquez Oglala Lakota, 2016, PERFORMANCE, Guest curated program by Adam Khalil, Zack Khalil, and Jackson Polys USA, 1894, DIGITAL VIDEO, 1 MIN MEXICO, 2007, DIGITAL VIDEO, 2 MIN 15 MIN The piece takes the body Demands for indigeneity have long been entwined with efforts to erase and replace Welcome to the Third World Wawa into an environmental the Indigenous. Channelled through practices of salvage ethnography and “playing Guillermo Gómez-Peña Sky Hopinka simulation of the Oglala Lakota comsologyscape Indian,” subliminal attractions evince yearnings for a spectral indigeneity that is MEXICO, 2004, DIGITAL VIDEO, 2 MIN HO-CHUNK AND LUISEÑO, 2014, DIGITAL VIDEO, 6 MIN through four Lakota beings removed from actual Indigenous people. The relegation of Indigenous identities to Do Indians Shave? who have shaped space and the past denies the presence of bodies currently living on colonized land. Chris Spotted Eagle Auntie Beachress—Lakota time. It includes 12 sculptures, HUOMA, 1972, DIGITAL VIDEO, 10 MIN Language Challenge animation, sound, video, carbon fibre, costume, and Indigenous artists who participate in the art world of settler-colonial states are Tonia Jo Hall LAKOTA, 2015, DIGITAL VIDEO, 15 SEC movement. Developed expected to provide knowledge in a relationship similar to that between informant Alphabet City Serenade Diane Burns from an obsessive structure, 78 MIN and anthropologist. In our current period of existential and environmental catastro- OJIBWAY, 1992, DIGITAL VIDEO, 2 MIN Auntie Beachress—Only derived from source books phe, desires for Indigenous epistemologies increase and enterprising settlers labour Boring People Get Bored that attempt to qualify Oglala Innis Town Hall to extract this understanding as a natural resource. From an Indigenous perspective, Bizarre Thanksgiving Tonia Jo Hall religion into a simplified chart, University of Toronto, LAKOTA, 2015, DIGITAL VIDEO, 14 SEC this piece seeks a relationship this has palpable consequences, from romanticization and commodification to Performance Ritual 2 Sussex Ave Guillermo Gómez-Peña within the entanglement appropriation and cultural erasure. and Gustavo Vázquez Dance to Miss Chief between the body, lies, $12 general admission MEXICO, 2013, DIGITAL VIDEO, 2 MIN Kent Monkman fiction, oral history, mythology, $6 students, seniors, Within the entangled emergence of multiculturalism, neoliberalism, decolonialism, CREE, 2010, DIGITAL VIDEO, 5 MIN ethnography, and Lakota underemployed and self-reflexive anthropology, cultural apprehensions—which arise from fears of Auntie Beachress— religion. Music produced by Native Fantasy: Kite, Aerial. offense—imbricate and fuel stronger calls for Indigenous information and informants. Are You Looking at Me? Co-presented in Tonia Jo Hall Germany’s partnership with Many non-Indigenous people find ways to frame themselves as Indigenous, just LAKOTA, 2015, DIGITAL VIDEO, 15 SEC Indian Heroes imagineNATIVE Film as Indigenous people perform indigeneity themselves. If these tendencies are so Axel Gerdau, Erik Olsen & Media Arts Festival deeply entrenched in this nation’s self-image, can they be studied, manipulated, or Overweight with Crooked and John Woo and Critical Distance USA, 2014, DIGITAL VIDEO, 13 MIN employed by Indigenous people to catalyze an expansion of Indigenous agency, Teeth Centre for Curators. Shelley Niro amplifying the power of the informant? Can desires that push Indigenous people to MOHAWK, 1997, DIGITAL VIDEO, 5 MIN The Violence of a an ideal and irretrievable past instead be channelled to promote the imagining of Civilization Without Secrets Indigenous futures? Adam Khalil, Zack Khalil and Jackson Polys OJIBWAY AND TLINGIT, 2017, Through video and performance, The Informants will examine the desire for DIGITAL VIDEO, 10 MIN indigeneity in the myths, dreams, and political foundations of the so-called Americas. Border Interrogation Guillermo Gomez-Peña MEXICO, 2004, DIGITAL VIDEO, 2 MIN 62 LIVE Sun 15 April , 3 pm LECTURE ON Screen Sun 15 April, 5 pm MID-LENGTH PROGRAM 63

Kevin Jerome Everson, Tonsler Park, 2017 Moyra Davey, Hemlock Forest, 2016

“Mere” Recording? Hemlock Forest

60 MIN Documentary, Contemporary Art, and the Hemlock Forest Preceded by 56 MIN Moyra Davey Innis Town Hall CANADA/USA, 2016, DIGITAL VIDEO, 41 MIN Tower XYZ Innis Town Hall University of Toronto, Orthodoxy of Ecstatic Truth “I’m piecing together fragments because Ayo Akingbade University of Toronto, 2 Sussex Ave I don’t yet have a subject”—through this UNITED KINGDOM, 2016, 16MM ON DIGITAL VIDEO, 3 MIN 2 Sussex Ave Erika Balsom self-proclaimed process, Davey’s subject A poetic narration speaks to the imagined future of FREE is found as she meanders through her a young woman and her reflections on her changing $12 general admission city, as a group of women traverse their turf in At least since Okwui Enwezor’s Documenta 11 in 2002, documentary practices apartment, and through her thoughts, $6 students, seniors, Co-presented in carefully weaving together points of London’s Hackney to the repeated call to action: underemployed have been a prominent feature of contemporary art. But what idea of documentary partnership with resonance across disparate practices, “Let’s get rid of the ghetto.” University of Toronto has emerged from this context? This talk will propose that the denigration of films, and texts. Responding to Chantal Co-presented The Wind Sleeps Standing Up Cinema Studies surface appearances—a phobia of the descriptive capacities of “mere” recording— Akerman’s News from Home, both as a in partnership Sharlene Bamboat Institute. source of inspiration and to pay homage with SAVAC and is a key characteristic of the documentary turn in contemporary art. This line of CANADA/PAKISTAN, 2016, DIGITAL VIDEO, 12 MIN to the recently deceased filmmaker, C Magazine. argumentation proposes that the best access to reality occurs through artifice, Memory and biography are examined through Davey considers the film’s connections experiments in narration as Bamboat plays with and casts observational documentary as a bad object that naively indulges in illusory to herself and the experiences of those ambiguous boundaries between fact and fiction. transparency and uncreative copying. The talk will also situate these arguments close to her. This visual essay is woven Lists of personal preferences of various quotidian within a longer history of attacks on the mechanical reproduction of phenomenal inside the frame, with and through the textures such as pop culture, food, and sexuality artist’s lived space. reality in the intersecting histories of art and film, and, through a discussion of recent are described both in first and third person, artists’ practices that assert the primacy of lens-based capture, will question the sketching a constellation of clues to form a continuing viability of these arguments today, in our era of “alternative facts.” biography. Footage shot by the artist in Pakistan several years apart becomes both an indicator of image technology and a metaphor for memory. —Erika Balsom 64 ON Screen Sun 15 April, 7 pm MID-LENGTH PROGRAM LIVE SUN APRil 15, 9:30 pm MID-LENGTH PROGRAM 65

James Richards and Steve Reinke, What Weakens the Flesh is the Flesh Itself, 2017 Solveig Suess, AAA Cargo, 2018

What Weakens the Flesh is the Flesh Itself Excavated Narratives

64 MIN What Weakens the Flesh is the Flesh Itself This extraordinary series of photographs The Private Property Trilogy: Preceded by 82 MIN Steve Reinke and James Richards serves as the starting point for What A Survey of the Life and Films of C.B. Innis Town Hall UK/USA, 2017, DIGITAL VIDEO, 40 MIN Weakens the Flesh is the Flesh Itself Nicolás Pereda AAA Cargo Innis Town Hall University of Toronto, (2017), the second collaborative video MEXICO/USA/CANADA, 2018, CINEMA LECTURE, 37 MIN Solveig Suess University of Toronto, 2 Sussex Ave Before the Information Age we had three compo- by Steve Reinke and James Richards. The Private Property Trilogy is a UK/CHINA, 2018, DIGITAL VIDEO, 33 MIN 2 Sussex Ave nents to worry about: the mind, the body, the soul. This work is an extended meditation on performance lecture that surveys the life Following the expansion of infrastructure and $12 general admission Now we have a fourth—the archive—that we don’t the archive, masculinity, photography, and work of C.B., a multifaceted artist, distribution networks along the New Silk Road— $15 general admission $6 students, seniors, yet know how to worry about. The mind fades, the and the body. The double self-portrait is political activist, amateur archaeologist, the highly politicized trade corridor linking China $10 students, seniors, underemployed body rots, the soul is a fiction, but the archive per- redoubled, repeatedly: a mise en abyme. self-proclaimed anarchist, and creator of and Europe—AAA Cargo maps the the flow of underemployed sists and grows stronger. We are only learning how Self is lost as flesh proliferates, escaping a mining museum in the Northern Mexico human and non-human agents across this vast Co-presented in to relate to it now. death, returning as a thin image resonant desert. Stories of land rights and artistic landscape. Government efforts to facilitate and Co-presented in partnership with with desire and possibility. endeavors become inextricably linked expedite trade are countered by desert sand and partnership with Art Metropole, Vtape, The auto-erotic photography of Albrecht Becker as Nicolás Pereda poetically uncovers other environmental forces. Planet in Focus and and Toronto Queer (1906-2002) can serve as a model for this. Becker —Steve Reinke and James Richards the missing fragments of C.B.’s personal aluCine Latin Film Festival. was a production designer, actor, and photographer history. Bad mama, who cares Film + Media Arts imprisoned by the Nazis for homosexual behaviour. Preceded by Brigid McCaffrey Festival. He recorded his life, his travels, and the people USA, 2016, 16MM ON 35MM, 12 MIN around him fanatically. Voce di Testa Bad mama, who cares depicts the domestic Chris McCormack ecology of a geologist who has moved into a housing The Schwules Museum* holds a portion of his private UK, 2017 complex at the intersection of a rail yard and an archive: a series of staged self-portraits that demon- Reading performed by interstate. Looking from the outside in, the arid strate a profound exploration of genital modification Jean-Paul Kelly and Chris Curreri exterior landscape and seismic vibrations slowly and esoteric body tattooing. Over four decades, take over the interior, transforming the domestic Becker obsessively produced and then reworked Love and Torment—Albert Becker space into a tactile home. these photographs—through collage and darkroom Rosa Von Praunheim manipulation, duplicating and transforming. GERMANY, 2005, DIGITAL VIDEO, 14 MIN 66 ON Screen MON 16 APRil, 7 pm MID-LENGTH PROGRAM ON Screen MON 16 APRil, 9 pm Canadian Artist Spotlight 67

