Sandee Moore – Wake Up Winnipeg, October 2010


Regular Programming Presentation No. 3 

Sandee Moore, Wake Up Winnipeg, October 15-29 2010. 


Description: Wake Up Winnipeg is a durational performance, during which the artist provides a wake up call service to interested Winnipeg citizens. Video Pool will advertise this free service to members and to the Winnipeg public. The practical, service-oriented purpose of the wake up call is removed – the calls are made when the artist wakes up, not when the participant would like to be awoken. This will hopefully facilitate more room for potential development of relationships. The wake up call will be of a social and political nature and by delivering local news to people and offering the opportunity for interaction, discussion and debate, the artist wishes to stimulate greater awareness and engagement among Winnipeggers in the issues of civic governance.


Press Release:

Wake Up Winnipeg
A Participatory Telephone Performance by Sandee Moore
October 15 – October 29
Presented by Video Pool Media Arts Centre

Video Pool Media Arts Centre presents a participatory telephone performance by local artist Sandee Moore. Taking the form of a telephone wake up call, Moore invites subscribers to her service to consider local politics on the dawn of Winnipeg’s civic election. Participants will enjoy the personal interaction of a wake up call, in which the human element has been replaced by a fully-automated experience in contemporary use.

Wake up calls are a personal activity associated with hotels wherein a stranger wakes a guest via telephone. This service was traditionally carried out by a hotel employee in person, but has now generally been automated, taking the personal activity out of the experience, making it both less and more odd at the same time.

Moore invites subscribers to her free wake up call service to experience this mediated intimacy and to engage with its imaginative potential – what fantasies are awakened when a voice enters your bedroom? Complicating the traditional service nature of this relationship, Moore asserts her person-hood by delivering her wake up calls peppered with rousing tidbits of local political news. Also challenging the expected, Moore delivers her service when she awakes each day, rather than setting a schedule

The purpose of Wake Up Winnipeg is, therefore, to awaken the somnambulist population to dreams of a better city through stimulating deeper knowledge about local politics.

Artist Biography:

Sandee Moore proposes to animate social relationships through personal exchange via artwork in media such as performance, video, installation, and interactive electronic sculpture. Since graduating from the MFA program at the University of Regina in 2003, Moore has screened and exhibited across Canada at venues including The Edmonton Art Gallery (now The Art Gallery of Alberta), Images Film and Video Festival, The Blackwood Gallery, The Dalhousie Art Gallery, and The Mendel Art Gallery. Her practice has also taken her to Japan, where she was the 2004 Mukojima/Rice+ artist-in-residence. In 2006, she was commissioned to create a video for The Winnipeg Art Gallery. Since retiring from her position as Director of Video Pool Media Arts Centre in 2009, Moore has presented a video game-based artwork at The Gendai Gallery (Toronto) and curated a video program for Border Crossings magazine. She has been invited by Art Souterrain to perform at Montréal’s Nuit Blanche in March and will present an interactive sculpture, Imaginary Gift, at Eastern Edge Artist-Run Centre in St. John’s, Newfoundland, in June.

Video Pool thanks the Canada Council for the Arts, The Manitoba Arts Council and the Winnipeg Art’s Council for their generous operational funding. We acknowledge the support of the Canada Council for the Arts which last year invested $11.8 million in media arts throughout Canada.


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Michael Klein – I and I, May-June, 2010

Regular Programming Presentation No. 5

Michael Klein, i and i, May 14 – June 11, 2010.


Description: Michael Klein’s video-audio work i and i invites the viewer to share a private experience that often takes place in public, listening to music on a portable MP3 player. Klein asked people on the street what they were listening to. He then captured the results on video.

The video consists of two separate audio channels. One channel is a 5.1 surround audio mix that records the ambient streetscape portrayed in the video, played out loud over speakers. The second channel of audio places the viewer into the mental space of the MP3 listeners through headphones. The viewer moves from the public space of the Artspace lobby to the private, internal space of the subject through wearing the headphones.

 This work was exhibited in the lobby of the Artspace building creating a means of broader public engagement.

