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November 21 to December 19, 2015

25: Multiples Toward a Past and Future

Special Holiday Sale

Limited edition prints by Canadian and international artists:

Stephanie Aitken, Mowry Baden, Christina Battle & Adán De La Garza, Blue Republic, Tamsin Clark, Adam Davis, Todd A Davis, Michael Doerksen, Michelle Forsyth, Kevin Haas, Patrick Howlett, Jessica Karuhanga, Daniel Laskarin, Alex MacKenzie, Mike Andrew McLean, Sandra Meigs, Erik Moskowitz & Amanda Trager, Tara Nicholson, Steven Rayner, Jennet Thomas, Matt Trahan, Paul Walde, Kendra Wallace, Jess Willa Wheaton, Robert Youds

Stephanie Aitken: Untitled Collage #1, 2012
Thursday, December 3, 2015

Broken Altar / Dramatis Personae

Antimatter [Media Art] Tour Screenings

Antimatter’s 2014/15 tour project brought Canadian experimental films and expanded cinema performance to numerous venues in Europe and North America. The touring programs return to Victoria for a final free screening at Deluge.

7pm: Broken Altar

With Broken Altar, sociopolitical geography is traversed to reveal the surmountable and insurmountable distance between things. What unites us? What divides us? Filmic landscapes, notional and actual, are subjected to a series of interventions under the tyranny of time. Oblique colonizations, strange disappearances, conscious abandonment—ruinations and obsolescence both natural and economic—occur under cinematic ideas of alien surveillance, conflicted responses, social infections and manipulated perception in a search for the off-centre: specious reclamations of destruction and resurrection.

Vertical Hold | Sara MacLean | 3:30
Crashing Skies | Penny McCann | 5:27
where she stood in the first place | Lindsay McIntyre | 10:00
when the smog-filled wind began to howl | Christina Battle | 5:00
The Pit: A Study in Horror | Lauren Marsden & Karen Lam | 7:35
Modern Island | Eva Kolcze | 5:00
Legacies | John Woods | 2:55
Last Light Breaking | Leslie Supnet | 7:51
Gephyrophobia | Caroline Monnet | 2:21
The Broken Altar | Mike Rollo | 19:35

9pm: Dramatis Personae

The films in this program reveal a hybridity between the analogue and digital: multivalent reconfigurations of the purported obsolete reveal a newly relevant sonic and visual language. Through techniques such as contact printing on 16mm, hand-tinting and toning and the virtual destruction of the celluloid itself, narratives and characters—whole, abstracted and implied—arise from the emulsion, driven by assembled sound tracks. The hallowed conventions of narrative filmmaking are upended in the reconsideration of archival source materials—repositories of histories and spectacle—in the creation of unholy collisions of repurposed sound and image, reinvention arising from the depredations of time itself on the machinery used in its making.

((in stasis)) | Aaron Zeghers | 2:45
Dramatis Personae | Stephen Andrews | 6:10
In My Room | Chance Taylor | 2:12
a little prayer (H-E-L-P) | Louise Bourque | 8:00
Woodcarver | Ehren BEARwitness Thomas & A Tribe Called Red | 5:44
The Magik Iffektor | Christine Lucy Latimer | 4:30
Separate Vacations | Cameron Moneo | 10:12
Forsaken | Heidi Phillips | 4:30
Postface | Frédéric Moffet | 8:00
J. Werier | Rhayne Vermette | 4:00
happy | Daniel McIntyre | 7:53
Up | Scott Fitzpatrick | 4:30

October 17 to 31, 2015

No Time for Tomorrow

Emilie Serri

3 channel installation | 4:27 | Canada | 2015

"How do you mourn a country and a history of which you feel so distant and attached to at the same time? How do you deal with the loss of something you've never really known? Is it possible to construct a cultural identity in the absence of a country that is nevertheless one's own? Is the absence of this referent the source of the uncanny feeling I've been experiencing?

No Time for Tomorrow was envisioned as part of a larger first person experimental documentary on cultural identity. The idea for the project first came about after a trip to Syria with my father and sister; one of the rare times I had travelled there. Not long after our visit and right before the beginning of the war, my grandmother passed away and I realized I didn't really know her or Syria. Half Belgian, half Syrian, I was born and raised in Montreal and never had much contact with that part of my cultural heritage. Her passing and the beginning of the uprising triggered the need to investigate this post-diasporic Syrian identity that was both so familiar and foreign to me.

