Friday, October 13 | next
7pm at Deluge: Making Waves
Where Shapes Come From
Semiconductor | 10:30 | UK | 2016 | W Cdn Premiere
Where Shapes Comes From is a moving image work which considers how science translates nature, on an atomic scale. Filmed in the mineral sciences laboratory at the Smithsonian Museum of Natural History, a scientist goes about his daily work in rock and mineral preparatory labs, cutting up large meteorites and preparing mineral samples for scientific study. Accompanying this, mineralogist Jeff Post describes the coming together of atoms to form matter. He details formations of organized structures and patterns as if they are happening in real-time, in front of our eyes, transcending time and space.
making waves,,, unmastered
Fritz Laszlo Weber | 7:38 | Greece/Germany | 2016 | NA Premiere
A video voyage through invisible and hidden infrastructures in Athens.
consume repeat #2
Nicole Rayburn | 1:18 | Canada | 2016 | NA Premiere
The consume repeat series explores the notion of repetition through the isolation of specific gestures. The series focuses on animals’ interactions with their environments, specifically activities surrounding consumption. In consume repeat #2, the subtle violence of the exchange between Monarch Butterflies is contrasted with the frailty of their bodies. Organic gestures are mechanized through the editing process, and the movements speak to habit, compulsion, obsession and absurdity.
Graeme Arnfield | 11:12 | UK/USA | 2016 | Cdn Premiere
Excavated from the world’s largest cave system, Colossal Cave is a love letter from the prehistory of the Internet. Retracing the production of a pioneering video game, the film finds in its debris the blueprints of our contemporary digital network and an emotional remapping of the world. Compiled from amateur caving videos found online, these sources are relocated in a history of geological representation, adaptation and redistribution.
How Flowers Never Became a Food Group
Charlotte Clermont | 4:44 | Canada | 2017 | W Cdn Premiere
Distorted and glitched images of flowers suggest failure and disillusion with romanticism, oscillating between the possible and the impossible. The work is a collaboration between video artist Clermont and experimental musician Alain Lefebvre.
Histories of Simulated Intimacy No. 1
Emily Drummer | 11:05 | USA | 2017 | Cdn Premiere
“Great obstacles excited great passions; since eros consists not in possession but in wanting, what could stimulate eros more than distance and especially death, itself the ultimate distance?” John Durham Peters, Speaking Into the Air
Samantha Gurry | 8:17 | USA | 2017 | Cdn Premiere
Jim is an exploration-based portrait of a found object. Jim assembled these floppy disks in the late 1990s with images and samples sourced from online chat rooms. How do you connect with someone you can’t see? That you don’t know? Can you get a sunburn from a computer screen? One short email conversation provides his name.
Welcome to David Wojnarowicz Week
Steve Reinke | 14:00 | Canada/USA | 2016 | W Cdn Premiere
Welcome to David Wojnarowicz Week is the follow up to A Boy Needs a Friend. Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration. Plankton, Kafka, Bette Davis, Wednesday afternoon visits with friends, more plankton, burning villages, Hollis Frampton, Sammy Davis Jr. as a libidinal machine producing sadness, opera, disembowelment and poetry.
9pm at Deluge: Hidden Frequencies
Live Media/Sound Performance: Monteith McCollum (USA)
Hidden Frequencies is a cinematic sound performance which plays with ideas and tools from the history of sound technologies and communication.
Broken into several movementstransmission, transcription and receptionthe work intermixes the experience of decoding language, the material qualities of machines of communication and structural music. The first part incorporates morse code patterns for the violin, tuning forks and telegraph oscillators, forming a multi layered exploration of musical qualities. The second half moves into transcription of early images of sound vibrations from formats including optical film tracks and phonographs. These abstract renderings are filmed in ways to represent audio as a form of landscape as well as optical illusion and pattern. To enhance the tactile haptic experience of sound and an interactive involvement with the work, the audience receives sound cards which are opened and closed on cues supplied by the film.
At the culmination of the performance a record lathe cuts a record of the performance itself, and an endoscopic camera captures the image of thin threads of plastic waste spiralling off onto the turntable’s centre spindle. The sampling from the record and the playback of the cut degenerates into an abstract layered wall of sound interweaving melody, speech and drone.
Monteith McCollum is an inter-media artist working in film, sound and sculpture. His films have screened at museums including The Museum of Modern Art, Hirshhorn and Wexner Center for the Arts and festivals including SXSW, Slamdance, Hot Docs and San Francisco International. His films have garnered dozens of festival awards including an IFP Truer than Fiction Spirit Award. His film and sound work have received support from organizations including New York Foundation for the Arts, Rockefeller Foundation, NEA, Jerome Foundation and Kodak. Recent performances of Hidden Frequencies include HallWalls, Fylkingen, European Media Arts Festival and NYU.