RAPPORT REPORT VIDEO SCREENING

Hart House Art Committee’s Outreach sub-Committee Presents "Rapport
Report" at the University of Toronto Film Festival
DATE: Wednesday, March 11

TIME: 8:30 PM

VENUE:
Innis Town Hall
Innis College, University of Toronto
2 Sussex Ave
Toronto, ON
http://www.uoftfilmfest.ca/venue.php

FESTIVAL WEBSITE: http://www.uoftfilmfest.ca/


Rapport Report: the possibilities of community (83:30)

Curated by Tejpal Ajji (Adjunct Curator of Outreach, Justina M. Barnicke
Gallery) and the Hart House Art Committee’s Outreach Committee. This
screening is organized by the Justina M. Barnicke Gallery in partnership with
the Office of Lesbian, Gay, Bisexual, Transgender, Queer Resources &
Programs (University of Toronto), and New College (University of Toronto).
The JMB Gallery gratefully acknowledges the support of the Canada Council
for the Arts.

The Debutante Ball (4:00)
Produced during a student focused, weekend long, collaborative video-
making workshop organized by the Hart House Film Board and the Justina M.
Barnicke Gallery. Participants used the Hart House as a film set to evoke a
sense of fantasy through costume and improvised stage design.
Project participants: Kristyna Balaban, Boglarka Uzoni, Mariuxi Zambrano,
Leila Gajusingh, Susan Fairbairn, David Leblanc, Chen Liu, and others.
Artist Oliver Husain led the workshop assisted by Dagny Thompson.

Lesbian / Gay / Bisexual / Transgender / Queer videos (25:30)
This program mines queer and transgender identities, spaces, and ideas,
through works by videomakers representing the University of Toronto’s three
campuses and from an open call for submission.

The Astronaut (5:15)
By Dagny Thompson
The artist recounts a childhood wish of becoming an astronaut. Dressed as
such, Thompson walks through a playground and attempts to drink coffee in a
café, living out desires of expression however quietly.

Wing Machine (3:30)
By Hodgson and Moffat Productions, University of Toronto at St. George
It is Monday, chicken wing day, and “Mindy” prepares herself for a day to
indulge in greasy fried and sauced goodness.

Untitled (territory) (5:15)
By Ryan Lord, University of Toronto at Mississauga / Sheridan Institute of
Technology
Lord applies red poster paint to his genitals then ‘tea bags’ a movie poster.
This action suggests the hints of violence which can characterize sexual
gestures.

Taking Root (4:18)
By Hisayo Horie
Horie traces the melancholy of her migration to Canada through a metaphor of
adaptation akin to plants.

This is me (3:13)
By Johnson Ngo, University of Toronto at Mississauga / Sheridan Institute of
Technology
Ngo contests stereotypes while referring to voice-over dubbings of translated
cinematic works.

Cake (8:00)
By Allen Huynh, Ontario College of Art & Design
Recited as a partner search profile, Huynh describes facets of his sexual
identity. He intertwines autobiographic details with the lives of former
partners. The video’s unsettling green hue imbues it with melancholy
heightened by the confessional style of Huynh’s delivery.


Short and Sweet (34:00)
This broad-ranging selection of works utilize animation, artificial intelligence,
performance art, or subtle intervention into architectural environments to
reconsider naturalized structures imbedded in the mundane and everyday.
Videomakers represent the University of Guelph and the Ontario College of
Art & Design, in addition to recent graduates of the University of Toronto and
other institutions.

Inside Me (3:45)
By Gintas Tirilis
Using cutouts, drawing, hand-held animation, and voiceover, Tirilis takes
viewers on a tour through the inner workings of his bodily functions—from the
bugs living in his entrails to the computer in his brain.

The Word Factory (4:48)
By Liam Johnstone
Want to know how words and letters are fashioned? Johnstone’s animation
presents the interpersonal politics of a factory staffed by letters of the
alphabet.

Fun with Predictive Text (3:00)
By Matt Williamson, Ontario College of Art & Design
Using the search field of a Google page, Williamson enters passages which
bring up a series of past searches characterized by similar sentence structure
though depart in content.

Verbal Burglary (4:00)
By Mani “Scalez” Mazinani
Mazinani’s interest in the technological and aesthetic composition of video
merge with the lyrical flow of hip-hop music.