From the original press release:

Video Pool: i and i - Michael Klein, May 14 – June 11

Michael Klein – i and i
May 14 – June 11, 2010
Art Space lobby – 100 Arthur St
Presented by Video Pool Media Arts Centre

Opening reception: May 14 at 7:30PM
Exhibition continues every Tuesday – Saturday, 11:00AM – 4:00PM.

Michael Klein's i and i  is a video installation that bridges the gap between subject and viewer. The experience of listening to music on a portable listening device is very private and one that acts as barrier in contemporary urban life. In this project, the viewer listens along with the subject and is in tune with their reactions, subtle as they may be. By allowing the viewer to listen to a music track together with the video's subject, the subject's bubble of privacy is shattered.

Klein states:

"The title i and i comes from a phrase most commonly heard in Reggae music. In fact, it comes from Rastafarian speech which eliminates the pronouns, you, me, us, them, as divisive words and replaces them with communal I and I. I and I embraces unity. The project unites the individual (viewer) with the individual (subject)."

This project would not have been possible without Lisa Corne, Max Klein, Lily Klein, Alex Keim, Fraser McCallum, Danny Flood, Bryan Borzykowski, Jessica Rose, Kelly Mark, Phil Klygo, Jinhan Ko, Dean Baldwin, Joe Pert, Jon Tupper and Ihor Holubizky.

Michael Klein was one of the first members of Video Pool where he taught workshops, curated video screenings and had work included in many exhibitions and screenings.
He was included in Video Pool’s Ex-Patria project and last exhibited in Winnipeg at Plug In ICA’s 30th anniversary exhibition, Back In The Day 2002-1972 which he also conceived and co-curated. Recent exhibitions include Molly to Molly at *QueenSpecific in Toronto, Citizen Dandy at the Art Gallery of Windsor and Here Now or Nowhere in Grand Prairie, Alberta. i and i was previously exhibited at the Confederation Centre for the Arts Gallery in Charlottetown.
Klein also operates the gallery, MKG127 in Toronto.


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Various Artists curated by Clint Enns – 2010 Was the World of the Future, January, 2010


Leslie Supnet – Fair Trade


Regular Programming Presentation No. 4

Various artists curated by Clint Enns, 2010 Was the World of the Future, January 16, 2010


Description: As part of our annual "Art's Birthday" celebration, Video Pool presented a screening of single-channel video works that deal with concepts of space and futurism, curated by Clint Enns. Enns writes: 

"Some of us thought the future would never come, but the future is here and it already looks dated. The films in this program deal with the concept of future from the perspective of our place in time, namely, 2010. We are literally in the 21st century, the world of the future. There are no flying cars, there is no world peace (and it doesn’t appear to be coming soon) and we have yet to make contact (or at least that is what the government is telling us). One of the main things that hasn’t changed is that both dystopian and utopian visions of the future are constantly being put forth." 

This screening was extremely well attended due to the fact that it was shown within the context of a large public gathering, contemporary media art was exposed to a new audience that has had limited engagement with this type of work.


Names of Artist(s) & Title(s) of Work(s)

Curtis Wiebe - Rocket John, Winnipeg, 2009

Leslie Supnet - Fair Trade, Winnipeg, 2009

Gwen Trutnau - Brodeo in Space, Winnipeg, 2008

Stuart Hughes - Is It The Future or What?, Vancouver, 2009

Richard Altman and Seb Capone - Sociology 666, Winnipeg, 1996

Christian Nicolay - Ampli Fly, Vancouver, 2008

Matthew Rankin - Je me souviens, Winnipeg, 2003

Michael Stecky - Harmaline, Toronto, 2004

Thorsten Fleisch - Dromosphäre/Dromosphere, Berlin, 2010

Colin Barton - Intestinal Fortitute, Los Angeles, 1991

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Dominic Gagnon – RIP IN PIECES AMERICA, Dec. 2009 – Jan. 2010


Regular Programming Presentation No. 3

Dominic Gagnon, RIP In Pieces America, December 8, 2009 – January 10, 2010. 


Description: Dominic Gagnon’s Rip in Pieces America is a feature-length single-channel video assembled entirely of video clips sourced from YouTube. The video contains numerous first-person critiques of contemporary western culture; focusing on issues relating to the war in Iraq, the recent economic crisis, and various conspiracy theories.  

