Online Screening: Troubling Nostalgia curated by Noor Bhangu

Online Screening: Troubling Nostalgia

curated by Noor Bhangu

Zwei Indianer Aus Winnipeg by Darryl Nepinak

2008 | 2:40

Two ersatz “Indian warriors” chase a beautiful Indian maiden through the streets of Winnipeg. But she loves Chief Big Bear. Who is the hunter, and who the hunted in this tableau? Based on the 1964 German song, “Zwei Indianer Aus Winnipeg,” our heroes are in for a surprise when they reach the Ancient Lake of Schweinsteiger. The film was commissioned by the imagineNATIVE festival for their Culture Shock program.

Missed the online screening? Watch Zwei Indianer Aus Winnipeg on VUCAVU.com now!

The Indian Miracle by Divya Mehra

2004 | 2:33

A rickshaw driver and passenger chat about selfishness and trees without water.

Missed the online screening? Watch The Indian Miracle on VUCAVU.com now!

Documentary of My Father by Garland Lam Turner

2004 | 2:00

This documentary of the artist’s father is in Cantonese with English subtitles. The visual image is expressed by a technique called stop-motion painting where each stroke is recorded for 2 to 3 seconds. The footage is sped up to create a fluid painting motion.  Documentary of My Father is about Lam’s father before she knew him personally, before she was born.

Missed the online screening? Watch Documentary of My Father in VUCAVU.com now!

Troubling Nostalgia curator’s essay:

“Within modernity nostalgia is marginalized. It is treated as a failure to adapt… Nostalgia disturbs modern life.”

-Alastair Bonnett [Left in the Past: Radicalism and the Politics of Nostalgia, p.10]

In recent anti-colonial discourse, nostalgia has been employed as a strategy to revisit and revive pre-contact past on one’s own terms for one’s own. Because of its “failure to adapt” to the structures of modern life, nostalgia is evoked as a radical tool that can trouble the colonial. Through these films, I explore the ways in which nostalgia can also spill into and trouble the lives of those already marked by colonialism. In brushing up against colonial, pre-colonial, and personal sets of nostalgia Darryl Nepinak, Divya Mehra, and Garland Lam Turner deliberate on the persistence of memory in the present. Finally, in being troubled by and, in turn, troubling nostalgia, the artists demonstrate nostalgia’s incompatibility with radical modern life.

Darryl Nepinak’s Zwei Indianer Aus Winnipeg follows the adventures of two white men – costumed as Plains Indians – chasing a young Indigenous woman around the city of Winnipeg. Setting the tone for the drama is a 1964 German song whose chirpy notes facilitate a return to the not-so-distant romantic past when Indigenous bodies and lands were up for grabs. Running after the energetic, albeit bored, woman the hungry men are tricked into Lake of Schwinestieger, which activates their full transformation into indigeneity. Yet even after the emergence of Indigenous life from the fictional lake there linger notes from the German soundtrack – pointing us to consider how colonial nostalgia continues to haunt the contemporary landscape.

Divya Mehra’s The Indian Miracle articulates nostalgia of another variety, one that is produced through anti-colonial means. The film starts with the artist getting inside a motor-rickshaw, asking the driver if he knows the way to Vikram Hotel. After getting in the rickshaw, questions about directions are replaced by a dialogue on Deepak Chopra and ways to find inner peace. Deepak Chopra, like other self-help gurus, represents a peculiar kind of nostalgia that is rooted in the desire to return to pre-colonial India: a time when Hindus, Buddhists, Jains etc. are imagined to have existed in a peaceful whirlpool before the arrival of the Persian and then British colonizers. Mehra asks, “Do we have to ignore the poor to achieve inner peace?” Yes, because the future-oriented nostalgia of Chopra has no space for the troubled conditions of the present.

