22 November 1993

Stena and Woody Valsulka Route 6, Box 100, Santa Fe, 87501, New Mexico, U .S .A .

Dear Stena and Woody Vasulka ;

I am preparing an exhibition at the National Gallery of Canada for the fall of 1994, which will deal partly with the works of video pioneers who developed and worked with early video synthesizer . Of course your work would be featured . As you may know, the National Gallery of Canada has some of your work in its collection and I intend to include more works of yours .

For the moment, I am writing because I recently met with Jean-Pierre Boyer who mentioned to me that you had sent him a catalogue or a publication that presented video pioneers works . I was wondering if you could provide me with a copy of this publication or indicate where to find it . If you want to sell it to us, please join an invoice and we will pay soon after its reception .

Concerning your own early works, you may want to give me information . Otherwise, I will go through the regular channel, such as in New York .

I thank you in advance for the attention you will give to my request .

Sincerely,

Jean Gagnon Associate Curator Media Arts . The Video and Film by Artists Series Message from the Director Electronic Landscapes nother busy summer season has begun, and we welcome all 6 July - 4 September our visitors from Ottawa, Canada, the U .S ., and abroad . The National Capital Region - the Ottawa-Hull area - last year Video Gallery attracted some 4,000,000 tourists . This year we hope for even more first contradiction in guests, especially now that the of Civilization has lectronic Landscapes seems at to be a terms . But in this late twentieth century, where hydro pylons opened . Here at the Gallery the dramatic and moving exhibition of E1 and telephone poles have replaced trees and sky as major photographs Karsh: The Art of the Portrait has just opened . The elements in the visible world, the phrase implies an altered spectrum artist will give a public lecture in our Auditorium on Sunday 9 July of our surroundings . at 3 pm . I hope you will all be able to visit this exhibition and The In spite of or perhaps because of this, nature holds renewed Cherished Image: Portraits from 150 Years of Photography, a com- fascination for us . For artists working with electronic tools, turning to plementary history of portrait photography from the early daguerreo- nature for reflection types to contemporary works drawn from our collections. and inspiration is a This year during July, August, and September all six national deliberate decision : to museums (including the War Museum and the Aviation Museum) will establish links with a take part in a "passport" pilot project. The passports are to be sold personal and cultural at the museums and will contain one adult admission to each "otherwise" or to museum for $15, a 25 percent discount for the whole package. salvage the sites and To help visitors tour the capital's attractions, "Visibus," a daily icons of an earlier bus service from 9 am to 6 pm, makes a number of stops at key day. locations at ten-minute intervals. It runs until 4 September (except The exhibition on Canada Day) and is a bargain at $2 per adult pass or $5 for the brings together multi- whole family . Passes are available on board or at the Visitor Centre screen video installa- at 14 Metcalfe Street near Parliament Hill . The museums will also tions by Tomiyo take part in an "exit survey" of visitors, to help us find out how we Sasaki (The Dreams can better serve them . So if you are approached by a personable Mica-TV, Cascade of Christopher young student with a clipboard and a few questions as you leave the Columbus, 1987) Gallery, I hope you will spare a few moments to help us in this and Tom Sherman survey . For many of you, July and August are holiday months . I wish you (Equidistant Relationships, 1989) with single channel tapes by fourteen artists from Canada and the United States, including Kate Craig a happy and safe summer - and I look forward to seeing you at the National Gallery. (Mary Lou, 1989), Luc Bourdon (Distance, 1984), (Hatsu-Yume "First Dream," 1981) and (Incidence of Catastrophe, Dr . Shirley L. Thomson 1988). The selection is framed by language, but natural forces and raw landscape play crucial roles in these works, acting as both foil to human action and balance to human thought . Peggy Gale is the guest curator of Electronic Landscapes, part of the Video and Film by Artists Series organized by Susan Ditta, the National Gallery's Assistant Curator of Video and Film .

