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PERIPHERIES - PERIFERIJE, Quebec: kanadska suvremena umjetnicka scena


vrijeme: 24.10.2002. - 24.10.2002.18:00 i 20:30

U sklopu programa Peripheiries - Periferije, koji traje od 23.10. - 9.11. u cetvrtak ce biti prikazani video programi: DOCU-FICTION (2h10) u 18:00 sati THE STATE OF VIDEO (2h00) u 20:30
O PROGRAMIMA: Docu-fiction (2h10) Yes Sir ! Madame..., Robert Morin, 1994, 75 :00 The son of a francophone father and an anglophone mother, Earl Tremblay is in the throws of an identity crisis. In an attempt to resolve it, he examines his past, his present, and even his future through the lens of a camera. While screening the 19 rolls of film h is shot, he comments on his social ascent and unwittingly reveals his double personality. Known by its working title, Double Face, Yes Sir ! Madame... this video is the result of work carried out over several years. Best Video Award - SOGIC, at 13es Rendez-vous du cinéma québécois 1995, Montréal Grand Prize, at 6e Semaine internationale de vidéo de Genčve, Switzerland, 1995 Au verso du monde [Outside Looking In], Guilbert/Murphy, 1994, 25 :00 Videographic quilt composed of a series of short scenes, sung poems and contradictory truths stated by off-screen voices. Navigating between the realistic and oneiric, the serious and ironic, this video presents the story of a young woman and man who are exasperated by living in a restrictive society. Undermined, however, by their own uncertainty, they are unable to engage themselves in any direction. These two friends, enraged at not knowing how to be angry, and exasperated at being exasperated, continuously confront daily life in an attempt to surpass it and attain the flip side of life. Du front tout le tour de la tęte [Headstrong], Chantal Dupont, 2000, 30 :00 This video diary, filmed from May 4th, 1999 to February 1st, 2000, consists of a series of self-portraits of a head in various states. The filmmaker s body is subjected to masquerade and her head is transformed throught objects, plants, and body movements that blur the certainties of identity. Faced with illness, the small victories of her childhood help her discover a pace to conquer one that is projected into the future. It is snowing stars in her head. Jury’s Special Award, at Videolisboa, Portugal, 2001 Special Mention by Télévision 33 et France 3 Sud, Festival vidéo d’Estavar-Llivia, Estavar, France, 2001 Vidéoformes Award, at Vidéoformes 2001, Clermont-Ferrand, France, 2001 Conseil des arts et des lettres du Québec Award for Artistic Creation, at 19es Rendez-vous du cinéma québécois 2001, Montréal Association québécoise des critiques de cinéma (AQCC) Ex-aequo Award for Short Film for the year 2000 The State of Video (2h00) From the 80’s and 90’s (73m 27s) Paula, Luc Courchesne, 1983, 5 :50 Paula is a portrait in the style of the great painters of the Renaissance, a moment in history when painters had abandoned their religious inclinations to turn their preoccupations toward man. In Paula, humanity is precarious. She alternates between pleasure and pain, and laboriously attempts to keep herself together. Touei, Luc Bourdon, 1985, 4 :00 Webster Lake. Summer 1984. Late afternoon. Touei: the serene, the joyous, the lake as in a Chinese trigram of the I Ching. Original soundtrack composed by Jean Décarie. Le train [The Train], François Girard, 1985, 5 :45 Le Train is an allegorical story. A railroad worker has arrived at a halt in his life, at the same stopping point as his locomotive - a place situated between memory and imagination where the spectator may integrate himself into the poetic fiction. Award for Best Editing at Premičre semaine internationale de la vidéo de Genčve en 1985 Délivrez-nous du mal [Deliver Us from Evil], Marc Paradis, 1987, 8 :25 Close-ups of lovers caressing and images of nearly motionless nude males are presented as a collage. This results in an opposition between the primitive simplicity of sexuality and the complexity of love to which we traditionally associate it. This work focuses upon the omnipresence of sexuality and its inevitable