Sitting close to Nepinak and Mehra is the artist, Garland Lam Turner, whose work, Documentary of My Father, presents on the inheritance of familial history and the inheritor’s place within it. Produced through the technique of stop-motion painting, the film recounts the life of the artist’s father – his birth in Hong Kong, life under the Japanese invasion, education, work, marriage, and his eventual move to Canada. Lam’s film gives in completely to the unraveling of her father’s life and his portrait until the final moment, when the artist steps inside the frame to distinguish her place within her father’s narrative. Listening to one’s parents and their immigration histories is an ethical action but it is also true that listening can easily dissolve into a secondhand nostalgia, which can then encroach upon and diminish the agency of the listener.

About the curator:

Harnoor Bhangu holds a BA in History of Art from the University of Winnipeg, where she is currently working on her MA in Cultural Studies: Curatorial Practices. She focuses primarily on South Asian, Central Asian and Middle-Eastern artists who interrogate gender, religion and diaspora in their work. In her recent work, she has begun to look critically at the ways in which marginalized bodies take up or contest spaces online.

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Exhibit – No Man’s Land – Duo Couturier / Lafargue

No Man’s Land – Louis Couturier & Jacky Georges Lafargue

Artist Presentation / Reception – Friday Jan 12 2018 7 pm

Exhibit runs Jan 12 – Feb 16 2018
Gallery hours Wed – Sat 12-5
Poolside Gallery
221-100 Arthur Street
Winnipeg MB

No Man’s Land

No Man’s Land started with a residency supported by the Conseil des arts et des lettres du Québec in Manitoba (2016). The purpose of this residency was to follow the Manitoba-United States boundary strip, which is 6 meters wide by 444 kilometers long. This line, neither American nor Canadian, is a true no man’s land separating Manitoba from the states of North Dakota and Minnesota. We explored, traveled, photographed and filmed it. Our main action was to take samples (soil squares and soil prints). Ten samples were taken. The video set of landscape and interventions of real samplings carried out constitutes a artialisation: that is to say an artistic transformation of the boundary landscape. This artialisation is applied at Poolside Gallery in the form of an installation called No Man’s Land. The samplings materialize the boundary line and the videos reveal rural environments swept by the wind, without a living soul. These images are the opposite of what a border represents for those of us who wish to pass it. A place where everyone waits for his turn to be validated, stamped. A barrier that recent american political decisions (Trump) push more and more men, women and families to cross illegally. Our artistic experience of this no man’s land made us see how this line that is both concrete and abstract is an in-between, a space by which we are all at once attracted and suspicious! An empty space acting as an interface acting as a window on the world opposite. A limit to travel and to cross!

Duo Couturier Lafargue – www.couturierlafargue.com

Jacky Georges Lafargue and Louis Couturier are interested in out of ordinary and singular environments where they operate different types of interventions and actions.

 Their latest projects led them to stay in an open-pit asbestos mine, to explore the effects of copper mining on the surrounding nature, to discover a huge hydro-electric reservoir that drowned an entire hunting area of the Cree Nation, to browse the future sites of highway 138 extension in a wild and isolated nature, to look for the vestiges of an old paper mill in the Gaspésie forest along a salmon river, to intervene in the Australian nature and on the international border between Manitoba and the United States. Photographing, filming, collecting real elements, making markings, overlays and modular constructions, taking samples are among the actions in situ conducted by Duo Couturier Lafargue on these specific sites. This material is then used to create works as well as multidisciplinary installations. Since 2016 The Duo continues a sculptural series (Geographical Sculpture) based on the geographical maps and the characteristics of several types of territories: cities, countries, islands … Each territorial treatment was inspired by a multitude of information collected about it . All these projects are detailed on the website www.couturierlafargue.com

Duo Couturier Lafargue has exhibited in the past five years at Center Langage Plus (Alma, Quebec, 2015), at the University of Rochester (Rochester, NY, 2014), at Sporobole Center in Contemporary Art (Sherbrooke, Quebec, 2014). ), Yukon Arts Centre (Whitehorse, Yukon, 2013), Montreal Museum of Fine Arts (2011-2012).