Folding City (1:10)
By Lena Chun, Ontario College of Art & Design
A cityscape referring to Toronto’s skyline rapidly transforms through a series
of animation techniques.

Layering (1:00)
By Miles Stemp, University of Guelph
The artist slowly wears all the clothing he owns. As he balloons and swells,
Stemp becomes an image that could represent an itinerant traveler carrying
his home and belongings on his back.

Courtesy (2:00)
By Courtney Bryant and Stephanie Fong, University of Guelph
A lone figure becomes an architectural feature in the busy thoroughfares of a
university building.

321 (1:20)
By Shera Mekhail, University of Guelph
Mekhail satirically investigates the stereotypes and representations of her
self-image as it is mapped onto objects and through desires.

Rod, Bernie, Peggy, Aislinn (8:00)
By Aislinn Thomas, University of Guelph
Using her kitchen as a set for storytelling, Thomas recounts a family history
using recipes representing her father, mother, grandfather, and herself.

APHASIA (4:24)
By Danielle Williams
A man’s reflection is caught on the window of a moving train while an urban
landscape rapidly moves in the distance. Subtitles written in a code language
trace a story Williamson does not easily give over.

Tri-Campus Video (20:00)
Students from the University of Toronto's three campuses address the urban
environment, the formal and aesthetic qualities of video, to the effect of family
history on their own identity.

untitled (letters) (4:00)
By Violetta Parra de Moya, University of Toronto at Mississauga / Sheridan
Institute of Technology
The artist’s grandmother writes a letter on her stomach for Par de Moya to
read.

Water: Contained Cycle (5:00)
By Liya Hyun Joo Choi, University of Toronto at St. George
The artist floats weightlessly in a pool of water then quickly breaks this
meditative image.

Looped Death (3:30)
By Annie Tse, University of Toronto at Scarborough
This unsettling video captures the final twitching moments of a fly’s life.

Legs (3:30)
By Kaitlin Till-Landry, University of Toronto at St. George
Faint traces of dripping water and the body of a woman emerge through a
grid-like screen.

Entropic Landscape (3:10)
By Julia Abraham, University of Toronto at St. George
Abraham renders a townscape with smeared colours through a simple
intervention: placing a glass cup in front of the video lens while taping.

On the Making of Love (1:00)
By Mariuxi Zambrano, University of Toronto at St. George
Zambrano re-performs an action described to her by a female prison inmate.
The inmate produced red hair ‘scrunchies’ to pass her time and meditate on
her personal history.

jeremy and jeremy

JEREMY BAILEY + JEREMY STANBRIDGE

March 14 - April 4, 2009
Opening reception Saturday, March 14, 5-8 pm,
Performance by JEREMY BAILEY, from 6-7 pm

2 of 2 Gallery is pleased to announce two solo exhibitions of new works by two artists Jeremy Bailey (Toronto based) and Jeremy Stanbridge (Vancouver based).

______________________________________________________________________________
JEREMY BAILEY
Machine Ego

"Jeremy Bailey is a video and performance artist whose work is often confidently self-deprecating in offering hilarious parodies of new media vocabularies" (Marissa Olson, Rhizome at the New Museum). "Disillusioned by the "machine ego" that has characterized much technology-driven art practice since computers arrived on the scene, Jeremy Bailey creates digital interfaces through which he plays out a critique of the digital auteur with deadly humour" (Charlotte Frost, Furtherfield).

For his first solo show at 2 of 2 Gallery Jeremy presents some of his most recent works including Video Terraform Dance Party, VideoPaint 3.0 and SOS, alongside new works created for the occasion of this momentous homecoming. In these new videos Bailey continues his research in melding productivity and art by creating new satirical interfaces for office related tasks that also help a user create unique works of art; think 3d digital bricolage calculator. Jeremy will also present a live performance at the opening, featuring a demo of some of his most recent software.