When I started working through ideas of identity, history and memory, found footage seemed like the most appropriate material to engage with. I spent a lot of time on YouTube looking for images of Syria that would help me make sense of what I was missing. When I stumbled upon the film of a traditional wedding ritual shot in Busra in 1972, I felt that it presented a much larger history of Syria as well as an opportunity to reinterpret my relationship to this past, as it affected my present. These found images were edited with amateur footage of the war (also found on YouTube) and personal archival material -- a sound excerpt taken from a 1986 home movie of my father recording a tape for a Mother's Day gift and a recently recorded conversation with my father in which he was teaching me how to count in Arabic. The countdown echoed both the tripartite physical structure of the film and the time left before Syria's disappearance. The mixing of the public and the private spheres and the intertwining of past, present and future tense mirrors the construction of a complex political identity deeply rooted in both the personal and the collective." - Emilie Serri

Originally from Montreal, Emilie Serri is a visual artist and filmmaker. Her films are distributed by LightCone in Paris and have been shown in festivals and galleries internationally.
also at Deluge:
Down to Earth

Anna Vasof

Installation Loop | 7:00 | Germany | 2014

It is no secret that shoes say a lot about the person wearing them. The shoe's form, material and condition provide insight into social status, character and, last but not least, potential desires. In Down to Earth Vasof refers to this multifunctional significance while putting a very particular spin on the concept of "footwear," fabricating highly distinctive mechanical devices for each of her shoe designs, some of which set entire stories in motion upon walking. A fork vainly fishes for olives, umbrellas pop open for protection, some shoes get caught in nets or hunt for mice, while others successfully flip pancakes or use a foot pedal to blow a trumpet and beat a marching drum.

Anna Vasof is an architect and media artist. She studied architecture at the University of Thessaly (2010) and is continuing her studies in Transmedia Art at the University of Applied Arts in Vienna, Since 2004 her award winning films have been screened in numerous international film festivals. Vasof is currently designing and building innovative mechanisms to be included in future projects.

in the Deluge transom window, dusk to 10pm:

Tribute to Busby

Eytan Ipeker

Installation Loop | 6:00 | Turkey | 2014

A kaleidoscopic homage to the great film choreographer and director.

A director of experimental and commercial films, Eytan Ipeker was born in Turkey and graduated from New York University. He attended the Berlinale Talent Campus in 2006 and founded the production company Kamera in Istanbul in 2011, where he currently lives and works. His films have been screened internationally at festivals in Greece, Italy, Thailand, USA and notably at the Toronto and Edinburgh International Film Festivals.
October 16 to 31, 2015

Antimatter [media art]

Screenings | Installations | Performances

Dedicated to the exhibition and nurturing of diverse forms of media art, Antimatter is one of the premier showcases of experimentation in film, video, audio and emerging timebased forms. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive setting in Victoria, British Columbia, free from commercial and industry agendas.

Antimatter Website
September 11 to October 10, 2015

25: Multiples Toward a Past and Future

Stephanie Aitken, Mowry Baden, Christina Battle & Adán De La Garza, Blue Republic, Tamsin Clark, Adam Davis, Todd A Davis, Michael Doerksen, Michelle Forsyth, Kevin Haas, Patrick Howlett, Jessica Karuhanga, Daniel Laskarin, Alex MacKenzie, Mike Andrew McLean, Sandra Meigs, Erik Moskowitz & Amanda Trager, Tara Nicholson, Steven Rayner, Jennet Thomas, Matt Trahan, Paul Walde, Kendra Wallace, Jess Willa Wheaton, Robert Youds

To celebrate 25 years of artistic innovation regionally, nationally and internationally, Deluge Contemporary Art and Antimatter [Media Art] host an extraordinary fundraiser September 11 through October 10, 2015. The event—25: Multiples Toward a Past and Future—features the work of 25 acclaimed artists who have previously been exhibited through Deluge/Antimatter. With the production assistance of the Faculty of Fine Arts at the University of Victoria, each artist has created an exclusive edition of three large format multiples printed with colour-fast aqueous pigment inks on archival paper. The limited edition prints are available to the public for advance online purchase at an exceptional price, as well as at the gala opening and exhibition at Deluge. 25 unites participants in a unique and adventurous project by situating these multiples within the realm of digital production and postinternet practice, often expanding on the artists' previous work to specifically engage with the medium and technology.

