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All Events on April 14, 2018
Jon Wang, Dani Restack, and Sheilah Restack
Public Intimacies is an exhibition of moving image installations taking place in hotel rooms at the Super 8 Hotel in Toronto’s Chinatown. Speaking to the boundaries between public and private space, the works challenge our notions of domesticity and contemplate themes of intimacy, expressions of sexuality, desire, and identity.
From Its Mouth Came a River of High End Residential Appliances
HONGKO NG/USA, 2018, DIGITAL VIDEO , 22 MIN
At the edge of Hong Kong, high rise buildings stand as gates to the city’s frontiers. A series of rectangular voids are designed to allow for the passage of dragons. This contemporary architectural manifestation of “feng shui” prioritizes the flow of energy between the natural and built environments. A buoyant camera takes the audience on a passage through these holes as a disembodied voice meditates on the desire for queer futures.
A Hand in Two Ways (Fisted)
Dani Restack and Sheilah Restack
USA/CANADA, 2017, DIGITALVIDEO , 7 MIN
A two-way portrait composed from a series of intimate and banal excerpts from the artists’ lives together, we are sent through a looping meditation of bodily encounters. Guided by a collective intuition, a fluid movement begins through opaque landscapes of flesh, into nocturnal mystery, and erotic expressions.
Saturday April 14th , 2018 , 12:00pm - 5:00pm
Super 8 Hotel
Saturday April 14th , 2018 , 12:00pm - 2:00pm
Walking tour of Super 8 Hotel and 401 Richmond
Super 8 Hotel
17 March-28 April
When Things Occur is based on Skype conversations with Gaza-based photographers, fixers, and drivers who were behind specific images that were transmitted from screen to screen in the summer of 2014. The film probes the face of mourning and grief—its digital embodiment, transmission, and representation. It asks how the gaze is channelled within the digital realm, and how empathy travels digitally. Equally, how the documentary signifier—and its abstraction—operates when viewing suffering. what exactly is viewing suffering “at a distance”? How many metres or kilometres is that? what is the behaviour and political economy of war imagery? who is the “local” in the representation of war? what is the daily routine of those who represent war?
Oraib Toukan will have an artist talk on sat 14 April
Saturday April 14th , 2018 , 2:00pm - 3:00pm
When Things Occur
YYZ Artists' Outlet
Saturday April 14th , 2018 , 3:00pm - 5:00pm
Artist Talk: When Things Occur
View from Above
GERMANY/IRAQ, 2017, DIGITAL VIDEO, 12 MIN
In 1991, the Kurdistan region was considered a safe zone by the UN, and many European countries only granted refugee status to those coming from unsafe zones. An anonymous narrator recounts the experience of a refugee who is under interrogation for asylum. Learning to forget where he comes from, he adopts a map of a fictitious place instead.
Anti-Objects, or Space Without Path or Boundary
USA, 2017, DIGITAL VIDEO, 13 MIN
Drawing from the theories of architect Kengo Kuma, Hopinka unravels the physical and visual elements of two prominent structures in Portland that embody a complex relationship to the Chinookan people who inhabit the same land. Entangled histories of resistance emerge through the audio tapes of the last speakers of Chinuk Wawa, as these monuments are explored beyond their perceived physicality.
Colectivo Los Ingrávidos
MEXICO, 2017, 16MM TO DIGITAL VIDEO, 9 MIN
Various historical moments of political activism in Mexico are layered together and corroded on the emulsion of expired film. Footage from the International Women’s Day in 2017 is coupled with the recording of a powerful speech that speaks to the gruesome aftermath of the 2006 civil unrest in Sant Salvador Atenco.
Wutharr, Saltwater Dreams
Karrabing Film Collective
AUSTRALIA, 2016, DIGITAL VIDEO, 29 MIN
The breakdown of a boat motor propels the retelling of an indigenous ancestral story of sweat, land, and spirits through a series of surreal re enactments by extended family members. The story unfolds across overlapping points of views that intertwine the pressures from the settler colonial state, the Christian faith, indigenous ancestry, and their day to-day realities.
Davani Varillas (Colectivo Los Ingrávidos) will be in attendance.
Saturday April 14th , 2018 , 5:00pm - 7:00pm
Space Without Path or Boundary
Ben Rivers and Ben Russell
UK/SWITZERLAND, 2018, S16MM ON DIGITAL VIDEO, 48 MIN
The Rare Event revolves around a forum involving a cast of notable thinkers, writers, artists, and critics gathered to imagine the possibilities of Résistance, the unrealized sequel to Jean-François Lyotard’s 1983 exhibition titled Les Immatériaux. Tasked with documenting the three-day “forum of ideas,” collaborators Ben Rivers and Ben Russell intervene in the philosophical discussion by gesturing toward the promises of Lyotard’s conceptual project concerned with the obverse side of communication: noise, distortion, and magic. Through the use of a haptic surround sound mix that is often deferred and delayed 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.
Invocation of My Demon Brother
UK, 1969, 16MM, 11 MIN
Almost 50 years since the conception of the film as “an attack on the sensorium,” Invocation of My Demon Brother still retains the possibility of “resistance” through satanic manifestation and magic.
Ben Rivers and Ben Russell will be in attendance.
Saturday April 14th , 2018 , 7:00pm - 9:00pm
The Rare Event
Guest curated program by Adam Khalil, Zack Khalil, and Jackson Polys
Demands for indigeneity have long been entwined with efforts to erase and replace the Indigenous. Channelled through practices of salvage ethnography and “playing Indian,” subliminal attractions evince yearnings for a spectral indigeneity that is removed from actual Indigenous people. The relegation of Indigenous identities to the past denies the presence of bodies currently living on colonized land. Indigenous artists who participate in the art world of settler-colonial states are expected to provide knowledge in a relationship similar to that between informant and anthropologist. In our current period of existential and environmental catastrophe, desires for Indigenous epistemologies increase and enterprising settlers labour to extract this understanding as a natural resource. From an Indigenous perspective, this has palpable consequences, from romanticization and commodification to appropriation and cultural erasure.
Within the entangled emergence of multiculturalism, neoliberalism, decolonialism, and self-reflexive anthropology, cultural apprehensions which arise from fears of offense—imbricate and fuel stronger calls for Indigenous information and informants. Many non-Indigenous people find ways to frame themselves as Indigenous, just as Indigenous people perform indigeneity themselves. If these tendencies are so deeply entrenched in this nation’s self-image, can they be studied, manipulated, or employed by Indigenous people to catalyze an expansion of Indigenous agency, amplifying the power of the informant? Can desires that push Indigenous people to an ideal and irretrievable past instead be channelled to promote the imagining of Indigenous futures?
Through video and performance, The Informants will examine the desire for indigeneity in the myths, dreams, and political foundations of the so-called Americas.
Zack Khalil, Adam Khalil and Suzanne Kite will be in attendance.
Saturday April 14th , 2018 , 9:30pm - 11:00pm
Come party us with a special DJ set by BAMBII
$10 or Free with What Weakens the Flesh stub/Festival Pass
Saturday April 14th , 2018 , 11:50pm - 2:00am
After Party Ft. BAMBII