Bailey received his MFA in Video Art from Syracuse University(2006) and an undergraduate degree in Visual Studies from the University of Toronto(2002). He is co-founder of award winning artist video collective 640 480. He has been described by Filmmaker Magazine as "a one man revolution on the way we use video, computers and our bodies to create art". His work has been shown nationally and internationally; at Albright Knox Gallery, Buffalo (USA), curator Claire Schneider, Musee d'Art Contemporain, Montreal (Canada), Transmedial (Germany), Eyebeam, New York, Curator Astria Suparak, HTTP Gallery, London (England), Vitamin Arte Contemporanea ,Torino (Italy), curator Franklin Sirmans, Center for Contemporary Arts, Glasgow (Scotland), Contemporary Art Center M'ARS, Moscow, curator Antonio Geusa, Hallwalls Contemporary Arts Center, Buffalo (USA), curator Carolyn Tennant, International Short Film Festival Oberhausen(Germany), New York Underground Film Festival, and Chicago Underground Film Festival. Bailey lives and works in Toronto, Canada.

_____________________________________________________________________________
JEREMY STANBRIDGE
Splat

Splat is the title for a series of Stanbridge's paintings on shaped plastic. This series corresponds with two other parallel series (stack and augment) also on shaped plastic. The shapes are derived from various sources, and are meant to imply diverse elements ranging from circuitry and product packaging to celestial bodies, breast implants and water droplets.

The Splat works are painted with automotive paint, using an airbrush. The paint itself is applied to the back of the plastic so the works are painted in reverse, the first marks being the most visible. The surfaces are metallic and some have metal flake. This gives the surface the appeal, while the plastic reflection acts as an irritant. Reflections cause the viewer to move about the work, attempting to find the particular point to absorb the underlying slick surface without distraction. As in his earlier work, there is juxtaposition between attraction and repulsion, an unattainable calm. The materiality draws in the viewer in the same way as a beautifully painted automobile, ultra glossy lipstick, or a deeply hued bruise.

As in Stanbridge's earlier painting series, these paintings have their root in 1950-70's abstract painting. Specifically, the paintings relate to the Light Space Movement of the 1960's. However, unlike his work in the past, these paintings hold more of a relationship to the architectural space surrounding the piece, activating, containing and trapping the wall in its peninsulas and bay's. The wall itself becomes a part of the painting.

In 2007 Stanbridge was included in Roald Nasgaard's Book, Abstract Painting in Canada. He has exhibited at the Vancouver Art Gallery, Contemporary Art Gallery(Vancouver), Artists Space(New York), Art Gallery of Regina. Stanbridge Lives and Works in Vancouver, Canada.

2of2 Gallery
254 Niagara Street
Toronto, ON, Canada, M6J 2L8
t: +416-591-6464
info@2of2gallery.com
www.2of2gallery.com

performance art workshop

PERFORMING FOE

A Workshop with Artist

BRENDAN FERNANDES

Saturday Mar, 28 - Sunday Mar, 29

1:00pm -5:00 pm

Hart House, University of Toronto

This two-part, week-end long, interactive session aims to create dialogue through readings, film screenings and discussions. The material will explore notions of identity through the assumptions and constructions of culture exhibited in the performative aspects of language and accent. The workshop will then conclude with a performance piece engaging with all participants—organized in the form of a vocal choir. For the performance, Fernandes will elaborate on his 2008 video, Foe in which he worked with a dialect coach to teach him to speak generalized Indian, Kenyan and Canadian ‘English-cultural accents’. In the workshop, Fernandes will teach and record the script of his video to his audience in a choir-like fashion, allowing them to adopt these cultural accents. Ultimately, the work intends to question the authenticity of self. This workshop is part of the exhibition South-South: Interruptions and Encounters, curated by Tejpal S. Ajji and Jon Soske.



For registration or additional questions:

Email: FernandesWorkshop@gmail.com

Phone: 416-978-7743

Registration closes Tuesday, March 24th.



*OPEN TO ALL DISCIPLINES AND MEMBERS OF NON-UNIVERSITY COMMUNITIES*

*SPACE IS LIMITED*

ADDITIONAL INFORMATION ABOUT THE ARTIST AND WORKSHOP



THE WORKSHOP (further meeting details will be sent after registration)

Schedule

Day 1 1:00 pm – 5:00 pm

Presentation by the artist and discussion of readings and related themes. Some snacks provided.

Day 2 1:00 pm – 5:00 pm

Additional discussion of readings and screenings followed by an interactive “choir” performance of Foe passage, led by the artist. (No musical experience necessary). Some snacks provided.