Doug Hall Storm & Stress Yousuf Karsh Pierre Elliott Trudeau 4 November 1968

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LECTURES, AND SPECIAL EVENTS IN THE MEDIA ARTS The phrase electronic landscapes seems a contradiction in ELECTRONIC LANDSCAPES brings multi-channel video Doug Hall is fascinated by raw power, and Storm and terms - or implies an altered spectrum in this late twentieth installation pieces by Tomiyo Sasaki and Tom 'Sherman Stress gathers together rolling cloud-formations, heaving century, where hydro pylons, technology, and the "informa- together with fourteen single-screen tapes by artists from seas, bolts of lightning, and the genesis of tornadoes. The tion revolution" have replaced trees and sky as major ele- Canada and the USA . The selection is framed by language, majesty of these natural systems is offset by heavy man- ments in the visible world. as represented by two remarkable conceptualizations : Inci- made forms, massive turbines and power plants and smelters, dence of Catastrophe by Gary Hill and Art of Memory lumbering earth-moving devices, laboratories for collecting In fact, Nature has a renewed fascination for us . As individ- by Woody Vasulka. Natural forces and raw landscape play scientific data; tension and comparison between the natural uals and as citizens we are rooted in this wide land, this crucial - if opposing - roles in these two works, acting and the man-made is maintained through editing - juxtaposi- largely open space, this still-new collection of farms and as foil to human action and counterbalance to human tion, intercutting - and through alteration of pace . We track cities . The land is our history and backdrop to our present. thought. tornadoes with awe, anticipation . But for artists working with electronic tools, a turning to Nature for reflection and inspiration is a deliberate decision Incidence of Catastrophe begins with rushing water, sand Entirely different in mood is Tom Dean's Fear of Blue, a - to establish links with a personal and cultural "other- crumbling at the borders of a stream that tumbles to the lyrical fifty-four-minute study of sensations and perceptions wise," or salvage the sites and icons of an earlier day. sea. This flow and the collapsing banks are quietly inexo- around the colour and sound of blue(s) . Gently gliding through rable, establishing natural landscape as locus for action and Vancouver suburbs, along the Pacific coast, or through Prairie The natural landscape is separate from a cultural milieu, from indicating its controlling role . In the main body of the work landscapes, Dean muses on the verticality of blue, its exten- urban pressures and speed. Outdoors seems open, undefend- we follow the (unspoken) reading of a book, a journey both sion into heaven or into the depths of the sea. He considers ed; and rural peace seems finer than the dense and human- textual and textural; as the protagonist pursues the words, its ethereal or inspirational qualities, and its aura of despair. choked urban environment that is home to most of us . But he fingers the grain of the paper surface, feels the form real wilderness, or the Far North, is almost exotic for city- of letters, heft of binding, crispness of pages. Wind riffling dwellers, and even a small garden seems a treasure . Buffered through the volume, a tangle of branches and falling shadows against Nature and the Elements by our housing, our occupa- disrupt the reader's progress : natural elements act on physi- tions, the stresses and comforts of our cities, we are hardly cal as well as intellectual perception . Events proceed through tuned to see Nature now as adversary or simply exploitable. hallucination to surrender; then we are returned in the end Surrounded by reports of ecological disaster and human mis- to the flowing water, crumbling sandbanks. Inspired by the management, we are far more likely to conceive this Nature novel Thomas obscur by Maurice Blanchot, Incidence of in romantic terms, revising Goethe and Wordsworth for l Catastrophe uses metaphors of Nature to indicate psycho- today. We acknowledge its fragility and ephemerality, know logical turmoil leading to physical distress . The tape shifts it can no longer be taken for granted. subtly from real-time recording to impossible replacements of How to represent this Nature? The small screen is made for substance and location, achieved through masterful editing, closeups rather than vast panoramas. Its intimacy permits a and leaves the viewer prey to anxiety; the viewer cannot kind of personal contact, though we see almost any sort of control response to the story any more than the protagonist programming on commercial television . Where regular televi- can manage fate or even his own body . sion emphasizes talking heads, rapid edits, and frequent inter- Woody Vasulka's Art of Memory privileges language and ruptions or contrasts to maintain viewer-interest, video will (spoken) text as well, placing both against geography and CHOTT El DJERID: Bill Viola tend to an opposite approach in recording the "long take," in natural forces . With Czech-born Vasulka, however, landscape Photo: Kira Perov using slower camera movements or dissolves to achieve its provides salvation rather than confrontation or resistance . intended viewer-identification. Too much detail leads to a The tape takes the eroded hills and canyons of New Mexico shutdown of response ; hence, an emphasis on the central as background to personal and cultural history, reviewing the characteristics of scene or story. But when the man-made wars of Europe with references to Germany, Japan, Spain, world is slowed down, reduced to a play of light, colour, and Russia, with repeated quoting of Robert Oppenheimer, and form, is that scape seen as a new Nature? Nature as responsible for production of the first atomic bomb . Human Culture - a tamed and comforting ideal. history is played out against geological history, and we won- The enclosed garden has long offered a premonition or taste der if the elemental hills, like the human brain, record every of Heaven . event forever. Do the hills remember? And with Vasulka's avenging angel at their peak, do they forgive? The remarka- Video in a museum context operates as a similar metaphor . ble complexity of Art of Memory is visual as well as con- We are familiar enough with images of Nature in paint and ceptual, with its interlaced "wipe" sequences, multiplication in print; electronic representation is only the most recent of layers and textures, colourizing and digitizing of forms and attempt to embody and hold on to this lost Eden, to medi- figures. This