Chris Kennedy, Watching the Detectives, 2017 Steve Reinke, A Boy Needs a Friend, 2015

Watching the Detectives Canadian Artist Spotlight: Steve Reinke

58 MIN Watching the Detectives Preceded by The prolific and deeply personal practice which includes Reinke’s recent 68 MIN Chris Kennedy of Steve Reinke includes video, drawing, drawings and a projection of Rib Innis Town Hall CANADA, 2017, 16MM, 36 MIN Perfect Film needlepoint, photography, and writing. This Gets in the Way (2014), p. 41. Innis Town Hall University of Toronto, Photographs taken at the scene of the 2013 Boston Ken Jacobs University of Toronto, 2 Sussex Ave Marathon bombing serve as a screen onto which the USA, 1986, 16MM, 22 MIN program features many key video works from 2 Sussex Ave prejudices of anonymous internet commentators A readymade film concerning the his career, spanning from the early ’90s to the Atheists Need Theology, Too $12 general admission are projected. Kennedy’s Watching the Detectives assassination of Malcolm X, Perfect Film present, and from the various series he has CANADA/USA, 2016, DIGITAL VIDEO, 11 MIN $12 general admission $6 students, seniors, confronts the reverse side of the democratization is in equal parts a crucial document and a developed. Together, the works build upon $6 students, seniors, underemployed entailed by the mass availability and instantaneous radical gesture. By refraining from altering Joke (Version One) underemployed each other, deepening Reinke’s examination transmission of visual material. The result is a his source material (a set of interview CANADA, 1991, DIGITAL VIDEO, 5 MIN Co-presented in compelling metaphor for contemporary political reels used for a TV news broadcast, of themes of mortality, sexuality, the subcon- Co-presented in partnership with subjecthood—in a time when experts are mistrusted found “maybe in a Canal St. bin, I forget)”, scious, childhood trauma, queer identity, and Regarding the Pain of partnership with Art CFMDC and OCAD and “truth” is increasingly thrown into question, one Jacobs makes a powerful case in favour his various Freudian preoccupations. Formally, Susan Sontag (Notes on Camp) Metropole, Vtape, CANADA/USA, 2006, DIGITAL VIDEO, 4 MIN University. is ultimately forced to take up the role of amateur of the primacy of the document and the evolution of his visual style is evident, land- and Toronto Queer detective. against the rhetoric of the documenta- Film Festival. rist—the filmmaker not as artist but as ing at his signature cocktail—an amalgamation Anal Masturbation and Object Loss disseminator of images; the perfect film of original footage, appropriated imagery, and CANADA/USA, 2002, DIGITAL VIDEO, 6 MIN as non-film. hand and digitally rendered material, overlaid with his indelible, intimate narration. Squeezing Sorrow from an Ashtray CANADA/USA, 1992, DIGITAL VIDEO, 6 MIN

In addition to this program, the Canadian Hobbit Love is the Greatest Love Artist Spotlight features a screening of a new CANADA/USA, 2007, DIGITAL VIDEO, 14 MIN collaborative work with James Richards, A Boy Needs a Friend What Weakens the Flesh is the Flesh Itself CANADA/USA, 2015, DIGITAL VIDEO, 22 MIN (2017) (p.64), as well as an installation at Vtape, 68 Spotlight Essay Spotlight Essay 69

A machine to drain meaning from the world Until very recently, most queer people came of age with few visible models to forge themselves from and against, just a haze of shadows and whispers. We had to take by what was culturally on offer and make it speak our queer feelings as best we could.2 As Jon Davies the bodily urges that marked our genders and sexualities were verboten, we learned to identify with things that did not quite fit in or line up, like Dorothy’s magic ruby red slippers, the violent gusts blowing through Douglas Sirk’s Written on the Wind, or the deliriously atrocious performances of Maria Montez. Through the experience of the closet and, for some, of passing under society’s radar, we learned that surfaces were highly deceptive, and that even the most seemingly straightforward and innocuous representation likely hid depths of complicated feelings. Each cultural object or image could secret a damp, dark basement of desire.

Steve Reinke started his landmark series The Hundred Videos (1989–96) near thirty years ago; it was to stand as his work as a young artist. The short tapes, spanning several hours total, collectively act as a primer for how the then-adolescent medium of video allows any spectator (with the most modest technical means) to transform images according to their desires. The epic kicked off with Excuse of the Real, an evisceration of the documentary tradition and a Molotov cocktail lobbed into debates about the ethics of representing AIDS. In it, Reinke claims to be a filmmaker whose next project will take on the epidemic: “a close personal look at a guy dying.” As he tries to control life’s variables, including the timing of his subject’s inevitable demise, his “project risked degenerating into fiction.” For Reinke, documentary is imaginatively lazy, and deceptive in pretending that the world is self-evident and not distorted by the whims Steve Reinke, A Boy of the artist behind the scenes. It hides egos under an alibi of humanism and the Needs a Friend, 2015 miasma of social good. This is the “excuse of the real.”

“This is how it works. At bottom, at core, is a well or reservoir of primal impressions: images, words, gestures. This is cushioned by a layer of fluid anxiety. A piston, lubricated by anxiety, the false hope that things must make sense, be meaningful, forces up random unconscious material. And we are stuck, then, perpetually shuffling these bits around, forming them into unlikely scenarios, appalling stories, even as more primal bits are flung up.” –Steve Reinke1

I like to fancy myself to be post-biology, shunning the tired routine of reproduction and the burden of genealogical lineages for a queer chosen-family tree of the living and dead, real and fictional, that I’ve cultivated over four decades of life. While my birth certificate may attest otherwise, I prefer to imagine my parents as Valerie So- lanas and Andy Warhol, or my conception as a sordid encounter between a George Kuchar video (perhaps of his cat) and a haughty pronouncement by Susan Sontag. I have been made and unmade by the images and words that have consumed me. Steve Reinke, A Boy Needs a Friend, 2015 70 Spotlight Essay Spotlight Essay 71

Another provocation it offered: the image is not as important as what you do with it, as a catalyst for thought. Matching found and recorded images with Reinke’s distinctive voice-over, The Hundred Videos reveal him as a philosopher and fantasist mining the media archive for material to rub up against or violate. The image bank is not simply a pool of genetic material generative of our present-day psyches through acts of identification and refusal, but a flesh-and-blood, polymorphously perverse body to be poked and prodded like a scientific specimen. Images are libidinous, physical things. Through the dulcet, even hypnotic, tones of Reinke’s iconic voice-overs, his videos cleave away the meanings that have accrued to images through inertia. With the slate now cleared, they can be filled with the narrator’s singularly deviant projections. Reinke’s endgame was not about media literacy or critique, exactly, but something more primal. Watching Jeffrey Dahmer’s dad being interviewed by Oprah on TV, for example (in Box), we are coerced to think and feel certain platitudes that Steve Reinke, cement the moral order of the universe, right and wrong. Like a devil appearing on your Anthology of shoulder, Reinke’s voice seduces us to read such scenes against the grain, no matter American Folk Song, what depraved twists and absurd turns such frottage may take. 2004

