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All Events on April 15, 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.
Sunday April 15th , 2018 , 12:00pm - 5:00pm
Super 8 Hotel
Lecture: Erika Balsom
At least since Okwui Enwezor’s Documenta 11 in 2002, documentary practices have been a prominent feature of contemporary art. But what idea of documentary has emerged from this context? This talk will propose that the denigration of surface appearances—a phobia of the descriptive capacities of “mere” recording—is a key characteristic of the documentary turn in contemporary art. This line of argumentation proposes that the best access to reality occurs through artifice, and casts observational documentary as a bad object that naively indulges in illusory transparency and uncreative copying. The talk will also situate these arguments within a longer history of attacks on the mechanical reproduction of phenomenal reality in the intersecting histories of art and film, and, through a discussion of recent artists’ practices that assert the primacy of lens-based capture, will question the continuing viability of these arguments today, in our era of “alternative facts.”
Sunday April 15th , 2018 , 3:00pm - 4:00pm
“Mere” Recording? Documentary, Contemporary Art, and the Orthodoxy of Ecstatic Truth
CANADA/USA, 2016, DIGITAL VIDEO, 41 MIN
“I’m piecing together fragments because I don’t yet have a subject”—through this self-proclaimed process, Davey’s subject is found as she meanders through her apartment, and through her thoughts, carefully weaving together points of resonance across disparate practices, films, and texts. Responding to Chantal Akerman’s News from Home, both as a source of inspiration and to pay homage to the recently deceased filmmaker, Davey considers the film’s connections to herself and the experiences of those close to her. This visual essay is woven inside the frame, with and through the artist’s lived space.
UNITED KINGDOM, 2016, 16MM ON DIGITAL VIDEO, 3 MIN
A poetic narration speaks to the imagined future of a young woman and her reflections on her changing city, as a group of women traverse their turf in London’s Hackney to the repeated call to action: “Let’s get rid of the ghetto.”
The Wind Sleeps Standing Up
CANADA/PAKISTAN, 2016, DIGITAL VIDEO, 12 MIN
Memory and biography are examined through experiments in narration as Bamboat plays with ambiguous boundaries between fact and fiction. Lists of personal preferences of various quotidian textures such as pop culture, food, and sexuality are described both in first and third person, sketching a constellation of clues to form a biography. Footage shot by the artist in Pakistan several years apart becomes both an indicator of image technology and a metaphor for memory.
Ayo Akingbade will be in attendance
Sunday April 15th , 2018 , 5:00pm - 7:00pm
Steve Reinke and James Richards
UK/USA, 2017, DIGITAL VIDEO, 40 MIN
Before the Information Age we had three components to worry about: the mind, the body, the soul. Now we have a fourth—the archive—that we don’t yet know how to worry about. The mind fades, the body rots, the soul is a fiction, but the archive persists and grows stronger. We are only learning how to relate to it now.
The auto-erotic photography of Albrecht Becker (1906-2002) can serve as a model for this. Becker was a production designer, actor, and photographer imprisoned by the Nazis for homosexual behaviour. He recorded his life, his travels, and the people around him fanatically.
The Schwules Museum* holds a portion of his private archive: a series of staged self-portraits that demonstrate a profound exploration of genital modification and esoteric body tattooing. Over four decades, Becker obsessively produced and then reworked these photographs through collage and darkroom manipulation, duplicating and transforming.
This extraordinary series of photographs serves as the starting point for What Weakens the Flesh is the Flesh Itself (2017), the second collaborative video by Steve Reinke and James Richards. This work is an extended meditation on the archive, masculinity, photography, and the body. The double self-portrait is redoubled, repeatedly: a mise en abyme. Self is lost as flesh proliferates, escaping death, returning as a thin image resonant with desire and possibility.
—Steve Reinke and James Richards
Voce di Testa
Reading performed by Jean-Paul Kelly and Chris Curreri
Love and Torment—Albrecht Becker
Rosa Von Praunheim
GERMANY, 2005, DIGITAL VIDEO, 14 MIN
Steve Reinke will be in attendance
Sunday April 15th , 2018 , 7:00pm - 9:00pm
What Weakens the Flesh Is the Flesh Itself
The Private Property Trilogy: A Survey of the Life and Films of C.B.
MEXICO/USA/CANADA, 2018, CINEMA LECTURE, 37 MIN
The Private Property Trilogy is a performance lecture that surveys the life and work of C.B., a multifaceted artist, political activist, amateur archaeologist, self-proclaimed anarchist, and creator of a mining museum in the Northern Mexico desert. Stories of land rights and artistic endeavors become inextricably linked as Nicolás Pereda poetically uncovers the missing fragments of C.B.’s personal history.
UK/CHINA, 2018, DIGITAL VIDEO, 33 MIN
Following the expansion of infrastructure and distribution networks along the New Silk Road—the highly politicized trade corridor linking China and Europe—AAA Cargo maps the the flow of human and non-human agents across this vast landscape. Government efforts to facilitate and expedite trade are countered by desert sand and other environmental forces.
Bad mama, who cares
USA, 2016, 16MM TO 35MM, 12 MIN
Bad mama, who cares depicts the domestic ecology of a geologist who has moved into a housing complex at the intersection of a rail yard and an interstate. Looking from the outside in, the arid exterior landscape and seismic vibrations slowly take over the interior, transforming the domestic space into a tactile home.
Nicolás Pereda will be in attendance.
Sunday April 15th , 2018 , 9:30pm - 11:00pm