Gagnon states that he was watching video on the Internet and noticed that certain user-generated “home-made” clips were being flagged for their content. As they were disappearing, he started to save them and edit into a capsule format. Working in a grey area of copyright, Gagnon appropriates the user’s images and preserves their message by putting into context with one another.  

Although the democratization of media technology has made the creation of moving images easier than ever, online dissemination remains somewhat restricted. Gagnon’s work added great artistic value to our Digital Craft programming by bringing these issues of openness and control to the forefront. 

From the original press release:

Video Pool is very excited to present the North American premiere of Dominic Gagnon’s RIP IN PIECES AMERICA, a feature-length single-channel projection of banned homemade short videos.

As Gagnon watched video on the Internet, he noticed that certain homemade clips were flagged for their content. As they were disappearing from free hosting sites, he started to save and edit them in a capsule format. Working in a gray zone of copyright law, Gagnon’s collection and grouping of the videos acts as a means of contextualization and preservation.

Dominic Gagnon is an inventor, director, installer and active performer. He considers cinema as a technique for measuring the immeasurable or as a discipline of chaos. Since 1996, he has made public presentations of moving images and installations, invented machines and concepts, and performed sound works at galleries, festivals and biennials around the world. His recent work, RIP IN PIECES AMERICA, premiered at the Centre Pompidou in Paris.

From UPTOWN Magazine January 7, 2010:

Vanishing video Dominic Gagnon’s RIP in Pieces America is a compelling look at online censorship

    Self-described inventor, director, installer and active performer Dominic Gagnon’s epic 60-minute video Rip In Pieces America is a vision of policing, censorship and erasure, in which power is exercised not by authorities but by ordinary people against each other. What is this brave new world? Web-based file sharing sites, such as YouTube.

    RIP America serves as an archive of content that has been removed from the Internet, flagged as ‘inappropriate’ by other online users. As such, Gagnon joins other artists concerned with censorship on the web and the need to preserve ephemeral online posts. Delete City, developed by Jeff Crouse at Eyebeam, is a WordPress plug-in that will automatically conduct user-defined searches on sites such as YouTube, Flickr and Facebook, automatically updating your blog with content that has been deleted by the original host. The plug-in also issues an invitation to the author to comment on why the content was removed.

    While the Eyebeam project removes the necessity of involving oneself in tracking online events, Gagnon is consumed with the task, referring to it as an obsession. He spent two weeks before the 2008 U.S. election combing the Internet for videos slated for removal by site administrators.

    All but one of the vloggers (video bloggers) featured in RIP America are male, making me feel uneasily as if I were being subjected to a series of speed dates. Their piercing gazes are not diminished by web-cam technology; each earnest, outraged and hysterical man, some in sunglasses, balaclavas, crone masks, sombreros, Stetsons and scary clown make up, is more disturbing and intense than the last. Topics include FEMA (Federal Emergency Management Agency) concentration camps, mind control through implanted microchips and survivalist tactics. An interlude of sorts – a skinny guy with bad teeth wearing his bandana ’90s L.A. gang-style keens Johnny Cash’s Folsom Prison Blues – is not a respite but merely a different kind of discomfort.

    One of the more worrisome implications of this video is that there is a small kernel of truth at the core of each of the dubious opinions expressed by the vloggers. It’s a challenge to try to process each argument in the onslaught.

    That said, the video never degenerates to the level of a freak show. Despite the urgently paced editing of heavily pixelated clips, the vloggers speak for themselves; Gagnon’s restraint reveals his genuine empathy for the unexpectedly appealing subjects of RIP America. More than a simple record of the fear and frustration permeating the day, or an effort to expose the Internet as a mass of corporate and governmental interests, Gagnon has staged a conversation among members of this virtual community, juxtaposing content to draw out various opinions and points of view.

    Best of all, in the spirit of Internet file-sharing, Gagnon encourages people to pirate their own copies of RIP America. So, if you can’t make it to Video Pool before this show closes on Jan. 8, I know a guy who can hook you up.

    - Sandee Moore


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