Reinke’s hijacking of the “I” statement throughout his sprawling oeuvre replaces earnest sincerity with endlessly generative irony. Identity is not a stable position but always interiority before it calcifies. In his The Genital Is Superfluous: Final Thoughts, Series wrought in affective relation with an “other,” whether it be a disturbing YouTube clip or Four (2016), Reinke goes so far as to claim, “After all, the world is a cartoon in which one of Reinke’s many students and protégés such as Jean-Paul Kelly, Emily Vey Duke & images are free to roam phantasmically.” Ina Blom’s book The Autobiography of Video Cooper Battersby, Dani (Leventhal) Restack, and Christine Negus. Reinke’s work with suggests that this fluidity is inherent to the medium. She places analogue video’s status typically younger collaborators, most fruitfully with the Welsh artist James Richards, as a signal or “force” front and centre in her “life and times of a memory technology,” allows for precisely this encounter with difference toward creating the uncannily new. reminding us that no video image is fixed or stable. In What Weakens the Flesh Is the Flesh Itself (2017), Reinke and Richards push and pull at the body of the German production designer Albrecht Becker. Found in the While Reinke’s work has always been episodic, many of the components of the Final Schwules Museum* archives, this enigmatic figure, who had been imprisoned by the Thoughts evidence a sense of immediacy as if trying to catch but not freeze thought, Nazis for his homosexuality, performs in photographic self-portraits that detail the as images fade and aphorisms quiver across the many hours of his “last words.” In Rib extensive tattooing and extreme body modifications that he undertook before his Gets in the Way: Final Thoughts, Series Three (2014), he speaks of entering the archive death in 2002. He stands exposed between the two artists, who share the spectacle “and switch[ing] out one sign for another […] Possibilities emerge where meanings of his body across generations. are destroyed.” The Final Thoughts are particularly self-reflexive, charting their own coming into being, promiscuously trying out and discarding possibilities, and flirting Following several years of what Reinke now calls “Interim Videos,” Anthology of even more with the obscene than before. Such practices answer Reinke’s call to look American Folk Song (2004) emerged as a blistering, fragmented portrait of War beyond the big picture and break things down to the molecular level. Each disquieting on Terror-era America. It ushered in a suite of episodic works as ambitious as The image breaks down into a pixel, each pithy phrase into a word, and Reinke’s stream of Hundred Videos in that they will proliferate until his ultimate death. Each volume of video-thought continues apace. The corpse won’t stop talking. Final Thoughts thus declares its finality only to be followed by another, and another.

Reinke’s tapes are carefully scripted, and eventually this focus on writing grew to 1 Both the title and the epigraph are from 2 Simon Watney, “Queer Warhol,” Pop Out: encompass its next-of-kin, drawing. His 2005 anthology The Sharpest Point: Animation Reinke’s video Rib Gets in the Way: Queer Warhol, edited by Jennifer Doyle, at the End of Cinema, co-edited with Chris Gehman, announced how vital animation Final Thoughts, Series Three (2014). Jonathan Flatley and José Esteban Muñoz had become as a rubric for Reinke, a kind of ecstatic, protean spirit that video should (Durham: Duke University Press, 1996), 24. aspire to. Animation is a medium capable not only of transforming any image at will, but of imitating the speed and fluidity of thought itself, of capturing a kind of informe Rib Gets in the Way on view at Vtape. p. 41 72 ON Screen tue 17 April, 7 pm International Student Showcase 73

Caitlin Craggs, Are You Tired Forever?, 2017 Juanita Onzaga, The Jungle Knows You Better Than You Do, 2017 Caitlin Craggs, Are You Tired Forever?, 2017 Franz Milec, The Forms of Utility, 2017 Liminal States

Student curated program by Colin Rosati (OCAD University), Sahar Te (University of Toronto), and, Sara Wylie (Ryerson University)

This program visualizes the complexities of representation in order to question the The Forms of Utility The Jungle Knows You Are You Tired of Forever? role of spectatorship in our current complex, sociopolitical landscape. The filmmakers Franz Milec Better Than You Do Caitlin Craggs use moving image to render, erase, and bring into focus lives in liminal states. CZECH REPUBLIC, 2017, DIGITAL VIDEO, Juanita Onzaga USA, 2017, DIGITAL VIDEO, 6 MIN 9 MIN COLOMBIA, 2017, DIGITAL VIDEO, 20 MIN An exploration of the sensory Through montage, Franz Milec Two siblings make a journey through a portrait of the From bearing witness in the passenger seat or a drone’s-eye view, to the non-human explores the decorative into the Colombian jungle in filmmaker. This experience POV of the post-Anthropocene, cinematic conventions are upended in order to delve façades of modernist Zilina search of their father’s ghost. of an other through our senses architecture that was once into these liminal states. The moving image provides us with a window into another The haunted landscape underlines questions about home to a Jewish community begins to permeate their gender, sexuality, and the perspective that can facilitate empathy, poetics, entertainment, and voyeurism. prior to WWII. The Forms dreams as the spiritual world fluidity of perception. 73 MIN of Utility conflates visual recalls a violent past.

—Colin Rosati, Sahar Te, and Sara Wylie mediation, memory, and Ethnic Roots Innis Town Hall ideology projected onto a Animal Cinema Rah University of Toronto, Slovakian town. Emilio Vavarella CANADA, 2017, DIGITAL VIDEO, 5 MIN 2 Sussex Ave USA, 2017, DIGITAL VIDEO, 12 MIN Taking up film noir and

The Photograph Composed from YouTube YouTube video tutorials, Rah PWYC Fazila Amiri videos, Animal Cinema creates a satirical narrative in $5–15 CANADA/AFGHANISTAN, 2017, DIGITAL features animals operating this instructive video on hair suggested donation VIDEO, 12 MIN cameras and acting bleaching and obscuring roots A young Afghani woman autonomously. Non-human (cultural or otherwise). Co-presented in arrives in Canada searching modes of being are explored partnership with for her fiancé, whom she has through our human gaze, Weil es Mitte März ist Trinity Square Video, never met. She experiences and our witnessing of the (Because It’s the Middle of Sheridan College, and the language barrier, culture post-Anthropocene through March) School of Image Arts– shock, and loneliness of the animal POV becomes an Leri Matehha Ryerson University. arriving in a strange land but animal comedy. GERMANY/ISRAEL, 2017, DIGITAL VIDEO, also the hopeful possibility of 9 MIN a new beginning. In an impressionistic essay, bodybuilding, masculinity, and physical strength are revealed as mechanisms of state-building at work in the contentious geography of Jerusalem. 74 ON Screen tue 17 April, 9 pm feature ON Screen thu 19 April, 7 pm feature 75

Streetscapes [Dialogue] Spell Reel

132 MIN Heinz Emigholz Filipa César 86 MIN GERMANY, 2017, DIGITAL VIDEO, 132 MIN GERMANY/GUINEA-BISSAU/FRANCE/PORTUGAL, 2017, DIGITAL VIDEO, 86 MIN Innis Town Hall Innis Town Hall University of Toronto, University of Toronto, 2 Sussex Ave Over the past 25 years, the films of Heinz Emigholz have staged a sustained dialogue The resurrection of an archive of decaying film reels, shot during the revolutionary 2 Sussex Ave between cinema and architecture, attempting to reconcile the durationality of and post-revolutionary period in Guinea-Bissau, serves as the starting point for an $12 general admission moving images with the simultaneity of built structures. Part of his recent four-part archaeology of lost futures. Portuguese artist Filipa César collaborated with Bissau- $12 general admission $6 students, seniors, Streetscapes series, Streetscapes [Dialogue] uses cinema as a means of both Guinean filmmakers Sana Na N’hada and Flora Gomes, who were part of a group sent $6 students, seniors, underemployed underemployed apprehending and producing space, taking as its setting projects by architects to Cuba to study filmmaking during the revolution and later tutored by Chris Marker,

Co-presented in Julio Vilamajó, Eladio Dieste, and Arno Brandlhuber, all shot in his idiosyncratic, to organize and document the archive’s dissemination through a series of screenings, Co-presented in partnership with dissonant style. However, unlike previous efforts, Streetscapes [Dialogue] places both in Europe and its country of origin. Rather than seeking to reconstitute the partnership with Goethe-Institut the artist in the midst of his own work, as an intensive therapeutic exchange between archive as a rarefied object restored to its original state, the material in Spell Reel is Ryerson Image Centre Toronto and Doc Emigholz and psychologist Zohar Rubinstein is acted out by avatars inserted into treated as an active element, a link not only to the past but to a revolutionary futurity and Hot Docs. Now. Heinz Emigholz is a guest of the the discontinuous cine-architectural space. Through this intervention, Streetscapes whose charge it still holds. Goethe-Institut. [Dialogue] furthers Emigholz’s practice of thinking space through cinematic time. 76 ON Screen THU 19 APRIL, 9 pm GUEST SHORTS program 77

Heather Frise and Mike Hoolboom, The Bed and the Street, 2018 Weibin Wang, Stroke, 2017 Midi Onodera, the coyotes must see the moon…, 2017 Rebecca Garrett, search>site>scan>three sisters, 2003–2018 Redacting Bodies

