| SATURDAY JUNE 7 1:00PM |
Regina Public Library Film Theatre 2311 12th Avenue |
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ACTION, GESTURE, WORDAs an accompaniment to this year's Performing Art Series, this program provides further insight into queer performance, the artists who make it, and the inspiration for it. From the infamous Kiss and Tell collective, to Canada's and the art world's newest bad boy Terence Koh, to the fabulousness of drag and the vaudeville era, these short videos will satisfy those who like to watch, look, and look again. |
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| Before the New Millennium | Lorna Boschman, Canada, 2007, video, 27 min. | Based on performances by the notorious lesbian art collective Kiss & Tell, this video captures digitally processed moments hidden for over a decade, recalling historic queer and art-world attitudes towards sexuality and censorship of the 1990's. The provocative styles of Persimmon Blackbridge, Lizard Jones and Susan Stewart come together in simple lust stories and in letters to their mothers. Lorna Boschman, who directed two previous videos about Kiss & Tell, represents the group's approach to performance through a digital mix within the frame, shaping geographically separate shows and multiplying images together to reveal one of Canada s original queer art collectives. |
| God | Terence Koh, Canada, 2007, 16mm, 11 min. | Documentation of an art/sex ritual/performance of the same title presented at De Pury in Zurich. "My Path to Heaven; Are you Blind, Bastard?" |
| Ecstatic (from Self-Obliteration) | Ron Athey, UK, 2007, video, 3 min. | A stand-alone performance of Ron's which starts out somewhat absurd and campy and soon twists into an intense, bloody and compelling work. |
| Thee Guards | Angelo ango Visone & Roberto Minotto, Italy, 2008, video, 10:15 min. | Two bodies and a corpse: two roman guards and Jesus. Their physical presence opposed to the missing presence of the Messiah. Three days spent alone watching at the grave, while dreaming and playing with their bodies... The only real flesh. Meanwhile the great metaphysical mystery is rising. |
| Brothers, Let Us Be Merry (Bruder, lasst uns lustig sein) | Ulrich Seidl, Austria, 2006, 35mm to video, 1 min. | "Brothers, let us be merry, bravely defy your troubles", is the call from the slave's song in Mozart's Zaide. It accompanies two dimly lit men indulging in a purposeless pleasure: they masturbate as if someone had ordered them to get in the mood and enjoy themselves. In the consummation of lust the film anticipates the hangover which turns Nietzsche's claim that "all joy wants eternity" into an eternally unrealized utopia. Ulrich Seidl made this Mozart Minute for the Mozart Year in 2006. |
| Damned and Forgiven | Andrew James Paterson, Canada, 2007, video, 4 min. | "Both an adaptation and an abstraction of a performative fragment, the basic layer of this four minute videotape consists of documented performance stock from a live presentation I made at the Cinematheque in Winnipeg in fall 2006, titled Mono Logical Murder City, in tandem with a series of events under the umbrella of Murder City Media City, held during the Independent Media Arts Alliance AGM." |
| Squiggle | Oliver Husain, Canada, 2005, video, 21:40 min. | when the sun lifts itself soundless or smacking, from the slick horizon, a drop falls from the zinc tap into the bucket when the dew on the grass is grey, the earth is red |
| Chapeau! | Didier Seynave, Belgium, 2007, video, 6 min. | Drag Queens are the quintessential queer performers. In this case, outrageous hats and elegant dresses provide the entertainment. |
| Walk | Matthew Snead, UK, 2007, video, 3 min. | Performance artist Taylor Mac walks the streets of London, sharing his inner thoughts on fear and politics. |
| Freak Girls | Tamara Vukov, Canada, 2004, video, 4 min. | A montage of archival material from Coney Island and the vaudeville era presenting the female figure as a performing object for entertainment and exhibition purposes. The filmmaker's hand in the process has a light but significant gesture in the way she juxtaposes the historical footage. |
| SATURDAY JUNE 7 3:00PM |
Neutral Ground Artist Run Centre & Gallery 203-1856 Scarth Street 306.522.7166 |
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ROUND TABLE DISCUSSION The Morphing Factor - transitioning as subject and formJoin the curator and the four performing artists from our Performing Art Series for a casual round-table discussion. An opportunity to hear more from curator Michael Toppings (Montreal) and the participating artists - Paul Hurley (Wales), Stephen Lawson and Aaron Pollard - 2boys.tv (Montreal) and Tobaron Waxman (New York / Toronto) - the public is also invited to pose questions and create dialogue with the visiting artists. |
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| SATURDAY JUNE 7 8:00PM |
Neutral Ground Artist Run Centre & Gallery 203-1856 Scarth Street 306.522.7166 [suggested donation: $5] PLEASE JOIN US AFTERWARD FOR A CLOSING NIGHT RECEPTION FOR THE QUEER CITY CINEMA PERFORMING ART SERIES |
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TOBARON WAXMANLechem oni - prusa invokes iconic Holocaust imagery with the intent of criticizing the misappropriation of the Holocaust as a means to bias mainstream opinion. The soap bars are assembled in piles, recalling the piles of Jewish belongings and Jewish bodies discovered at concentration camps, with the soap itself an allusion to the Nazi practice of making soap from the fat of Jewish bodies. anagram (2002) and peytach eynayim (2002) both incorporate a random walk javascript. The image is in a constant state of change. In anagram, this state of change generates a new image/word phrase by constantly reordering the content at different speeds. Peytach Eynayim ((the place of) Open Eyes) cites Chagall's Jesus as a Jew imagery from his crucifixion paintings, with a new Queer iconography. The javascript breaks the image apart, and proceeds to reconfigure it ad infinitum. The viewer can refresh the image to see a contiguous moment. The title is a reference to the crossroads where Tamar waits for Judah. Each of the three pieces engages a process through which the work begins in one form and then becomes something else; they are all effectively process works. The three pieces indicate a personal process of 'becoming', ethnically, culturally, as I moved through differently gendered experiences and as a result distilled different relationships to cultural narratives. NOTES
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