changes and ramifications in long-term relationships. Happiness: a virtuel sketch, Katherine Liberovskaya, 1990, 2 :00 A vignette of sights and sounds where the ingredients, the length, video and a turtle form to create a virtual mandala in real time. La grande barričre [The Great Divide], Daniel Dion, 1990, 15 :17 Great Divide is a two channel video piece which explores the themes of movement and communication. Through a series of tableaux, like an open encyclopedia, the observer is made aware of connections between systems which are specific to the ecology of human thought and to its universe. Barricades, Monty Cantsin, 1991-92, 10 :00 Barricades is a dramatic prophecy about the absurdity of the laws of contemporary society, a video-manifesto that integrates documentary images, computer animation, and sonic-performance. On June 3rd 1991, the New York City police took over Tompkins Square Park on the Lower East Side, ejecting the homeless and their supporters and sealing off the whole park with barricades. For the videomaker, this ominous and frightening moment of urban reality was a clear sign of the coming apocalypse. Extenderis, Esther Valiquette, 1993, 10 :10 Constructed as a contemporary psalm, this experimental video reflects on the origins of life and the vast archival content of DNA. Extendris revolves around the ideas of Richard Dawkins (The Blind Watchmaker, 1987), according to whom human beings, as well as all living organisms, are the temporary receptacles of the DNA code. We serve the DNA and not the reverse. A shock to anthropocentric understanding, the idea was considered as heresy within the scientific community. In this sense, Extendris is a heretic psalm. Joan and Stephen, Monique Moumblow, 1996, 12 :00 Joan watches her parents from an upstairs bedroom. Stephen is a lover who lives inside my video camera. I am a voyeur, but I have always wanted to be an exhibitionist. (Monique Moumblow) Selection from the annual event Neige sur Neige [‘Snow on Snow’] (27m 46s) Sans titre [Whitout title], Robert Charron, 1998, 3 :20 A short walk in winter and its interiors. The intensity of a coming storm. Passe-moi le ciel [Pass me Heaven], Claudie Gagnon, 1998, 4 :38 A series of tableau vivant in a snowy climate. Schneewehe, Luc St-Laurent, 1997, 6 :25 Playing, space, the light of winter. A child discovers the universe. Porcelaine neigeuse [Snow White Porcelaine], Michčle Rhéaume, 1998, 3 :13 The fragility of texture, undergoing a series of transformations, shedding its skin unto transparency in the windy pulsation of winter. Evolution. La page blanche [The White Page], Diane Génier, 1998, 3 :49 The blank page is perhaps nothing more than the illusion of multiplying time. It is the overlapping of an end and a new beginning. Clima-X, Yan Breuleux, 1998, 4 :33 Using advertising propaganda techniques and an audio blend of weather reports, Clima-X aims at creating a psychological impact formally invoke stormy weather. Faut pas se branler sur une mine antichar [Don’t Jerk off on a Landmine], Jean-François Couture, 1998, 1 :48 Howling, wailing wind. A soldier in the desert… Selection from the Perte de signal [‘Signal Loss’] collective 18m 09s) Rentre chez toi [Coming Home], Claudette Lemay, 2001, 2 :55 Parachute, Robin Dupuis, 2002, 1 :20 An audio and visual exploration of falling. Angor, Jason Arsenault, 2002, 3 :40 This digital video is the remixed version of a video installation. The premise of this work was to exploit the memory of the showers of an old disused Montreal pool. This video explores the notion of division and malaise. Rentre chez toi 2 [Coming Home 2], Claudette Lemay, 2002, 3 :00 In this second part of the Rentre chez toi series, the character watches, or lets herself be carried by the ferment, sometimes interior, sometimes exterior. Démocratie [Democraty], Sébastien Pesot, 2002, 5 :30 An experimental video, testifying to the repression engendered by economic globalization and its repercussions on democracy. Images shot in Québec City at the Summit of the Americas, in April 2001. Mechanical Rodeo, Julie-Christine Fortier, 2000, 1 :44