Works by Toronto Artists online video project titled WHITE-OUT Recreactions (From The Guest curated program by Alexandra Gelis Lonely Videos, this work is a Rebecca Baird House in Ruins 1 of 2) reflection on the dominant CANADA, 1981, SUPER 8 ON DIGITAL Jorge Lozano presence of videos in our lives VIDEO, 3 MIN CANADA/COLOMBIA, 2017, DIGITAL If redaction is a process of editing documents, in which the removal of sensitive and the “lonely web,” a term Abstract cinema keyed by VIDEO, 5 MIN information is typically replaced with black rectangles—an act of sanitization for coined by Joe Veix. montage and material sym- Built in reaction to the documents to circulate to a broader audience—then this removal of what cannot bolism. Shots of US bombers infrastructural dispositions are intercut with sequences that prevent the uncovering be shared renders every document radically incomplete. 165708 Josephine Massarella of a body being wrapped and of accidental force relations CANADA, 2017, 16MM, 7 MIN bound within clear plastic hidden within the folds of On occasion, the persons performing the redaction, the redactors, add brief ele- Shot on 16mm black and sheeting. everyday encounters and ments of their own, covering and uncovering. The works in this program deal with white film using single frame autobiographical memories, Thirza Cuthand is an Indian Recreactions is a work about 74 MIN radical interrogations of power, the body, the collective, the political, and the land, photography, 165708 employs Within the Meaning of the (re)inhabiting displacement. in-camera techniques and inviting different sensibilities to this fundamental recognition, and re-representation Indian Act Innis Town Hall chemical manipulation of of incompleteness. Thirza Cuthand Generation University of Toronto, processed film to produce CANADA, 2017, DIGITAL VIDEO, 9 MIN Dan Browne 2 Sussex Ave —Alexandra Gelis an eidetic study of temporal Contemplating mixed race Canada, 2017, Digital Video, 2 MIN elasticity. identity in Canada, Cuthand Life cycles of a garden visit. $12 general admission presents us with images $6 students, seniors, Stroke The Bed and the Street Bodies in Motion backdrop of the infamous O.J. of blood ties and land ties search>site>scan>three underemployed Weibin Wang Heather Frise and Mike Rehab Nazzal Simpson car chase in 1994. for indigenous people, and sisters CANADA/CHINA, 2017, SUPER 8 and Hoolboom CANADA, 2017, DIGITAL VIDEO, 3 MIN In this lyrical short, Chisholm 16MM on DIGITAL VIDEO, 5 MIN questions the use of the Rebecca Garrett Co-presented CANADA, 2018, DIGITAL VIDEO, 5 MIN Nazzal’s recent work deals draws from television news Through a Skype call, Wang words “white passing” and Canada, 2003–2018, Digital video in partnership A love story set in the global with bodies as sites of reports, archival footage, investigates the cause of his “light skinned” in a video that and Performance, 20 MIN with Liaison of anti-austerity demonstrations. oppression and resistance, and her own family history grandfather’s sickness. The situates the artist’s body in search>site>scan>three Independent As citizens take back their exploring the bodily to explore the gaps between film uses abstract imagery historical trauma and ongoing sisters is a research-based Filmmakers of streets, two women meet and movement and gestural celebrity spectacle and to capture the inner conflicts colonial survival. performance that questions Toronto, Media Arts fall in love. What geometry of language of Palestinian the mundane realities of of a traditional Shanghainese the role that colonial and Network of Ontario, desire will help overthrow the youth slinging stones at the interpersonal violence home. Down the Drain military histories have in visual and the 8fest. state? What micropolitics of occupation forces. endemic to US society. Midi Onodera technology. It simultaneously sharing and communality will CANADA/JAPAN, 2017, DIGITAL VIDEO, turns the gaze onto the body provide fuel for demon- Overpass the coyotes must see the 2 MIN and highlights the ways in strations that will remove Kami Chisholm moon… Part of the online video proj- which the same technology and replace the neo-liberal USA/CANADA, 2015, DIGITAL VIDEO, 5 MIN Midi Onodera ect Lonely Videos, this work alters representation and consensus? Overpass weaves together CANADA, 2017, DIGITAL VIDEO, 2 MIN looks specifically at YouTube survival. intimate stories of racial and What happens to videos no and how 300 hours of video is domestic violence against the one watches? Part of the uploaded every minute. 78 ON Screen Fri 20 April, 6 pm SHORTS program ON Screen Fri 20 April, 8:30 pm CLOSING NIGHT FEATURE 79

Kevin Jerome Everson and Claudrena Harold, Fastest Man in the State, 2017 In Search of a Likeness Sylvia Schedelbauer, Wishing Well, 2018

Fastest Man in the State Domus Wishing Well Kevin Jerome Everson and Rhayne Vermette Sylvia Schedelbauer Claudrena Harold CANADA, 2017, SUPER 8, 16MM AND GERMANY, 2018, DIGITAL VIDEO, 13 MIN USA, 2017, 16MM ON DIGITAL VIDEO, 35MM ON DIGITAL VIDEO, 15 MIN The hypnotic oscillation of 10 MIN Through a dense process images crescendos into a Historical reenactments of of collage, animation, and fusion of figure and field as athletes performing various graphic techniques, a different temporalities, forms, sports at the University of biography of an architect and forces evoke an affecting, Virginia are seen as Kent becomes an expression of the at times ominous interior Merritt, one of the first African desire of cinema to partake space of subconscious expe- American scholarship athletes of the art of building and the rience and transformation. at the university, reflects on construction of spaces. Djamilia his experience. St. Bathans Repetitions hands:oxes Alexandre Larose 72 MIN Aminatou Echard 84 MIN LISA Nazlı Dinçel CANADA/NEW ZEALAND, 2016, SUPER

Ute Aurand TURKEY, 2017, 16MM ON DIGITAL VIDEO, 8MM AND 16MM ON 35MM, 20 MIN KYRGYZSTAN/FRANCE, 2018, SUPER 8 ON DIGITAL VIDEO, 84 MIN Innis Town Hall Innis Town Hall Germany, 2017, 16MM, 4 MIN 1 MIN Shot in a saloon and horse University of Toronto, Dinçel’s meditation on female University of Toronto, Part of a series of portraits stables in the former gold Centring Kyrgyz women’s voices, Djamilia traces the influence of Chinghiz Aitmatov’s 2 Sussex Ave about women close to the labour utilizes close-up mining town of St. Bathans, 2 Sussex Ave 1958 novel of the same title, whose protagonist broke societal norms for female filmmaker, LISA is a lyrical textures of skin, grape leaves, New Zealand, the film drifts $12 general admission study of Risa Tamaru, affec- earth, and fabric, which are between representation and conduct, inspiring generations of women to follow their own desires and ambitions. $15 general admission $6 students, seniors, tionately rendered through accompanied by a song writ- graphic abstraction as these Exquisitely shot on Super 8, the film is composed of portraits of women of all ages $10 students, seniors, underemployed underemployed close glimpses of her daily ten on occasion of a wedding. cinematic portraits, which are in intimate settings—around kitchen tables, in gardens, in parks, and across diverse Ticket price life, and filmed in Berlin and layered in-camera, multiply Kyrgyz landscapes—each reflecting on traumas resulting from the practices of child Co-presented in Yokohama. 3 Dreams of Horses the solitary figure through includes access to partnership with Mike Hoolboom temporal diffraction. marriage and bride kidnapping. Despite recent criminalization, these practices remain Lafawndah, p. 80. Toronto Black Mahogany Too CANADA, 2018, DIGITAL VIDEO, 6 MIN common, with nearly a third of Kyrgyz girls and women being forced into marriage Film Festival, TIFF Akosua Adoma Owusu A triptych in which the against their will. The film transports us to a region rarely represented in the media, and Co-presented in Wavelenghts, and figure of the horse becomes partnership with the USA, 2018, SUPER 8 ON DIGITAL VIDEO, shares these women’s experiences of selfhood and identity. Djamilia invites women Goethe-Institut 3 MIN a medium for meditation on generous support Toronto. Sylvia The spirit of Tracy Chambers, its various incarnations as to reflect on their lives, their roles in society, and their expectations for change. of Le Labo and cléo Schedelbauer is the struggling fashion design symbol, domesticated animal journal. a guest of the student played by Diana for human domination, and its Goethe-Institut. Ross in the 1975 Motown film abstract power as spirit. Mahogany, is invocated and re-imagined by the Nigerian actress Esosa E. 80 LIVE Fri 20 April, 11:30 pm CLOSING NIGHT PERFORMANCE TWENTY-FIRST CENTURY MUSIC FESTIVAL MAY 23-27/2018 TODAY’S MOST INNOVATIVE MUSICIANS AND COMPOSERS BRING US FRESH NEW Kronos Quartet SOUNDS AND IDEAS. KRONOS QUARTET JHEREK BISCHOFF DINUK WIJERATNE ANTHONY DE MARE MAARJA NUUT & HH VOX CLAMANTIS KATIA AND MARIELLE LABÈQUE SIMONE DINNERSTEIN

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Lafawndah Goethe filMS 60 MIN Lafawndah is the music project of performer, musician, and filmmaker Yasmine Dubois. Combining rich songwriting and rapturous vocal delivery with an ability May 2018 The Garrison to distill and transpose her heritage and identity, the Egyptian-Iranian performer 1197 Dundas St W STEP 1: VISIT incorporates moods and motifs that are at once intimate and deceptive, sensual WWW.YYZARTISTSOUTLET.ORG/ SUBMISSIONS/ $15 general admission and unsettling, into a global pop fantasy. Performing a range of material including $10 students, seniors, songs from her latest EP Tan released on the canonical electronic label Warp, STEP 2: DOWNLOAD underemployed Lafawndah will bring the festival to a close with a riveting performance. SUBMISSION FORM Free with Djamilia

screening stub or Farocki / Harun Festival pass. STEP 3: INCLUDE CURRICULUM VITAE DESCRIPTION OF PRACTICE Co-presented in SUPPORT MATERIAL partnership with STAMPED, SELF-ADDRESSED ENVELOPE Venus Fest. Ihre Zeitungen STEP 4: MAIL 140-401 RICHMOND ST W Photo: TORONTO, ON M5V 3A8 Social Media YYZ welcomes submissions for participation in its program from artists of all disciplines & at any point in their artistic development. Before the internet YYZ determines its programming on an artists’ overall practice. Please do not submit May 10 + 15 + 17 a project propsal. At the TIFF Bell Lightbox YYZ accepts submissions on an ongoing basis. Updates & details at www.goethe.de/toronto