Readings

Stuart Hall, “Créolité and the Process of Creolization” (2003).

Excerpt from Foe by J. M. Coetzee, Viking Press: 1986.

All readings will be emailed to participants after registration.


Video recording

Both days will be videotaped for the purposes of artistic record but will not be commercially released. Day 1 will be filmed by a single videographer and Day 2 will be filmed by a small crew.



Registration/Contact Information

For registration or additional questions:

Email: FernandesWorkshop@gmail.com

Phone: 416-978-7743 (Tejpal S. Ajji, Adjunct Curator of Outreach, JMB Gallery)

To reserve a space, send name and contact information.

Registration closes Tuesday, March 24th.

The workshop is open to all disciplines. Space is limited.

Participants will be informed of their place on the waiting list.

THIS WORKSHOP IS FREE.



Reminders, location and readings will be sent from FernandesWorkshop@gmail.com in the days leading up to the workshop.

Foe (about the project)

The title Foe is taken from the 1986 J. M. Coetzee novel of the same name. The book takes up the classic story of Robinson Crusoe through the perspective of a female castaway named Susan Barton. Fernandes’ reading of Foe centers on the interaction between Barton and Friday, Crusoe’s representation of the ‘primitive’. The artist extrapolates themes of power and silence in the voicing of identity to relate to his own story of multiculturalism and accent. In 2008 Fernandes documented his experience studying the different accents represented by his multinational heritages. For this workshop, the artist will use multimedia and discussion to engage with participants’, their identities and his own, using Foe as a departure point, to map and mine the city of Toronto through accents.


Artist’s Biography

Born in Kenya of Indian heritage, Brendan Fernandes immigrated to Canada in the 1990s. He studied at the Whitney Museum of American Art (2007), and earned his MFA from The University of Western Ontario and BFA (2002) from York University. Currently, he is based in Toronto and New York. Fernandes received numerous grants and exhibits internationally. He has presented work at the Third Guangzhou Triennial (2008) and Beyond/In Western New York Buffalo, NY (2007). Fernandes participated in The LMCC’s Work Space Residency (2008) and Swing Space Residency (2009) programs, and was an Artist in Residence at The School of Visual Arts, NY, (2008). He will participate in the AIM Program at the Bronx Museum and The New Work Residency at Harvestwork, NY.



SOUTH-SOUTH PARTNER INSTITUTIONS:

Justina M. Barnicke Gallery, Hart House, University of Toronto

www.jmbgallery.ca

SAVAC (South Asian Visual Arts Centre)

www.savac.net

"South-South Encounters: Conversations between Africa, the Caribbean, and South Asia" New College (University of Toronto)

http://www.newcollege.utoronto.ca/programs/southsouth.htm

This workshop is made possible by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, the Ontario Trillium Foundation, the Jackman Humanities Institute Program for the Arts, and New College (University of Toronto).

call for submissions w/ entry form for cambridge galleries

funkaesthetics round table discussion

Funkaesthetics Round Table Discussion



Image Left: Adrian Piper, Funk Lessons, performance, 1983. Courtesy of the artist.
Image Right: Free Dance Lessons (Paige Gratland & Day Milman), 2004. Video still by Samara Liu. Courtesy of the artists.

Monday, March 9, 2009
6pm

Music Room (2nd Floor)
Hart House, University of Toronto

7 Hart House Circle
Toronto, ON

This round table discussion brings together four University of Toronto scholars from various disciplines to further explore ideas concerning funk as represented in the exhibition Funkaesthetics, curated by Luis Jacob and Pan Wendt, currently at the Justina M. Barnicke Gallery Hart House (February 12-March 23). The conversation will be moderated by co-curator Luis Jacob.

Funkaesthetics is premised on the idea that funk constitutes a uniquely rich system of thought. With its interest in the distant past of ancient Egypt and the allegorical futures of science-fiction, in its freakish costumes and focus on the figure of "the alien," funk manifests a vision of time and identity as mutable and open to transformation. The exhibition is an occasion to consider funk in the context of its birth at the time of Black consciousness and the struggles for civil rights in the United States. Funkaesthetics continues till March 23, 2009.