tape is a masterwork by one of the medium's tate on its place in our lives. But these landscape images are most senior artists; the arid land blooms . bracketed by narrative or language in some form, and imply two parentheses - damnation, redemption - (through their electronic appearance) human presence, either Between these STORM AND STRESS: Doug Hall positive or negative . States of memory are a common evoca- lies a broad range of landscape-inspired works. Tom Photo: Kira Perov tion . The character and effects of light are central motifs . Sherman's two-channel Equidistant Relationships revels in narrative, exposing a media environment that has funda- Michele Waquant, in her study of a pond in the heart of mentally changed our response to events and other people ; Pa- ;, probes the comforts of enclosure and seeming aimless- against windswept beaches and lines of passing trees and ness . Lilies and leaves drift on the pond's glassy surface, fields is juxtaposed the interior of a media laboratory with droplets dimple its reflections of the clouds, and fishermen automated camera-eye sweeping the room and its inhabitants . sit patiently as if the fish need never bite . L (tang is the Sherman proposes that "Most of our life experience stems image of peace and quiet pleasure . from relationships we have with media and the machines we Watery images and movement appear over and over again in use for reading media." With this in mind we listen to his video studies, perhaps because the medium itself is flow stories, see his happy family groupings, consider that the rather than stasis or single frames . The glass surface of the sixty-two-minute monologue is itself being mediated by both video screen seems another kind of window and mirror, its form (two simultaneous and interlocking prerecorded video- reflecting both through and upon the camera's gatherings . tapes) and its location (in a museum exhibition). For Sherman, Sequence seems seamless, constantly in flux . Even in the the natural landscape incorporates media now, making striking edits of Cascade. Vertical Landscapes, by MICA- virtually all experience second or third-hand : "It's hard to TV, transitions between urban structures, buildings, and see anything for just what it is . If you look at the media malls, trees framed by glass roofs - all flow together in a and the media machines for long enough, they'll give you the free-fall effect . When the editing is infinitely slower, the feeling of being everywhere and nowhere at the same time . mood contemplative and dreamy, as in Mary Lucier s Ohio ART Of MEMORY Woody Vasulka You will be equally distant and painfully aware of the state Photo: Marita Sturken to Giveray. Memory of Light, such flow adds qualities you're in . Lost without dimension, you'll find yourself moving of softness and interiority, suggesting the very workings of in many directions, remembering everything you've never recollection . And in Distance by Luc Bourdon and Francois been, and more ." Girard, flow is combined with slow-motion recording to evoke This bleak pragmatism is in strong contrast to the innocence speed, transition : displacement in time and space. and visual splendour of Tomiyo Sasaki . The Dreams of Deployment of computers for dramatic post-production pro- Christopher Columbus includes ten separate channels in all, vides a key to the final trio of tapes in ELECTRONIC multiplied further on the display monitors (planned originally LANDSCAPES . Elizabeth Vander Zaag's farm fantasy uses for up to 300 screens) . Recorded in India in 1981, the work playful humour and digitized-colour effects in honouring the has been edited densely and rhythmically to isolate and rich earth; Dara Birnbaum, in contrast, underlines the irony of emphasize significant formal relationships, movements, and her title - and the importance of her subject - in her por- colours. Guided by Sasaki's framing and repetition we see trayal of a trashed inner-city playground in that Charming places and actions differently than would be possible on the Landscape. And Kate Craig's Mary Lou assembles images- spot . The configuration of the monitors in lotus-flower or within-images of water, roof-tiles, fences, other passing sur- mandala form emphasizes both natural and cultural overlays faces in flowing abstract patterns, the framing image-field for these "dreams" : that we see this brilliant landscape receding or advancing with alterations in colour, direction of through the eyes of an artist - not primarily as ethnog- movement, or simple shifts of attention. RATS11 YUME (FIRST DREAMI Odf Vrola raphy, geography, history - is to have Columbus's vision of Photo: Kira Perov the magical Indies as he, man of action, might have These are sixteen works, selected from the many recent imagined . examples of landscape in artists' video. The approach here is less a review of nineteenth-century painterly strategies, or How to characterize the remaining dozen tapes? There is a the updating of the grand "landscape machine," than a pro- unity in a wellspring response to landscape; but for attitude, ject far more personal . An interior source or spring . We see intention, location, form, and quality and quantity of media- ourselves easily as a TV generation, and video-as-diary is not tion (especially montage and post-production strategies), so unlikely after all: for evocation of memory, recording of the variety is striking . Bill Viola studies tranquillity itself in favourite locations and motifs, or for sending messages to an Hatsu Yuma [first Dream], shot in Japan, with gentle tran- anticipated future . These works suggest a certain urgency, a sitions through mists and water, a thoroughly cultured Nature need to fix ideas and images in time . And video - ephemeral, where man has been gardener for centuries. Viola's Chott sequential, always flowing on - is like writing on water. elDierid Study in Light and Heat) is similarly a medita- la But electronic recording offers an international language of tion on vision and atmospheric effects, but juxtaposes Sas- utmost currency and diffusion: TV as new Urtext, as a new katchewan snowstorm and Sahara's blinding glare. These Esperanto, with a message we can all understand . There is whited-out images are harsh indeed, yet haunting in their much beauty here . abstraction and simplicity . Steina Vasulka's Summer Salt, by CASCADE VERTICAL LANDSCAPES: MICA-TV contrast, is all action : willful and inventive, Vasulka puts the Peggy Gale camera itself into play, intervening dramatically in her visual Guest Curator environment. April 1989 T A P E D E S C R I P T I 0 N S