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Akimbo Art Promotions p. 49 Slate p. 46 Art Gallery of York University (agYU) p. 51 Steam Whistle Brewing p. 22 Border Crossings p. 86 Super 8 Hotel p. 30 C Magazine p. 24 TD Bank Group Back Inside Cover CalArts School of Film/Video p. 45 The Fabulous Festival of Fringe Film p. 47 Canadian Art p. 26 The Ottawa International Animation Festival p. 52 School for Studies in Art and Culture, The Royal Conservatory / Koerner Hall p. 81 Carleton University p. 50 Faculty of Creative and Critical Studies, CFMDC p. 17 The University of British Columbia, Okanagan p. 51 Charles Street Video p. 47 the8fest small-gauge film festival p. 85 Cinemascope p. 48 Toronto Media Arts Centre (TMAC) p. 28 Cineworks Independent Filmmakers Society p. 83 Toronto Reel Asian International Film Festival p. 49 CIUT–FM p. 82 Trinity Square Video p. 45 D. J. Woods Digital Inc. p. 48 Urban Shaman Contemporary David Burkes Chartered Accountant p. 47 Aboriginal Art Gallery p. 46 DocNow Festival p. 52 Video Pool Media Arts Centre p. 52 Drake Art p. 29 Vtape p. 25 esse arts + promotions p. 82 Westbury Show Systems p. 50 Frame Discreet p. 86 Department of Cinema and Media Arts, Gallery 44 Centre for Contemporary Photography p. 52 School of the Arts, Media, Performance & Goethe-Institut Toronto p. 81 Design, York University p. 85 imagineNATIVE p. 50 YYZ Artists’ Outlet p. 81 Independent Filmmakers Co-operative of Ottawa Inc. (IFCO) p. 51 Kassel Dokfest p. 49 Koffler Gallery p. 23 Latitude 53 Contemporary Visual Culture p. 85 Liaison of Independent Filmmakers of Toronto (LIFT) p. 47 MediaNet / Flux media art gallery p. 83 Mel Hoppenheim School of Cinema, Concordia University p. 46 NB Silver Wave Film Festival (SWFF) p. 85 Now Magazine p. 24 Oakville Galleries p. 26 OCAD University Inside Cover Open Space p. 83 PAVED Arts p. 49 Point of View Magazine p. 48 Rendezvous with Madness Film Festival, Workman Arts p. 28 SAW Video Media Art Centre p. 82 School of Image Arts, Ryerson University p. 23 Sheridan College p. 27 Six Degrees Community Acupuncture p. 51 Title Index 87

( x ) x + [ ( x ) x { x } x x ] Auntie Beachress— Classified Digits The Forms of Utility { x } + Are You Looking at Me? Christine Sun Kim and Franz Milec, p. 73 Suzanne Kite, p. 61 Tonia Jo Hall, p. 61 Thomas Mader, p. 55 From Its Mouth Came 165708 Auntie Beachress—Lakota Communicating Vessels a River of High End Josephine Massarella, Language Challenge Annie McDonnell and Residential Appliances p. 77 Tonia Jo Hall, p. 61 Maïder Fortuné, p. 35 Jon Wang, p. 43

3 Dreams of Horses Auntie Beachress—Only Corrections The Future was Desert, Mike Hoolboom, p. 78 Boring People Get Bored Onyeka Igwe and Aliya Parts 1 & 2 Tonia Jo Hall, p. 61 Pabani, p. 37 Sophia Al-Maria, p. 42 A Boy Needs a Friend Steve Reinke, p. 67 Bad mama, who cares the coyotes must see Generation Brigid McCaffrey, p. 65 the moon… Dan Browne, p. 77 A Hand In Two Ways Midi Onodera, p. 76 (Fisted) The Bed and the Street Hand:oxes Dani Restack and Sheilah Heather Frise and Mike Dance to Miss Chief Nazlı Dinçel, p. 78 Restack, p. 43 Hoolboom, p. 76 Kent Monkman, p. 61 Havarie bordercrossingsmag.com to subscribe AAA Cargo Biologue Dear Phone Philip Scheffner, p. 32 Solveig Suess, p. 65 Trisha Baga, p. 33 Peter Greenaway, p. 56 Hemlock Forest Alphabet City Serenade Bizarre Thanksgiving Djamilia Moyra Davey, p. 63 Diane Burns, p. 61 Performance Ritual Aminatou Echard, p. 78 Guillermo Gómez-Peña Hobbit Love is the Anal Masturbation and and Gustavo Vázquez, Do Indians Shave? Greatest Love Object Loss p. 61 Chris Spotted Eagle, p. 61 Steve Reinke, p. 67 Steve Reinke, p. 67 Black Friday Domus Instant Identity Ritual Animal Cinema Sophia Al-Maria, p. 42 Rhayne Vermette, p. 78 Guillermo Gómez-Peña Emilio Vavarella, p. 73 and Gustavo Vázquez, Bodies in Motion down the drain p. 61 Anti-Objects, or Space Rehab Nazzal, p. 76 Midi Onodera, p. 77 Without Path or Boundary Invocation of My Sky Hopinka, p. 58 Border Interrogation Bárbara Wagner & Demon Brother Guillermo Gomez-Peña, Benjamin de Burca, p. 44 Kenneth Anger, p. 59 Are You Tired of Forever? p. 61 Caitlin Craggs, p. 73 Ethnic Roots Joke (Version One) Bullet Points for a Hard Rah, p. 73 Steve Reinke, p. 67 Art and Theft Western (after Walter De Sara Magenheimer, p. 55 Maria) Fastest Man in the State The Jungle Knows You Lucy Raven and Deantoni Kevin Jerome Everson and Better Than You Do Atheists Need Parks p.57 Claudrena Harold, p. 78 Juanita Onzaga, p. 73 Theology, Too Steve Reinke, p. 67 88 Title Index Artist Index and Biographical Appendix 89

Lisa Recreactions (From the St. Bathans Repetitions Welcome to the SOPHIA AL-MARIA mass media culture. His video essays personal narrative. Working primarily Ute Aurand, p. 78 House in Ruins 1 of 2) Alexandre Larose, p. 78 Third World Sophia Al-Maria received her BA from are often partly set in Thailand and with Photoshop and After Effects, she Jorge Lozano, p. 77 Guillermo Gómez-Peña, the American University in Cairo and centred around the aging members of alters the distinction between analog Love and Torment: Streetscapes [Dialogue] p. 61 her MFA from Goldsmiths College, his family as a thread into talking about and digital animation traditions by Albert Becker Regarding the Pain of Heinz Emigholz, p. 74 London. Recent solo exhibitions larger societal and global issues. p. 56 drawing on the effects of handmade Rosa Von Praunheim, p. 64 Susan Sontag (Notes on The Wind Sleeps have been held at The Third Line, digital brushes, textures, and Camp) Stroke Standing Up Dubai, Whitney Museum, New York, UTE AURAND rotoscoped real-world footage. p. 38 Mahogany Too Steve Reinke p. 67 Weibin Wang, p. 77 Sharlene Bamboat, p. 63 and Cornerhouse, Manchester. She Ute Aurand studied at the Deutsche Akosua Adoma Owusu, has participated in numerous group Film und Fernsehakademie Berlin DAN BROWNE p. 78 Rib Gets in the Way Thirza Cuthand is Wishing Well exhibitions across the US, Europe, and from 1979 to 1985. Her films have Dan Browne is a Toronto-based film- Steve Reinke with an Indian Within the Sylvia Schedelbauer, p. 78 the Middle East, and is the author of been shown at the Berlinale, Media maker, photographer, and multimedia Mediums Jessie Mott, p. 41 Meaning of the Indian Act The Last Rose of Summer, Virgin With City Film Festival, TIFF, International artist whose works explore patterns James N. Kienitz Wilkins, Thirza Cuthand, p. 77 With History In a Room A Memory, and The Girl Who Fell to Film Festival Rotterdam, Kurzfilmtage and nature through dense and kinetic p. 56 Rose Gold Filled with People with Earth. p. 42 Oberhausen, Courtisane Film Festival, forms. His films and videos have Sara Cwynar, p. 58 to prepare for a longing, Funny Names 4 Österreichisches Filmmuseum, CCCB been presented at over 100 festivals Native Fantasy: an itch Korakrit Arunanondchai, AYO AKINGBADE Barcelona, Tate Modern London, and and venues internationally, and have Germany’s Indian Heroes search >> site >> scan >> Erika DeFreitas, p. 39 p. 56 Ayo Akingbade is an artist and film- the Robert Flaherty Film Seminar. p. 78 received several awards. p. 77 Axel Gerdau, Erik Olsen three sisters maker born in Hackney who lives and and John Woo, p. 61 Rebecca Garrott, p. 77 Tower XYZ What Weakens the Flesh works in London. Ayo studied film at TRISHA BAGA FILIPA CÉSAR Ayo Akingbade, p. 63 is the Flesh Itself the London College of Communica- Trisha Baga is an artist living and work- Filipa César is an artist and filmmaker Overpass Sangre Seca James Richards and Steve tion. In her work she experiments with ing in New York, generating mainly interested in the fictional aspects of Kami Chisholm, p. 76 Colectivo los Ingrávidos, View From Above Reinke, p. 64 a range of media. Much of her present video and performance work. p. 33 the documentary, the porous borders p. 58 Hiwa K, p. 58 focus is embedded in daily lives of between cinema and its reception, Overweight with When Things Occur subjects and psychogeography. p. 63 REBECCA BAIRD and the politics and poetics inherent Crooked Teeth Sex Without Glasses The Violence of a Oraib Toukan, p. 34 Rebbeca Baird is a Cree filmmaker to moving image. Since 2011, she has Shelley Niro, p. 61 Ross McLaren, p. 56 Civilization Without FAZILA AMIRI and multimedia artist who explores been looking into the origins of the Secrets WHITE-OUT Fazila Amiri is an Afghan-born themes of First Nations identity. p. 77 cinema of the African Liberation Perfect Film Shakedown Adam Khalil, Zack Khalil Rebecca Baird, p. 77 Canadian film director. She earned Movement in Guinea-Bissau as a Ken Jacobs, p. 66 Leilah Weinraub, p. 54 and Jackson Polys, p. 61 her BFA in Film Production from SHARLENE BAMBOAT laboratory of resistance to ruling Wutharr, Saltwater NSCAD University. Her short films Sharlene Bamboat works predomi- epistemologies. p. 75 PLANT/PIXEL Sioux Ghost Dance Watching the Detectives Dreams The Photograph (2017), Paaizeb (2010), nantly in film, video, and installation. Soft Turns, p. 36 W.K.L. Dickson and Chris Kennedy, p. 66 Karrabing Film Collective, and My Motherland (2015) have been Her works have been exhibited at COLECTIVO LOS INGRÁVIDOS Thomas Edison, p. 61 p. 58 shown at national and international galleries and festivals internationally Colectivo Los Ingrávidos emerges The Photograph Wawa film festivals including the Montreal including Les Complices*, Vasakh from the necessity to dismantle the Fazila Amiri, p. 73 Soft Film Sky Hopinka, p. 61 World Film Festival, the Atlantic Film Film Festival, Gallery TPW, and the audiovisual grammar that the aes- Sara Cwynar, p. 40 Festival, and the Afghan International Berlinale. Bamboat collaborates with thetic of the television and cinematic The Private Property Weed Killer Film Festival. p. 73 artist Alexis Mitchell under the name corporatism used effectively to en- Trilogy: A Survey of the Spell Reel Patrick Staff, p. 55 Bambitchell. p. 63 sure the dissemination of audiovisual Life and Films of C.B. Filipa César, p. 75 KORAKRIT ARUNANONDCHAI ideology through which it achieves Nicolás Pereda, p. 65 Weil es Mitte März ist Korakrit Arunanondchai is an artist SONIA BECKWITH-COLE social and perceptual control over the Squeezing Sorrow from (Because It’s the Middle and filmmaker based in New York and Sonia Beckwith-Cole creates digital population. p. 58 The Rare Event an Ashtray of March) Bangkok. His current body of research animations and mixed media works Ben Rivers and Ben Russell, Steve Reinke, p. 67 Leri Matehha, p. 73 revolves around the intersection that combine abstracted figurative CAITLIN CRAGGS p. 59 of animism and technology, natural elements and obscured painterly Caitlin Craggs is an animator, multi- sciences and world politics, and global digital marks to convey the artist’s disciplinary artist, and educator living 90 Artist Index and Biographical Appendix Artist Index and Biographical Appendix 91