Their next exhibitions will take place at Video Pool (Winnipeg, Manitoba, January 2018), Circa (Montreal, Quebec, April 2018), Biennale art nOmad 2 “Intus Ex” (traveling exhibition in France, Germany and Switzerland, May 2018) and at Occurrence: Contemporary Art and Essays (Montreal, Quebec, September 2018).

No Man’s Land – (FR)

No Man’s Land découle d’une résidence soutenue par le Conseil des arts et des lettres du Québec qui a été menée au Manitoba en 2016. Celle-ci avait pour objet la bande frontière entre le Manitoba et les États-Unis dont les dimensions sont de 6 mètres de largeur par 444 km de longueur. Cette ligne, ni américaine ni canadienne, est un véritable no man’s land qui sépare le Manitoba des états du Dakota du Nord et du Minnesota. Nous l’avons explorée, parcourue, photographiée et filmée. Notre principale activité sur celle-ci consistait à prélever des échantillons (carrés de sol et tableaux-empreintes). Dix prélèvements ont été réalisés.

L’ensemble vidéo du paysage et des interventions de prélèvements réels qui y sont menés constitue une artialisation c’est-à-dire une transformation artistique du paysage frontalier. Celle-ci est appliquée à la Pool Gallery sous la forme d’une installation intitulée No Man’s Land.

Les prélèvements matérialisent la ligne frontière et les vidéos font découvrir des environnements ruraux balayés par le vent, sans âme qui vive. Ces images se situent à l’opposé de ce qu’une frontière représente pour ceux d’entre nous qui souhaitent la passer. Un endroit où chacun attend son tour pour être validé, tamponné. Une barrière que les récentes décisions politiques américaines (Trump) poussent, de plus en plus d’hommes, de femmes et des familles à traverser illégalement.

Notre expérience artistique de ce no man’s land nous a fait voir à quel point cette ligne à la fois concrète et abstraite est un entre-deux, un espace  par lequel nous sommes tous  à la fois attirés et méfiants ! Un espace vide, un interface  faisant office de fenêtre sur le monde d’en face.

Une limite à franchir et à parcourir !

Duo Couturier Lafargue

Jacky Georges Lafargue et Louis Couturier s’intéressent aux environnements hors normes et singuliers où ils opèrent différents types d’interventions et d’actions.

Leurs plus récents projets les ont amenés à séjourner dans une mine d’amiante à ciel ouvert, à explorer les effets d’une exploitation de cuivre sur la nature environnante, à découvrir un immense réservoir hydro-électrique qui a noyé tout un territoire de chasse appartenant aux Cris, à parcourir les futurs sites de prolongement de la route 138 dans une nature isolée et sauvage, à rechercher les vestiges d’un ancien moulin à papier dans la forêt gaspésienne le long d’une rivière à saumon et à intervenir dans la nature australienne et sur la frontière internationale entre le Manitoba et les Etats-Unis.

Photographier, filmer, récolter des éléments réels, réaliser des marquages, des recouvrements et des constructions modulaires, prélever des échantillons sont parmi les actions in situ menées par le Duo Couturier Lafargue sur ces sites spécifiques. Ce matériel est ensuite utilisé pour créer des œuvres ainsi que des installations pluridisciplinaires.

Le Duo poursuit également depuis 2016 une série sculpturale (Sculpture Géographique) à partir des cartes géographiques et des caractéristiques de plusieurs types de territoires : villes, pays, îles… Chaque traitement de territoire s’est inspiré des multiples renseignements recueillis à son sujet.

Tous ces projets sont détaillés sur le site www.couturierlafargue.com

Le Duo Couturier Lafargue a exposé ces cinq dernières années au Centre Langage Plus (Alma, Québec, 2015), à l’Université de Rochester (Rochester, État de NewYork, 2014), chez Sporobole Centre en art actuel (Sherbrooke, Québec, 2014), au Yukon Arts Centre (Whitehorse, Yukon, 2013), au Musée des beaux-arts de Montréal (2011-2012).