Panelists:

Gage Averill, Vice-Principal Academic and Dean of the University of Toronto Mississauga, formerly served as Dean of Music at the University of Toronto and Chair of NYU's Department of Music. Averill is an ethnomusicologist, specializing in popular music of the Caribbean and North American vernacular music.

Luis Jacob is a Toronto-based artist whose work has shown in the Kunstverein in Hamburg (Hamburg), the Museum van Hedendaagse Kunst (Antwerp), the Barbican Art Gallery (London), and Documenta 12 (Kassel). His curatorial projects include "Golden Streams: Artists' Collaboration and Exchange in the 1970s" (Blackwood Gallery, University of Toronto at Mississauga, 2002), and "The JDs Years: 1980s Queer Zine Culture from Toronto" (Art Metropole, Toronto, and Helen Pitt Gallery, Vancouver, 1999).



Ken McLeod teaches at the University of Toronto Scarborough's Music Department. His research and publishing activities address the study of gendered and racial narratives of national identity in 17th- and 18th-century English theatre music, and has also published on identity politics in popular music, Chaos theory, the appropriation of classical music by disco and electronica, and the intersections between science fiction and rock music.

Jon Soske is a PhD candidate in the Department of History, University of Toronto. He is currently completing his thesis entitled "'Wash me Black Again': African Nationalism, the Indian Diaspora, and Kwa-Zulu Natal, 1945-79." Soske is an instructor in the African and Caribbean Studies Programs (University of Toronto) and is co-curating (with Tejpal S. Ajji) the exhibition "South-South: Interruptions and Encounters," which opens at the Justina M. Barnicke Gallery on April 2, 2009.

Rinaldo Walcott is Associate Professor in the Department of Sociology and Equity Studies in Education (University of Toronto), where he also holds the Canada Research Chair in Social Justice and Cultural Studies. His teaching and research has been largely in the area of cultural studies and postcolonial studies with an emphasis on black diaspora studies. He has published on music, film, queer theory, literature and theatre.

The Justina M. Barnicke Gallery gratefully acknowledges the support of the Centre for the Study of the United States, Canada Council for the Arts, and Ontario Arts Council.

For information related to this exhibition and other Gallery programming please contact:

Justina M. Barnicke Gallery
Hart House, University of Toronto
7 Hart House Circle
Toronto, ON
M5S 3H3
Canada

Tel: + 1 (416) 978-8398
Fax: + 1 (416) 978-8387
Email: jmb.gallery@utoronto.ca
Web: www.jmbgallery.ca

Gallery Hours
Monday to Wednesday 11am - 5pm
Thursday to Friday 11am - 7pm
Saturday to Sunday 1pm - 5pm

The Gallery is closed on statutory holidays.
The Gallery is wheelchair accessible.

exhibition: louise noguchi and june pak

JUNE PAK & LOUISE NOGUCHI | SOMEWHERE
ALEESA COHENE | SOMETHING BETTER

SATURDAY 7 MARCH 2009 – SATURDAY 18 APRIL 2009
OPENING RECEPTION: FRIDAY 6 MARCH 2009, 8:00 PM - 10:00 PM
MEMBERS ONLY MEET + GREET 6:30 PM – 7:30 PM


JUNE PAK & LOUISE NOGUCHI | SOMEWHERE
In conjunction with the Images Festival, LOUISE NOGUCHI and JUNE PAK are presenting three works at YYZ that employ pre-existing film footage from films such as The Wizard of Oz, 3-iron and Enter the Dragon. Through the use of video and installation, their work pays particular attention to cinematic scenes that isolate social and psychological spaces. Intrigued by the intangible, the artists are drawn to the way film translates subconscious states of inner conflict and dislocation into a language of visual metaphors. These metaphors are external to the film’s characters and lie within the film’s location, props, sound effects and music to convey the internal mood of a character or to heighten the tension of a situation. In each of the works on exhibit, Pak and Noguchi are not so much interested in the characters of the film but instead are looking at how the background information acts as an element or character of its own.

JUNE PAK was born in Seoul, South Korea and now lives in Toronto, Canada. She holds a BFA from York University and an MFA from the University of Windsor. Her time-based and digital media projects explore the human-ness found in the fragmented Self. She currently teaches time-based media and interdisciplinary courses at the University of Western Ontario and the Ontario College of Art and Design. Pak's single-channel videos and media installations have shown at various venues throughout Canada, the US and Europe since 1996.