in Brooklyn. She directs “bona fide include Karl Kostyal, London; Museum people inhabit spaces. She conveys a number of collaborative projects American studies at the University HIWA K weird” animation for music videos, für Modern Kunst, Frankfurt; COOPER this idea by exploring the relationship including the award-winning NFB of Virginia, Charlottesville, and is the Hiwa K was born in Kurdistan-North- documentary film and TV. Her work COLE, Toronto. p. 40 between sound and image. p. 79 interactive documentary Highrise. author of The Rise and Fall of the ern Iraq in 1975. After moving to has been featured on The Atlantic, Most recently, she has been making Garvey Movement in the Urban South Europe in 2002, he subsequently The New York Times, and Vimeo. She MOYRA DAVEY HEINZ EMIGHOLZ hand-painted animations. She teaches (2007) and New Negro Politics in the settled in Germany. Ever since, his received her MFA from CalArts and is Moyra Davey is an artist based in New Heinz Emigholz trained first as a at OCADU. p. 76 Jim Crow South (2016). Her short film autobiographically based works a Princess Grace recipient. p. 78 York, whose work comprises the fields draftsman before studying philosophy collaborations with Kevin Jerome escape normative aesthetics, but give of photography, film, and writing. She and literature in Hamburg. He began REBECCA GARRETT Everson include Sugarcoated Arsenic a possibility of another vibration to KAMI CHISHOLM has produced several works of film, filmmaking in 1968 and has worked Rebecca Garrett is a Toronto-based (2013); We Demand (2016); How Can I vernacular forms, oral histories, modes Kami Chisholm has been making films most recently Wedding Loop (2017). since 1973 as a filmmaker, artist, writer, artist whose award-winning exper- Ever Be Late (2017). p. 78 of encounter, and political situations. for over 20 years. They are a queer, Davey’s work is currently presented and producer in Germany and the US. imental videos, installations, and p. 58 disabled, activist filmmaker and in two solo exhibitions at Bielefelder He held a professorship in Experimen- community video projects have been MIKE HOOLBOOM arts curator whose work focuses on Kunstverein, Germany, and Galerie tal Filmmaking at the Universität der exhibited at numerous venues in Can- Mike Hoolboom is a Canadian media KARRABING FILM COLLECTIVE dismantling white supremacy, ending Buchholz, New York. p. 63 Künste Berlin from 1993 to 2013. p. 74 ada and abroad. Her work expresses artist who lives and works in Toronto. The Karrabing Film Collective is a settler colonialism, and the quest for a long commitment to naming eco- p. 76, 78 grassroots Indigenous-based arts justice for those commonly denied ERIKA DEFREITAS KEVIN JEROME EVERSON nomic, colonial, and social injustices, and film group. Their films and art access to the means to live and thrive. Erika DeFreitas is a Scarborough- Kevin Jerome Everson (b.1965, Man- and building relations of exchange and SKY HOPINKA works represent their lives, create p. 76 based multidisciplinary conceptual sfield, Ohio) is Professor of Art at the reciprocity. p. 77 Sky Hopinka was born and raised in bonds with their land, and intervene artist. She explores the influence of University of Virginia, Charlottesville. Ferndale, Washington and is currently in global images of Indigeneity. Their CHRIS CURRERI language, loss, and culture on the Everson was awarded the 2012 Alpert DYLAN GLYNN based out of Milwaukee, Wisconsin. medium is a refusal to relinquish their Chris Curreri is a Canadian artist who formation of identity with textile- Award for Film/Video; his nine fea- Dylan Glynn is based in Toronto and His work centres around personal country and a means of investigating works with film, photography, and based works and performative actions tures and over 135 shorts have been studied animation at Sheridan College positions of homeland and landscape, contemporary social conditions of sculpture. His work is premised on the that are photographed, placing an the subject of mid-career retrospec- in Oakville, Ontario and La Poudrière designs of language and facets of inequality. p. 58 idea that things in the world are not emphasis on process, gesture, and tives at Harvard Film Archive, Tate in Valence, France. His multidisci- culture contained within, and the defined by essential properties, but documentation. p. 39 Modern, MMCA, Viennale, Visions plinary practice is characterized play between the accessibility of the JEAN-PAUL KELLY rather by the actual relationships that du Reel, The Whitney Museum and by its emotion, grace, and sense of known and the unknowable. p. 58, 61 Jean-Paul Kelly is a Canadian artist we establish with them. p. 64 Nazlı Dinçel Centre Pompidou. p. 78 wild movement. His work has been exploring the relationship between Born in Ankara, Turkey, Dinçel immi- recognized and exhibited by Society ONYEKA IGWE materiality and perception. The THIRZA CUTHAND grated to the United States at age 17. MAÏDER FORTUNÉ of Illustrators, American Illustration, Onyeka Igwe is an artist, filmmaker, videos, drawings, and photographs Thirza Jean Cuthand was born in Sas- She received an MFA in filmmaking Maïder Fortuné, born in 1973, studied Somerset House, and the Canadian programmer, and researcher. She lives that he makes pose questions katchewan and grew up in Saskatoon. from the University of Wisconsin literature and theatre at École Jacques Screen Awards. p. 38 and works in London, UK. Her video about the limits of representation Since 1995, she has been making short in Milwaukee, where she currently Lecoq in Paris before entering Le works have shown at the ICA, Nuit by examining complex associations experimental narrative videos and resides and is building an artist-run Fresnoy National Studio for Contem- GUILLERMO GÓMEZ-PEÑA Blanche (Toronto), and Guildhall Art between found photographs, videos, films about sexuality, madness, youth, film laboratory. Her hand-manipulated porary Arts, where she developed a Guillermo Gómez-Peña is a Chicano Gallery, as well as London Film Festival and sounds from documentaries, love, and race, which have screened in works reflects on experiences of performance-related practice of the performance artist, writer, activist, and and International Film Festival Rot- photojournalism, and online media festivals internationally. She is of Plains diaspora, the body, and the 16mm film technological image. This somewhat educator. p. 61 terdam. She has upcoming shows at streams. p. 64 Cree and Scots descent and currently material. p. 78 atypical itinerary relative to classical articule, Montreal, and The Showroom, resides in Toronto. p. 77 “fine arts” training programmes has PETER GREENAWAY London. p. 37 CHRIS KENNEDY AMINATOU ECHARD contributed to the singularity of her Peter Greenaway is a renowned British Chris Kennedy (b. 1977 Easton, SARA CWYNAR Aminatou Echard studied ethnomusi- work. p. 35 film director, screenwriter, and artist. KEN JACOBS Maryland) is an independent Sara received her Bachelor of Design cology and cinema. As an artist who p. 55 One of the founders of the American filmmaker, film programmer, and writer from York University, Toronto, in 2010 works with experimental film and doc- HEATHER FRISE avant-garde cinema, Ken Jacobs has based in Toronto. He is the executive and her MFA from Yale University in umentary, Aminatou’s focus is on how Heather Frise is a filmmaker, educator, CLAUDRENA N. HAROLD been working ceaselessly and bound- director of the Liaison of Independent 2016. Cwynar’s recent exhibitions space transforms people and how and visual artist. She has worked on Claudrena N. Harold is assistant lessly in film, video, and moving image Filmmakers of Toronto. His short professor of history and African performance for over 50 years. p. 66 experimental films have screened at 92 Artist Index and Biographical Appendix Artist Index and Biographical Appendix 93