Leurs prochaines expositions auront lieu à Video Pool (Winnipeg, Manitoba, janvier 2018), Circa (Montréal, Québec, avril 2018), Biennale art nOmad 2 « Intus Ex» (exposition itinérante en France, Allemagne et la Suisse, mai 2018) et à Occurrence : Espace d’art et d’essai contemporains (Montréal, Québec, septembre 2018).

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Temporal Contours – Sound Performance Social

Video Pool Media Arts Centre cordially invites you to Temporal Contours, a new quarterly series of sound-based performances taking place in Poolside Gallery.

To kick off the series we welcome Burden, Dogon Lock and Joel Mierau,

Temporal Contours is intended to to create an open, inclusive and comfortable space for the exploration and experimentation of all things sonic.

Friday December 8 2017 | 7:30PM

Feel free to come early / stay late, as we’ll be spinning records and serving drinks.

In addition, Eye and Ear Control Records will be here with the distro and a chance to hear some of what’s in stock.

co-presented with send+receive: a festival of sound & Eye and Ear Control Records

send+receive: a festival of sound

Eye and Ear Control Records

Burden:

bbrrddnn.bandcamp.com

facebook.com/bbrrddnn/

soundcloud.com/bbrrddnn

Dogon Lock

Tape music for fans of tape music:

https://m.youtube.

Joel Mierau

Joel Mierau is an artist working with sound, living in Winnipeg. He is always listening. His process is informed by this intimate perception of subtle changes in sounds which influence how he navigates through his work & performances; many of which consist of long tones and the discrete movement of objects. The act of intentional discretion is used to create sonic events that lead listeners across the barriers that hinder oneself from being present in the moment, to actively listen, and to possibly find something to be desired from within their discomfort.

Poolside Gallery is located on the 2nd floor of the Artspace Building at 100 Arthur St. Please use the elevator to access.

Video Pool is wheelchair accessible from the King St entrance.

 

 

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Community Collaboration: Eyeand Earcontrol Records

Part of Our Community Collaboration Program

Eyeand Earcontrol Records and Video Pool Present:

Ora Clementi (crys cole / James Rushford), with guests Oren Ambarchi and Burden 

LOCATION: Crescent Fort Rouge United Church, 525 Wardlaw Ave, Winnipeg MB.,

Wednesday, November 1st, 2017.

Doors at 8 PM, music at 8:30 PM.

ADMISSION: $16, tickets at the door // VIDEO POOL MEMBERS GET A $3 DISCOUNT (Must present Membership Card)

Please Note: This is an OFFSITE Event.

crys cole – https://cryscole.com/
Oren Ambarchi – http://orenambarchi.com/
___
Eye And Ear Control Records is a curated vinyl record mailorder and distribution service located in Winnipeg, Canada. We appreciate artists and imprints that expand the boundaries of musicality, from noise and sound art to free jazz, grindcore and black metal. Our online portal opens  December 2017 at http://www.eyeandearcontrolrecords.com, with a physical location forthcoming.
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The Gathering: Schedule (November 17 to 19, 2017)

The Gathering is the collective sharing of experiences among the participants and the public. Participants for this have been selected from a national and international call for submissions. Each participant brings their own insights, working methods and experiences to The Gathering in the spirit of collaborative engagement and creativity. The proceedings of the working groups will be streamed and broadcast, with the participants bringing their innovative ways of working from the historic examples given in the exhibition towards new modes of feminist inquiry and activism in new media.

 

All welcome.

Events are all free of charge except the Big Wig performance by Shawna Dempsey & Lorri Millan. Buy tickets here.

The Potluck on the evening of the 18th is reserved for women, women identified and non-binary artists.

November 18th is the Santa Claus Parade in downtown Winnipeg, please keep this in mind when planning your transportation to the event, there are some suggestions of parking and travel routes on our facebook event.

Note: Events take place at Finch Gallery Workspace (74 Princess Street) unless otherwise stated.