Installation : Gallery B-201 DAMNATION OF FAUST: CHARMING CASCADE : VERTICAL LANDSCAPES LANDSCAPE 1988 THE DREAMS OF CHRISTOPHER 1987 MICA-TV COLUMBUS Dara Birnbaum (630 min.) 1987 (6.30 min.J Source: Electronic Arts Intermix Tomiyo Sasaki Source: Electronic Arts Intermix In this new work from Michael Owen and Ten channels of 13 total, presented on This is the final piece in Birnbaum's , humour and astute 20 monitors 128.00 min.) Damnation of Faust trilogy, extending observation inform a vertical parade of Source: The Artist the whole into a present relevance . Her office buildings, shopping malls, fast-food A mosaic of images videotaped in India, fragmentary editing and multiple-image chains, and suburban houses that consti- originally planned for presentation on up to composites convey both dislocation and a tute the contemporary American landscape . 300 monitors in mandala configuration . consciousness of the past, while pointing Collaborating with painter Dike Blair, media Sasaki is fascinated by the multiplication to the futility of generalizing and contradic- artist and critic , and com- of these images from a world so distant : tion . Over reprocessed footage of sixties poser , MICA-TV lifts FARM FANTASY. Elizabeth Vander Zaag their repetition emphasizes both difference Vander Zaag racial strife and political demonstrations in images and sounds from pop culture to Photo. Elizabeth and substance, while her careful framing the USA, a young woman's voice com- create a seamless work that comments and juxtaposition of scenes and actions ments quietly, "I can see how much it affectionately on the American way of life . comment on formal and graphic qualities of was still the same ." The images move for- Marclay's original soundtrack emphasizes the image . Her veils over the monitor sur- ward to recent student protests in Asia, the vertical read of the tape, and mirrors face, and her linear floor designs, underline ending with a soldier pushing away the the continuous flow of musical debris the sculptural nature of the work overall, camera, and a dedication to two women surrounding us . and its exotic source . born in 1968 and 1969 . As Michael Nash OHIO TO GIVERNY : MEMORY OF Installation : Gallery B-207 has indicated, "in her complex, occasionally LIGHT oblique meditation, Birnbaum proposes that EQUIDISTANT RELATIONSHIPS 1983 as history (via media immortality) anaesthe- 1989 Mary Lucier tizes against the loss inevitable to individ- Tom Sherman (18.25 min.) ual memory, cultural amnesia sets in ." This Two channels, presented on two monitors Source: Electronic Arts Intermix thoughtful and poetic work is a strong (62.00 mint Opening with a quote from Marcel Proust's comment on an inner-city landscape, its Source: V/Tape Swann's Way (Du cdte de chez Swann), past and present . "I'm struck by the fact that everyone Lucier explores light and its relationship to seems equally distant from just about Impressionist STORM AND STRESS memory, evoking the work of SUMMER SALT: Steiba Vasulka everything that happens these days . and touching on Photo: Manta Sturken 1986 painter Claude Monet Most of our life experience stems from relationship to its European heri- Doug Hall America's relationships we have with media and the tage . Lucier writes : "This work is an (47.52 min.) machines we use for reading media ." investigation of light in landscape and its Source: Electronic Arts Intermix FEAR OF BLUE Sherman continues his study of human function as an agent of memory both per- This ambitious work completes Hall's study 1982 interaction with machines, with the pos- sonal and mythic . It deals with the conver- of representations of power in our culture, Tom Dean sibly distressing conclusion that man is gence of disparate entities - geographies, with the relationship of man, nature, and (54.00 min.) inferior to machines save for his Uncon- epochs, sensibilities - with transitions technology as central theme . He presents Source: Video Out scious and the unpredictable nature of his from one state of being