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PERIPHERIES - PERIFERIJE, Quebec: kanadska suvremena umjetnicka scena


vrijeme: 25.10.2002. - 25.10.2002.20:00

PREDAVANJE: Yves DOYON VIDEO PROGRAM: Video in the field of Art
O PROGRAMU: Video in the Field of Art (2h19) Body-Identity and Landscape (82m 32s) Oh la la du narratif, Sylvie Laliberté, 1997, 13 :32 This is a story about a love story. We often believe that love stories are lived in a horizontal position, very very horizantal. However, love is experienced standing up. So I tell this story with both feet in the snow. I work with and within the limits of the screen to show how much love tends towards freedom, even when it is a story confined by its own history and form, in this case, video. AQCC-TÉLÉFILM Canada Award for Best Short Film at Les 16es Rendez-vous du cinéma québécois 1998, Montréal. Crush, Nelson Henricks, 1997, 12 :00 Crush is the story of a man who wants to turn himself into an animal, as told by the man himself, and one or two observers. The trajectory he defines allows us to reflect upon the correlations between the body and identity, our culture s obsession with the body beautiful, and what it means to be human. SODEC Award for Best Video at Les 16es Rendez-vous du Cinéma québécois 1998, Montréal Die Dyer, Alain Pelletier, 1999, 23 :20 The sixtieth day of a contractual confinement. Two men and a woman are under continuous observation. The characters, like the images, are engulfed in a dazzling light. They lose their contour and reveal their vulnerability and turpitude. Telefilm Canada Award / Best Canadian Short Film, at Festival International Nouveau Cinema Nouveaux Médias 1999, Montréal Vidéoformes Award - Création vidéo, 2000, France AIVAC Special Jury Mention at VideoArt Festival, Locarno, Switzerland, 2000 Best Experimental / Animation at Reeling The 20th Chicago Lesbian & Gay International Film Festival, USA, 2000 Traverse [Crossing], Marie-Christine Couture, 2000, 6 :55 Sometimes, between two shores, space and time crack. Born of this fragile instant, Traverse becomes a meeting place of interior and exterior realities, between childhood and old age. Vertige [Vertigo], Isabelle Hayeur, 2000, 11 :45 Vertige has been produced from shots in an Asbestos quarry (Black Lake, Québec). The 35 mm photographes, which have been gathered and handled by computer graphics, are then combined amoung themselves and animated by compositing. Au Recommencement [In the Beginning… Again], Mario Côté, 2001, 15 :00 Once upon a time there was a large valley, shadows, cat s cradle, an encyclopedia, a window with a blocked view and a back of beyond. So many ways to describe sometimes poetic, sometimes personal situations with simple images, words, and incidental sounds; why not start to imagine new forms with the shadows on the wall, make up stories with old photos, or decompose the movement of a body dancing for a painting? These are some of the many ways in which to initiate new beginnings, over, and over, without end. The Performative Media (55m 51s) Hardcoralien, Boris Firquet/Eltractor, 2000-2002, 14 :24 Hardcoralien is a progressive loop on the prehistory of informatics created on the airwaves of extraterrestrial state television. It is the satellite that circles its creators, projecting a simulacrum of plausible reality. This nth incarnation of Hardcoralien, declared final by those responsible for its existence, is the uncut result of a show given at the opening of the Toronto IMAGES Festival in 2002. C t aujourd hui que... [It’s Today that…], Manon Labrecque, 1999, 17 :15 Time creases. Space crumples. The self crumbles. The moon...a soup...the day to day. As if all of a sudden, matter escaped from from its familiar surroundings. Honorable Mention at Transmediale International Media Art Festival, Berlin, Germany, 2001 Gloss, Karine Ledoyen, 2001, 3 :02 Essay on the form and the choreography of the moving image. An undulating series of fluorescent coloured snapshots whose appearance is reminiscent of a certain type of experimental cinema of the sixties. Axiom/e, Itsvan Kantor, 2000, 14 :20 Besides exposing the above facts, Kantor s work focuses on the socio-mechanical aspects of sexual intercourse. The video is displaying collective actions and individual encounters of interactive stimulation while units of body-machines are taking a break from office work. Sexual experimentation is the ultimate spectacle of this post-utopian performance society. In this sense Axiom/e is a relentless, presistent and ironic manifesto of cybersportfucking, softwarepleasure and robotic ecstasy. Dayglomatic, Annie Baillargeon et Simon Lacroix, 2000, 5 :00 Video gadget in which a mechanism moves mundanely among a repetitive succession of gourmand gestures. Manifesting themselves in the mechanics, the repeated movements of the body and the video become objects in themselves. 10, Philippe Hamelin, 2001, 1 :50 Digital skating... Special Jury Award at ÉICV, Montréal, 2001