 

Friday, November 17

Saturday, November 18

Sunday, November 19

 

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Online Screening: Curated by Yasmin Nurming-Por

Online Screening – TV Dinner Curated by Yasmin Nurming-Por

Thunderbolt by Heidi Phillips

2015 | 3:55

Light explodes out of the darkness engulfing a young woman as she tries to find her way through the storm.

phillips-ThunderboltA

Game On by Divya Mehra

2007 | 3:54

Being a real woman is never simple.

mehra-gameon

Missed the online screening? Watch Game On on VUCAVU.com now!

Forced Back by Nida Home Doherty

1983 | 2:30

Forced Back uses the structural aspects of the camera and the female figure to present personal feelings of gradually increasing constraint.

Doherty-ForcedBackA_1920x1080

Missed the online screening? Watch Forced Back on VUCAVU.com now!

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send + receive: a festival of sound 2017 warm-up in Poolside Gallery – Friday September 22

Aston Coles Dec17Winnipeg_YearEndPoolside Gallery & Video Pool Media Arts is super excited to be a part of this primer to Send + Receive’s 2017 edition of it’s long-running festival! Please join us, first in Cinematheque for the film What About Me: The Rise of the Nihilist Spasm Band at 8:30 and afterward in Poolside Gallery for a reception and performance from Aston Coles. All signs point to this being a ruckus evening!!

send + receive began in 1998 as a project of Video Pool Media Arts Centre in response to new modes of creation and distribution emerging from technological developments in communications and audio/music industries. In 2001, due to an increase in interest for the event by local, national and international communities, send + receive became an incorporated entity, further enabling growth in creative and critical programming. send + receive and Video Pool are happy to continue their long-standing partnership through new forms, as this be the first of what we hope are many performances in sonic experimentation in Poolside Gallery.

co-presented with Winnipeg Film Group and Video Pool Media Arts Centre

v. 19 – Pre-festival event – Friday, September 22, 2017

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Matt Smith Artist in Residence

 

We are looking forward to having Matt Smith as our Artist In Residence! Matt has been involved in media arts since the 1990s in a variety of capacities and has worked for the Ars Electronica Center in Linz, Austria, co-founded the loose collective of technicians and artists, FirstFloor Electronix, co-hosted the highly experimental FirstFlooRadioshow on CITR in Vancouver, and produced sound-art and radio shows for international broadcast. Matt founded Artist Run Limousine which between 2003 and 2009 spawned a series of international productions of “Audiomobile”, 59285b65-25bc-4ee9-af5f-6c9a4c4a89beand, as a member of the Second Site Collective, created an environmental sound piece using his remote-sensing software at Sun Yat Sen Garden spring of 2013. In 2013 a solo-show at CSA in Vancouver featured photography related works from 2008 to 2013. His interests are largely focussed on technical photography and digital networks, with a variety of projects exploring perception – not only of space and time, but also the technological ecology that we surround ourselves with.

Matt is giving a workshop at Video Pool (September 26/27) teaching participants how to connect popular creative real-time media environments (PD, Processing, other open-source software), to a simple, commercial laser-scanner. The workshop will cover basic laser-scanner operation, it’s overall limitations and capabilities, and will focus on using a computer to control the laser-scanner in real-time. Workshop participants will work collaboratively to develop a laser show to play inside Eckhardt Hall at the WAG. Matt’s piece is to be comprised of video clips of people dancing transposed into a laser show and triggered by music on the outside wall of the Winnipeg Art Gallery during Nuit Blanche 2017. The public is invited to contribute dance moves, poses or other movement by either visiting Poolside Gallery during the last half of September or submitting material online.

http://wag.ca/visit/events/nuitblanche

 

 

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Video Pool Media Arts Centre announces Isolated Landscapes: Video by Prairie Women (1984-2009)

Still from Isolating Landscapes by Heidi Phillips

Still from Isolating Landscapes by Heidi Phillips

Isolated Landscapes:

Video by Prairie Women (1984-2009)

November 3 to December 1, 2017

Video Pool Media Arts Centre announces the exhibition Isolated Landscapes: Video by Prairie Women (1984-2009), curated by Kathy Rae Huffman. In development for over a year, the project will have four components: A physical Exhibition; an online exhibition; a series of public Gatherings; and a touring screening series in 2018.