LOUISE NOGUCHI was born in Toronto and studied at the Ontario College of Art and the University of Windsor where she received her MFA. Using photography, sculpture, video and other media, Noguchi’s concepts confront the spectator’s notions of identity, perception and reality. Her work has been exhibited at the Power Plant (Toronto), The Contemporary Art Gallery (Vancouver), Neuer Berliner Kuntsverein (Berlin), and the Deutsches Museum (Munich). Noguchi is represented by Birch Libralato in Toronto.


ALEESA COHENE | SOMETHING BETTER
Through carefully editing fragments of unrelated scenarios sourced from existing film, sound, image, music and dialogue, Toronto-based artist ALEESA COHENE develops unique stories, characters and scenes that aim to expand emotional consciousness.

In her project, Something Better, a striped pattern of saturated colours leads you through the gallery to a darkened room in which three synchronized monitors present different members of a family. Each screen introduces several film actors who soon merge into three shifting personae: father, mother and child. The three characters interact in a microcosm where they hear each other but don't listen, look but don't see and share relationships that are simultaneously distant and intimate. Something Better looks at the space of communication between individuals and expresses to what extent our relationships to others are constructed through mirrors of ourselves.

Since 2001, Toronto-based artist ALEESA COHENE has been producing videos and video installations that seek to occupy the oppositional zone between ideas and emotion, cultural belief and personal integrity. Her work has shown in festivals and galleries across Canada as well as in Brazil, Germany, Holland, Russia, Scandinavia, Turkey, and the United States, and has won prizes at Utrecht’s Impakt Festival and Toronto’s Images Festival. She has participated in artist residencies in Canada, the Netherlands and Denmark. She is currently pursuing a fellowship at the Kunsthochschule für Medien (KHM) in Cologne, Germany. Her work is distributed by Vtape in Toronto.

Something Better is a coproduction with the Impakt Foundation in Utrecht, Netherlands, in the framework of Impakt Works 2007, and has been made possible with the support of the Canada Council for the Arts, the Ontario Arts Council and the City of Utrecht.

Exhibitions are programmed by and presented in conjunction with the 22nd Images Festival, 2-11 April 2009. For more information please visit imagesfestival.com.




YYZ ARTISTS’ OUTLET
140-401 Richmond Street W.
Toronto, ON M5V 3A8

T: 416.598.4546
F: 416.598.2282
E: yyz@yyzartistsoutlet.org
W: www.yyzartistsoutlet.org

GALLERY HOURS
TUESDAY – SATURDAY, 11:00 AM – 5:00 PM
OPEN UNTIL 9:00 PM THURSDAY 2 APRIL 2009

exhibition: what brings you here?

What Brings You Here? I-Fu Chen, Ricardo Conte-Oro, Michelle Johnson, Andrew Nguyen, Conrad Tang, and Eva Tsang March 7 – 27, 2009 VMAC Gallery 401 Richmond Street West, Suite 452 Toronto, ON Opening Reception March 7, 2009 2 - 5 PM VMAC gallery is proud to present: What Brings You Here? Featuring six young artists working with digital and film based media. Dusty corners, the communities of the information highway, intrinsic fictions of the cinematic, this exhibition is this emerging artists collective’s attempt to navigate the murky waters of a society created within a community of fantasy. Ricardo Conte- Oro, through websites such as Craig’s List and Kijiji, is invited to strangers homes in which he dons the persona of stage director in an improvised space. Conrad Tang embraces the banal, and, like a magician, draws out the dreamlike of waking life. In contrast to the mundane, Andrew Nguyen archives the forgotten and overlooked with a sensitivity and empathy to the inanimate. Investigating our connectivity through the corporeal, Eva Tsang materializes massive communication through a tactile web of photo-sculptural substances. Michelle Johnson, too, embraces the cinematic and its fictitious violences, mediating these constructions through her own body on film. I-Fu Chen creates atmospheric narratives through the use of a digital film noir aesthetic investigating generational alienation with an ironic perspective. This collective of emerging artists are embracing and rejecting the inherent ambivalences of a digital age mitigated through ourselves, our communities and our imaginations. For more information please contact: shell.johnson@utoronto.ca