over 100 film festivals worldwide. He québécoise, Audio Foundation SARA MAGENHEIMER BRIGID MCCAFFREY SHELLEY NIRO AKOSUA ADOMA OWUSU holds an MFA from the San Francisco (Auckland), Palacio de La Moneda Sara Magenheimer has widely Brigid McCaffrey is a Los Ange- Shelley Niro is a Mohawk member of Akosua Adoma Owusu (b. 1984) is a Art Institute. p. 66 (Santiago), Austrian Film Museum (Vi- exhibited, performed, and screened les-based filmmaker whose work the Six Nations Reserve. She belongs Ghanaian–American filmmaker and enna), Art Gallery of Ontario (Toronto). her work. Recent exhibitions include focuses on environments and people to the Turtle Clan. Niro is a visual producer whose films have screened ADAM AND ZACK KHALIL Currently lives in Montréal. p. 78 White Columns, Foxy Production, Doc- in precarious states of flux. Her films artist whose work has shown at the worldwide at prestigious film festivals, Adam Khalil and Zack Khalil (Ojibway) ument, Chapter NY, Interstate Projects, have screened at international venues National Gallery of Canada (Ottawa), museums, galleries, and universities are filmmakers and artists from Sault AMANDA LOW 247365, and Cleopatra’s. She was the including Cinéma du Réel, Doclisboa, the National Museum of the American since 2005. Named by Indiewire as Ste. Marie, Michigan and are currently Amanda Low plays with medium-spe- recipient of a 2014 Rema Hort Mann the Hammer Museum, MOCA, Inter- Indian (New York and Washington, DC) one of six “Avant-Garde Female Film- based in Brooklyn, New York. Their cific narratives and storytelling Foundation Grant, 2015 Artadia Grant, national Film Festival Rotterdam, and and the Museum of Indian Art Institute makers Who Redefined Cinema,” her work centres Indigenous narratives through both traditional and non-tra- and winner of the Prix De Varti at the the Los Angeles Filmforum. She was in Santa Fe (New Mexico). p. 61 film Mahogany Too (2018) premiered in the present—and looks toward the ditional animation. Currently, her 2015 Ann Arbor Film Festival. p. 55 a featured artist at the 2016 Flaherty at the International Film Festival future—while subverting traditional practice deals with web art and the Seminar. p. 65 PHILIP OCAMPO Rotterdam. p. 78 forms of ethnography through humour, browser as a medium. She is inter- ANNIE MACDONELL Philip Ocampo is an Toronto-based transgression, and innovative nonfic- ested in the behaviours, tropes, and Annie MacDonell is a visual artist ROSS MCLAREN animator, curator, and artist exploring ALIYA PABANI tion practice. p. 60, 61 memes of internet culture, and often working across mediums. Her practice Ross McLaren has worked as a film- personal desire: from diaspora to Aliya Pabani is an artist and host/ uses found content in her web pieces begins from the photographic impulse maker, scholar, teacher, and curator. emotional longing, from power to producer of Canadaland’s arts and CHRISTINE SUN KIM sourced from various social media to frame and capture, but her output He founded and was first director of nostalgia. Primarily working in curation, culture podcast, The Imposter. Christine Sun Kim and Thomas Mader outlets. p. 38 extends beyond photography. In re- the Funnel Film Centre in Toronto, an sculpture, installation, and drawing, his She is a graduate of the Centre for have been collaborating for the last cent years her work has included films, institution devoted to the production, work often engages with concepts in Experimental Media Art at Srishti five years, covering communication in JORGE LOZANO installations, sculpture, performance, exhibition, and distribution of film. p. 56 relation to privilege, queerness, love, School of Art Design and Technology a variety of formats such as recording Jorge Lozano is the maker of over 100 and writing. Her work questions the family, and the ways in which they in Bangalore. Her recent performanc- an overnight shipment from Berlin to movies. His restless visual inventions constitution, function, and circulation FRANZ MILEC intersect. p. 30 es include the livestreamed series New York (Recording Contract, 2013) emerge from a period of Super 8 ac- of images in the 21st century. p. 35 Franz Milec is a multimedia artist born Doored, CAPITALIST DUETS by Public and compiling 24 hours of invited tivism and personal video interludes. in 1993 in Zilina, Slovakia. He’s based MIDI ONODERA Recordings, and Flowchart, at Dance- contributors’ studio time (Busy Day, p. 77 JOSEPHINE MASSARELLA in Prague, Czech Rep. while finishing a Midi Onodera is an award-winning makers. p. 37 2014). p. 55 Josephine Massarella is an indepen- master’s degree in Audiovisual Studies filmmaker who has been making work KAI LUMBANG dent filmmaker based in Hamilton. Her at the Academy of Performing Arts for over 35 years. She has produced DEANTONI PARKS KITE Kai Lumbang is a Filipino-Canadian award-winning shorts have screened (FAMU). His works stem from the aes- over 25 independent shorts in formats Deantoni Parks is a founding member KITE is an Oglala Lakota performance comic artist living in Toronto. His work worldwide. Josephine’s primary artis- thetic of sci-fi spectacle, startup apps, ranging from 16mm film to digital video of the band KUDU, as well as the duo artist, visual artist, and composer explores themes of trust, disconnec- tic medium is 16mm film. Josephine stock footage, and fake news. p. 73 to “low-end” toy camera formats. In We Are Dark Angels with musician raised in Southern California. Her tion, homesickness, psychic spaces, also teaches introductory filmmaking addition to this, she has created a Nicci Kasper. He is also known for research is concerned with con- and the cataloguing of personal and cinema studies. p. 76 REHAB NAZZAL theatrical feature film, Skin Deep and collaborating with John Cale and temporary Lakota mythologies and histories. p. 38 Rehab Nazzal is a Palestinian-born over 500 online videos. p. 76 performing with the Mars Volta and epistemologies, and investigates the LERI MATEHHA multidisciplinary artist based in the Bosnian Rainbows. His acclaimed multiplicity of mythologies existing THOMAS MADER Leri Matehha was born in Tallinn, Es- Canada and Palestine. Her video, JUANITA ONZAGA solo album, Technoself, was released constantly in the contemporary Christine Sun Kim and Thomas Mader tonia. After she gruaduated from high photography and sound works deal Juanita Onzaga is a Colombo–Belgian in 2015. He has also taught at the storytelling of the Lakota through have been collaborating for the last school in Düsseldorf, she studied phi- with the violence of war and settler film director and DOP. Playing with Stanford Jazz Workshop in California research-creation, computational five years, covering communication in losophy and Scandinavian studies at colonialism. Nazzal’s work has been hybrid forms between fiction, the and Berklee College of Music in media, and performance practice. P. 61 a variety of formats such as recording the University of Cologne. She began shown in Canada and internationally in documentary, and the experimental, Boston. p. 57 an overnight shipment from Berlin to undergraduate studies in 2012 at the both group and solo exhibitions. She is she creates her own magic realism ALEXANDRE LAROSE New York (Recording Contract, 2013) Academy of Media Arts in Cologne, currently a PhD candidate at Western storytelling with tales reflecting differ- NICOLÁS PEREDA Alexandre Larose (b.1978, Leb- and compiling 24 hours of invited with a focus on art film and theory. She University in London, Ontario. p. 76 ent ways of perceiving reality. p. 73 Nicolás Pereda is a filmmaker whose el-sur-Quévillon, QC) studied at contributors’ studio time (Busy Day, is currently finishing the experimental work explores the everyday through Concordia University. Screenings 2014). p. 55 documentary Unbalanced Bear in fractured and elliptical narratives and exhibitions at the Cinémathèque Estonia. p. 73 using fiction and documentary tools. 94 Artist Index and Biographical Appendix Artist Index and Biographical Appendix 95