Isolated Landscapes: Video by Prairie Women (1984-2009) is a major exhibition of the history of video art by women who live and work in the central Canadian region, or who have been informed by years of residing in (or growing up in) the region. The nineteen works in the exhibition (by twenty-one artists) were produced between 1984 -2009 and play a prominent role in the history of Winnipeg’s legendary Video Pool Media Arts Centre. The project represents pioneering, early video art production by women artists working in various genres, reveals their ability to utilize the available technology of the time, and many works respond to the region’s isolation and starkness, revealed in geographical, cultural and personal landscapes.  

All the works are held in the archives of Video Pool Media Arts Centre, many had early support from the organization, and demonstrates the many regional partnerships and mutual support of artists and agencies in the region.  

Video Artists are:  

Sharon Alward , Thirza Jean Cuthand, Shawna Dempsey, Nida Home Doherty, Elvira Finnigan, Wendy Geller, Garland Lam, Erika MacPherson, Maureen Medved, Divya Mehra, Lorri Millan, Hope Peterson, Heidi Phillips, Dominique Rey, Nicole Shimonek, Jennifer Stillwell, Reva Stone, Leslie Supnet, Sheila Urbanoski, and Lori Weidenhammer

In recognition of the role performance has played in the development of feminist video, Isolated Landscapes will include performances by:

Ming Hon; The Ephemerals: Jaimie Isaac, Niki Little and Jenny Western;  Shawna Dempsey and Lorri Millan; and Freya Björg Olafson.

The exhibition portion of Isolated Landscapes will be on view 3 November to 1 December, 2017 at Platform Centre for Photographic + Digital Arts, Winnipeg.

A digital exhibition will be available for free at VUCAVU.com 3 November to 3 December 2017, after which it will be available for online purchase.

A weekend of Video, Performances, and The Gathering, will take place November 17-19 in Winnipeg at the Poolside Gallery, MAWA and Platform Centre for Photographic + Digital Arts. The Gathering will be comprised of presentations selected from an open call, and will enhance the weekend with essential discussions about the future of video in a ‘post gender’, non-binary, technically enhanced world.  Deadline for submissions is September 15, 2017.   See the attached Call for Participation, also available online at:  videopool.org  (CLICK HERE FOR THE SCHEDULE)

Four screenings will be held in early 2018: In Vancouver at VIVO Media Art Centre, Saskatoon at PAVED Arts, Montreal at Groupe Intervention Vidéo (GIV) and Halifax at the Centre for Art Tapes (CFAT).

Isolated Landscapes has been developed with the support of the Canada Council for the Arts and with our partners, Platform Centre for Photographic + Digital Arts, Mentoring Arts for Women Artists (MAWA) and VUCAVU.com.

Additional biographical information, photos and texts are available from Video Pool Media Arts Centre.  

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Call for Submission: Isolated Landscapes Gathering

Still from August by Sharon Alward

Still from August by Sharon Alward

Open Call: Isolated Landscapes: The Gathering

Deadline for submission:  September 15, 2017

Video Pool Media Arts Centre invites proposals from cis and trans-women, and trans and non-binary artists for presentations/performances, thematic subjects and points of view for The Gathering, which will take place Saturday, 18 November 2017, 10:30 – 5:30,and Sunday, 19 November 2017, 1:00 – 4:30.

The Gathering is a free public program, open to all.  It will be a day-long discussion moderated by Ardele Lister, on the occasion of the exhibition:  Isolated Landscapes: Video by Prairie Women (1984-2009), curated by Kathy Rae Huffman from the Video Pool Media Arts Centre Video Archive.  