to another, and startling images of thunderstorms, torna- A metaphoric text on reverberations for memoryfresponse patterns . The natural how within the frame of imagination and does, floods, and fires as manifestations of the colour blue, voice-over against images landscape, the family grouping, the media natural power, in juxtaposition with such collective memory, these 'dissolves' take of sea and sky . The soundtrack includes laboratory are all put under observation, as and correlates man-made works as hydroelectric plants, place ." The tape juxtaposes original recordings of Hank Williams songs, backdrop to the artist's narrative and com- through the play of steel foundries, and wind-tunnels . Hall Lucier's native Ohio, with a capella voices, yodelling, and solo mentary . ends the artifacts of a Midwestern Equidistant Relationships addresses the economic subtext for man's light on piano and guitar. with a sly test, which asks the viewer to Victorian home, with the French country- harnessing of natural forces, our precarious select whichever of three recounted stories centring on the ancient structures of FARM FANTASY relationship to nature, the central role of side, has the extra dose of "mediated, distanced the fading aristocracy and the lush beauty 1988 technology in our society, and, through reality ." How can we lose? of Monet's garden at Giverny . Elizabeth Vander Zaag referring to Sturm and Drang, the aes- (4:30 min.) Single-Channel Works : Video Gallery B-209 thetics of the irrational and the sublime . MARY LOU Source : Video Out uvuibc: nuco uui - - - - "'" SUMMER SALT DISTANCE 1989 A portrait of the fertile farm, its magical 1982 1984 Kate Craig fields and skies colourized and glowing, its Steina Vasulka Luc Bourdon and Francois Girard (28:00 min.) fruits bountiful, its masters strong and smiling. (18:45 min.) Source: Video Out (430 min.) . INCIDENCE OF CATASTROPHE Source: Electronic Arts Intermix Recorded in Japan and in the Pacific Source: le Videographe 1988 This piece is a compilation of five short Images of downtown and the highway, Northwest, Mary Lou is a study of Gary Hill studies - Sky Nigh, Low Ride, Somer- speeds altered and blurred, light and colour camera-framed surfaces . The title recalls 143:51 min.) sault, Rest, and Photographic Memory fusing : "As I was leaving . . . the image of Marie-Louise, empress of France and Source: Electronic Arts Intermix - which manipulate both space and time, the last telephone conversation . . . creating second wife of Napoleon Bonaparte, whose A deeply moving meta-narrative of the act of and use striking recording techniques to a new distance . . . was taking form ." name had purportedly been given to a reading, in which Hill casts himself as a read- explore the qualities and textures of land- framing mat or posse-partout . So this First prize, UNDER 5 Festival, Vancouver, er submerged in the hook's text like a body in scape near Vasulka's home in New Mexico . "Mary Lou" is the frame personified, given 1984 . water. In a corporeal portrayal of the acquisi- She experiments with effects using video full and proper credit at last . It interacts tion of language as a cumulative process of camera, microphone, and mirrored ball as a ART OF MEMORY with the central image on-screen to alter erosion, Hill gives way to the pressure of curved lens, with results both comical and its emphasis and flow, provide contrast or 1981 Blanchot's text, exhibiting himself in the end formally intriguing, poetic and dance-like . juxtaposition, advance or recede in the Woody Vasulka as a physical manifestation of the word made An entirely new perception of space is viewer's perception . In short, Mary Lou is (36.25 min.) flesh. At the same time, the natural world created through her handling of the familiar the perfectly articulated surround, subtle Source: Electronic Arts Intermix surrounding this struggle maintains its struc- video equipment, so that traditional Vasulka has affirmed, "Ours is a cen- but significant, accentuating the centre As ture