His films have been exhibited in festi- ASUNEE KIRA REAU any, Bergen Kunsthall (2016); Radio At PHILIP SCHEFFNER Research Architecture, Goldsmiths. ROSA VON PRAUNHEIM vals around the world such as Cannes, Asunee Kira Reau is an animator with Night, Museum of Contemporary Art, Philip Scheffner has lived in Berlin Her work has been exhibited interna- Rosa von Praunheim has made more Berlin, Venice, Locarno, Rotterdam, a slightly obsessive love for science Bordeaux (2016); and James Richards, since 1986, working on documentary tionally, most recently with her first than 70 films, many of which deal with Toronto, and San Sebastian. He has fiction. Kira spent most of her child- Kunstverein München, Munich (2015). films, video, and sound art. Together film AAA Cargo (2017), screened as his favorite subjects: homosexuality, had more than 20 retrospectives in hood delving into storybooks to avoid p. 64 with Merle Kröger he runs the produc- part of the International Film Festival older women, and New York City. p. 64 various festivals, cinematheques, and the blistering heat of Nonthaburi, Thai- tion platform pong. p. 32 Rotterdam, 2018. p. 65 archives. p. 65 land. Today, her practice is a reflection BEN RIVERS JON WANG on our nostalgic attachment toward Ben Rivers is an artist and filmmaker SOFT TURNS ORAIB TOUKAN Jon Wang (b. 1986, US; lives and works JACKSON POLYS shifting landscapes. p. 38 represented by Kate MacGarry Soft Turns is the collaborative effort Oraib Toukan is an artist and Claren- in New York) is an artist and filmmaker Jackson Polys is a visual artist who Gallery in London. Recent solo shows of multidisciplinary artists Sarah Jane don Scholar at the Ruskin School of whose work has been exhibited inter- seeks to dissolve artificial boundaries STEVE REINKE include: Phantoms, Triennale, Milan; Gorlitz and Wojciech Olejnik. The idea Art, University of Oxford. p. 34 nationally at venues such as Sculptu- between perceptions of traditional Steve Reinke is an artist, writer, and Urth, The Renaissance Society, of an encounter with something, as reCenter, Petzel Gallery, the Berkeley Native art forms, practices, and con- queer Nietzschean best known for his Chicago; Islands, Kunstverein of an ever-changing space between the EMILIO VAVARELLA Art Museum and Pacific Film Archive, temporary life, and whose practice monologue-based film essays. He was Hamburg; and Earth Needs More foreign and the familiar, the accessible Emilio Vavarella is an Italian artist Anonymous Gallery (Mexico City), and reflects an inquiry into the limits and a video artist in Canada until video Magicians, Camden Arts Centre, and inaccessible, is a central theme whose work blends interdisciplinary CAS Gallery (Cape Town). p. 43 viability of desires for Indigenous died. Now he lives in Chicago and London. His most recent feature film, of their practice. They are currently art practice and theoretical research growth. p. 60 teaches at Northwestern. p. 41, 64, 67 The Sky Trembles and the Earth is artists-in-residence at the School of and is centred around the study WEIBIN WANG Afraid and the Two Eyes Are Not Environmental Sciences at the Univer- of technological power. Emilio is Weibin Wang is a filmmaker from RAH DANI RESTACK Brothers, premiered in the main sity of Guelph. p. 36 currently working toward a PhD in Film Shanghai China. He is currently in the Rah is an Iranian-Canadian video, pho- Dani’s work is made with an emotional competition at Locarno International and Visual Studies and Critical Media process of completing his BFA in film to, and performance artist. Her work logic, questioning cultural, personal, Film Festival. p. 59 NICOLE JI SOO Practice at Harvard University. p. 73 at York University in Canada. p. 76 has been published and exhibited in and animal realities. Dani has screened Nicole Ji Soo focuses on painting in galleries and museums internationally at the Union Docs, Oberhausen, BEN RUSSELL the expanded field through exploring GUSTAVO VAZQUEZ Leilah Weinraub including Williams College Museum of Rotterdam, MoMA PS1, Anthology Ben Russell (b. 1976, US) is an artist and combining painterly and sculptur- Gustavo Vazquez, originally from Leilah Weinraub is an artist living in Art (Massachusetts), Cutlog Contem- Film Archives, Views from the Avant- whose work lies at the intersection al elements. Her works contain topics Tijuana and currently residing in San New York. A short version of her film porary Art Fair (New York), Kunsthaus Garde, and Projections. p. 43 of ethnography and psychedelia. His of body, gender and the hybrid iden- Francisco, is an independent filmmaker SHAKEDOWN screened in the 2017 Graz Museum (Austria), Onassis films and installations are in direct tity driven from her Korean–Canadian and teaches in the Film and Digital Whitney Biennial. She is the CEO of Cultural Centre (Greece) and Cable SHEILAH RESTACK conversation with the history of the female experience. p. 38 Media department at the University of Hood By Air. Weinraub helped to Factory (Finland). p. 73 Sheilah uses photography, video, and documentary image, providing a time- California, Santa Cruz. p. 61 radicalize fashion by championing the text as performative and documen- based inquiry into trance phenomena PATRICK STAFF rising class of consumers who subvert LUCY RAVEN tary tools to trace body movement and evoking the research of Jean Patrick Staff is an interdisciplinary RHAYNE VERMETTE traditional markers of race, class, and Lucy Raven is an artist living and between environments of fact and Rouch, Maya Deren, and Michael artist living and working in London and Following a very conscious departure gender. As a filmmaker, Weinraub doc- working in New York. Recent solo fiction. Sheilah has had exhibitions at Snow, among others. p. 59 Los Angeles. Their work has been ex- from architectural academia, Rhayne uments unacknowledged tastemakers exhibitions and presentations of her New Zealand City Art Gallery, Enjoy hibited internationally. Recent solo ex- Vermette (b. 1982, Notre Dame belonging to queer, autonomous work include the Serpentine Galleries, Gallery, CCA Santa Fe, Knockdown SYLVIA SCHEDELBAUER hibitions have taken place at MOCA, de Lourdes, Manitoba) figured communities of color. p. 54 London, the Columbus Museum Center, Antioch College and Lennon Born in Tokyo, Sylvia Schedelbauer Los Angeles (2017), Contemporary Art out a distinctive craft within the of Art, Portikus, Frankfurt, the Park Weinberg. p. 43 first moved to Berlin in 1993, where Gallery, Vancouver, and Institute of construction of images through film JAMES N. KIENITZ WILKINS Avenue Armory, and the Guggenheim she has been based since. She studied Modern Art, Brisbane (2016). p. 55 and photography. Rhayne’s films have James N. Kienitz Wilkins is a filmmaker Museum, New York. She is a founding JAMES RICHARDS at the University of Arts Berlin (with screened in and around her home and artist based in Brooklyn. His work member of Thirteen Black Cats, a James Richards is a British artist Katharina Sieverding). Her films SOLVEIG SUESS base of Winnipeg, as well as globally has been selected for international film production collective with Vic living and working in Berlin, Germany. negotiate the space between broader Solveig Suess is a designer, filmmaker, in a variety of spaces from the more film festivals and venues including Brooks and Evan Calder Williams, and Recent solo exhibitions include: historical narratives and personal, and researcher. She studied visual prestigious to more intimate and the New York Film Festival, CPH:DOX, teaches at the Cooper Union School Requests and Antisongs, ICA London psychological realms mainly through communications in the Glasgow underground venues. p. 78 MoMA PS1, TIFF, Locarno IFF, IFFR, of Art. p. 57 (2016); Crossing, with Leslie Thornton, poetic manipulations of found and School of Art and completed her Migrating Forms, the Whitney Biennial, Rodeo, London (2016); Crumb Mahog- archival footage. p. 78 postgraduate degree at the Centre for and beyond. p. 56 96 MAP OF VENUES

9 N Dupont St t

8 eele S K

Bloor St W 5 11 Sussex Ave t t 7 t St Helens Ave S S t

Harbord St n S e w c e S a g Sterling Rd r r

10 Sh a li nt o Du G ndas C

6 . Ge o S Manning Ave t W t S College St

12 e v e e v A e d v v R A

A t r e A

t Dundas St W Trinity 4 t v t D n e S S alles

ne A S v o

ou r v wn e

Bellwoods y t o s A c o rin g r e rs it y Ave

d Park aul n e si de e s ck erl e k C v r n ad in a v o i ov e c r on c a a n e p Bathurst St P R L B Duf f Gla ds t D Oss i S B M U Queen St W Queen St W 1

13 t Richmond St W 2 can St n S n Lisgar St h u o J King St W King St W D 3

All venues are accessible unless stated otherwise. indicates subway station Front St W 1. 401 Richmond St W 6. Royal Cinema 12. The Garrison Queens Quay W The Commons, suite 405–448 608 College St 1197 Dundas St W Gallery 44, suite 120 washrooms not accessible Images Festival, suite 309 13. Toronto Media Arts Centre (TMAC) Trinity Square Video, suite 121 7. Gallery TPW 36 Lisgar St Vtape, suite 452 170 St Helens Ave YYZ Artists’ outlet, suite 140 14. Art Gallery of York University (AGYU) 8. Mercer Union, a centre for 8 Accolade East Building, York University 2. Cinecycle contemporary art 4700 Keele St 129 Spadina Ave, down laneway 1286 Bloor St W not shown on map accessible through back entrance 9. 8eleven Gallery 15. Oakville Galleries at Centennial Square 3. Goethe Institut-Toronto 103-888 Dupont St 120 Navy St, Oakville Goethe Media Space not accessible not shown on map 100 University Ave North Tower, 2nd Fl 10. Xpace Cultural Centre 16. Y+ contemporary 2-303 Lansdowne Ave 15-1345 Morningside Ave, Scarborough 4. Super 8 Hotel washrooms not accessible 222 Spadina Ave 11. Unit 2 not shown on map 163 Sterling Ave 5. Innis Town Hall not accessible University of Toronto 2 Sussex Ave @imagesfestival imagesfestival facebook.com/imagesfestival imagesfestival.com