We invite proposals from cis and trans-women, and trans and non-binary artists, researchers, scholars and activists to participate in a DAY-LONG SERIES of discussions about the issues and experiences faced in the often male-dominated field of media arts.

IN ADDITION TO HERSTORICAL AND PRESENT REALITIES, WE’D ALSO LIKE TO DISCUSS innovative future POSSIBILITIES for women’s WORK in an age of technological acceleration and expansion. The session will be moderated by Lister and co-directed by Huffman. The days will conclude with a potluck supper hosted at MAWA, and performance presentations.

Canadian Applicants are encouraged to submit proposals for formal or informal presentations. Possibilities can include discussions of a particular artist’s or group of artists’ works, broader thematic discussions about issues affecting women working in media arts, brief histories of a particularly underrepresented ‘scene’ or body of work pertinent to our moving forward, theoretical or practical research position papers, including topics such as intersectionalities of race, class, ethnicity, sexuality and gender-identification as they relate to artistic production and reception; navigation of institutions and contexts, including questions of canalization, and marginalization etc.

Presentations should be no longer than 30 mins, and oriented towards concrete discussion.

Participation is competitive, and participants will be selected by Ardele Lister and Kathy Rae Huffman, in collaboration with Video Pool Media Arts Centre.  A fee of $300 will be offered to each selected participant.  Those from outside of Winnipeg must organize their own travel and accommodation, however some assistance for housing may be available.

To ensure a broad range of people with different levels and kinds of experience and expertise, we ask each applicant to submit their CV/portfolio along with a 150 – 500 word letter of intent, with the title of your presentation, to isolatedlandscapes@videopool.org no later than Sept 15, 2017. (Please include Isolated Landscapes Gathering in the subject heading).

Selected participants will be notified by September 22, 2017.

The Gathering moderator:

 Ardele Lister, born and raised in Calgary, came to filmmaking when she co-founded the women’s collective ReelFeelings in Vancouver in 1973. When- in ‘76 – ReelFeelings’ film, So Where’s My Prince Already? was selected for the International Festival of Women’s Films in New York City, she relocated to New York.  Lister’s analog and digital works have been exhibited internationally in festivals, galleries, and museums. Her 1984 work Hell, a computerized interpretation of Dante’s Inferno, broke new ground in the creative applications by artists of otherwise commercial technologies, and helped shape a new digital aesthetic. The issue of defining identities in our globalized culture, and the role of media in shaping those identities, characterizes much of her research. Her works are in the permanent collections of the Museum of Modern Art (NY), the Centre Pompidou (Paris), the National Gallery of Canada (Ottawa), the Stedelijk Museum (Amsterdam) and the Kunsthalle (Berlin).  In 1977, she founded and edited The Independent, the first monthly publication for independent video and filmmakers, still in publication online. She teaches media in the Visual Arts Department at Rutgers, the State University of New Jersey, and lives in Brooklyn.

 

The Exhibition Curator:

Kathy Rae Huffman is a freelance curator, networker and media art collector. Since the early 1980s, Huffman helped establish video and new media art, online and interactive art, installation and performance art in the visual arts world. She has curated for, written about and coordinated events for numerous international art institutions, consulted and juried for festivals and alternative arts organizations. Huffman not only introduced video and digital computer art to museum exhibitions, but she also pioneered tirelessly to bring television channels and video artists together in order to show video artworks on TV.  From the early 1990s until 2014, Huffman was based in Europe, and embraced early net art and interactive and 3D online environments in her curatorial practice. She is co-founder of FACES, an international online community for women in media art, in 1997. She has held curatorial posts at the Long Beach Museum of Art (California), the ICA Boston, and Cornerhouse, Manchester (UK). Huffman currently resides in Ventura County, Southern California.

 

Isolated Landscapes: Video by Prairie Women (1984-2009) is a project lead by Video Pool Media Arts Centre, with supporting partners Platform Centre for Photographic + Digital Arts, and Mentoring Artists or Women’s Art (MAWA), VUCAVU.com, and is funded by the Canada Council for the Arts.

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