and flow, rcminding us always of its figurelground relationships and laws of tury of experiment with political and reli- while maintaining its own presence : hardly primacy and strength . perspective vanish . This virtuoso "re- gious forms - and with death, which was a mere formal device . presentation" of the usually rectangular Included in the Whitney Biennial of 1989, almost as devastating as the Black Plague . Sound design and contruction by lain video field is both a visual and conceptual New York . [But] history is secondary - the informa- Macanulty. leap into space. tion is common knowledge. This is an HATSU-YUME (FIRST DREAM) CHOTT EL-DJERID (A STUDY IN exploration of method and interpretation . 1981 LIGHT AND HEAT) [A possible example is] taking two- Bill Viola 1919 dimensional documentary images and DISTRIBUTION FOR FURTHER Bill Viola leaving the frame, putting them in three- (56.00 min.) INFORMATION INFORMATION /28.00 min) dimensional, object-like forms. The image is Source: Electronic Arts Intermix Unfolding in a dream-like trance, Hatsu- LE VIDEOGRAPHE National Gallery of Canada Source: Electronic Arts Intermix no longer truth-in-a-window." Through com- operates on many interrelated levels : 4550 Gamier Street Sussex Drive "Chott el-Djerid is the name of a vast dry puter manipulations of old newsreels and Yume 380 a personal interpretation of Japanese cul- Montreal, Quebec P.O . Box 427, Station A salt lake in the Tunisian Sahara desert photographic imagery, Vasulka distorts ture, a contemplation of the natural ele- Canada H2J 3S7 Ottawa, Ontario where mirages are most likely to form in shapes, colours, textures, even meanings . ments as realms of life and death, and a (514) 521-2116 Canada KIN 9N4 the midday sun. Here, the intense desert His juxtapositions of images from the past formal exploration of the ways in which (613) 9908611 heat manipulates, bends, and distorts the with present-day landscape were intended video processes light and reflection . Viola's VIDEO OUT light rays to such an extent that you "to produce not a construction of events Produced by the language of images describes an enigmatic 1102 Homer Street actually see things which are not there. but a panorama of associations ." The Contemporary Art Section, rock on a mountainside, a rock that sits Vancouver, British Columbia Trees and sand dunes float off the ground, result is optically dazzling and conceptually National Gallery of Canada- immobile on the screen and yet appears to Canada V6B 2X6 the edges of mountains and buildings ripple challenging, a perfect union of recollection Susan Ditta, Assistant change dramatically in size with the pas- (604) 688-4336 and vibrate, colour and form blend into one and timelessness on a cosmic plane. Curator, Video & Film . sage of time - and it records fishing at shimmering dance. In this piece, the desert L'I TANG night on a black ocean, where mechanized VITAPE Printed in Canada mirages are set against images of the 1985 trawlers haul in luminous squid using light 183 Bathurst Street Gallery of bleak winter prairies of Illinois and Saskat- The National Michele Waquant as bait . Viola writes : "Video treats light Toronto, Ontario Ottawa, 1989 chewan where the opposite climatic condi- Canada, (2200 min) like water - it becomes fluid on the video tions induce a similar aura of uncertainty, Canada M5T 2117 Reproduction permission the Source: Le Videographe tube . Water supports the fish like light disorientation and unfamiliarity" (416) 863-9897 artists. This pond and garden have their own supports man. Land is the death of Ao (Bill Viola) . in heart of the city, with strol- rhythm the fish - darkness is the death of man ." ELECTRONIC ARTS lers dreaming along among trees, children, INTERMIX and birds. Fishermen sit silently with their 536 Broadway Ave, rods, as if they too were being dreamed. 9th Floor The tape was shot in Paris, in the Parc de New York, NY 10012 Saint-Mande, with inserted images recorded USA at the Aquarium du Trocadero, also in (212) 966-4605 Paris.