Over the past quarter century, Deluge Contemporary Art—along with Antimatter [Media Art]—has evolved into the leading light of Victoria's visual and media art community. Founded in 1991, Deluge (known as Rogue Art until 2005) and Antimatter have since presented the work of more than 4,000 artists in 300+ exhibitions and 17 annual festivals to an audience of over 350,000 on southern Vancouver Island, the lower mainland and internationally through our touring programs and partnership with Diluvio Arte e Ideas in Mexico City. Despite our location on a relatively small island, the career trajectories and reputations of artists affiliated with Deluge and Antimatter over the decades are impressive, comprising artists and educators of significant stature and innovative tendencies (two Governor General award winners are included in 25) whose work is exhibited nationally and internationally, represented in public and private collections and by leading commercial galleries.

Pre exhibition sales are available now online, a rare opportunity for collectors—regional, national and international—to invest in limited edition artworks at preferential pricing while supporting the future vision and programming of a dedicated, evolving and ambitious organization.

Michelle Forsyth: Orange Object on Red, 2015
Matt Trahan: Untitled (Proteus), 2011
Kendra Wallace: the river, 2013
July 3 to August 1, 2015


Michael Doerksen

An exhibition consisting of three parts, Coupling revolves around cast bronze sculptures of iron pyrite Pleuroceras fossils, an extinct marine invertebrate of the genus ammonite which thrived 145 million years ago during the lower Jurassic, upper Pliensbachian ages. Its name ammonite refers its particular shape, similar to the ram's horns of the Egyptian god Ammon. Here the fossil is conjoined and shown with a bronzed sample canister once used by the Ontario Department of Health Laboratories. The lid has been removed and the two halves are solid, as if it had been fossilized with the mollusc shell. Etched onto copper plates are photographic images rescued from a series of anonymous slides dated August 1974 depicting a young nude couple camping on a lake in what appears in an idyllic unspoiled wilderness. 
Finally, Doerksen will exhibit an ongoing large-scale drawing based on this found image, painstakingly inscribing the source material. The recombinant nature of photographic reproduction—where the vernacular functions not as a real language but rather as an abstract set of norms formalized within the frame—alongside fossil forms and drawing-as-industry allows the artist to deeply consider the measure and substance of history located in contemporary forms of idiomatic representation. The suggestion, as a science fiction plot, is that the coupled pleuroceras is mysteriously connected to the place and people depicted in the copper plates and drawing, as a biological specimen, or an icon. The reason for this connection is for the viewer to imagine.
Michael Doerksen is a visual artist and musician originally from Victoria, BC where he obtained a Fine Arts Diploma from Camosun College, then completed a BFA in sculpture and photography and an MFA in sculpture from Concordia University in Montreal. His work has evolved as an continuing sculptural treatment of the facts of objects in space and the fictions that pervade them. He has exhibited nationally and internationally, both independently and as a member of the video/performance based art collective The Discriminating Gentlemen’s Club. Doerkson was the lead guitarist for Sunset Rubdown which released four LPs, two EPs and toured internationally before disbanding in 2009. Represented by Galerie Lilian Rodriguez in Montreal, Doerksen currently lives in Banff, Alberta where he works at The Banff Centre as the Sculpture Facilitator for Visual + Digital Arts.
June 3 to 27, 2015

Speculative Frictions

Rä di Martino (Italy/UK)
Shambhavi Kaul
Jennet Thomas
Hope Tucker

Speculative Frictions is a media installation exploring constructed cinematic landscapes, narratives restructured though repurposed footage/sound and tropes of speculative fiction and surrealism. It comprises the works Petite histoire des plateaux abandonnés (di Martino), Handful of Dust (Tucker), 21 Chitrakoot (Kaul) and The Advice Shape (Thomas). 

In this exhibition, facts and fictions are gloriously recombined or rehabilitated through the use of found or existing footage, sound and reenactments. A slipperiness of time and space propels existing and familiar narrative structures through the membrane that separates truth from fabrication. The resulting cognitive dissonance transcends conflicts between natural and invented landscapes, past and future, the real and anomalous: the bleed-through of artificial and constructed worlds onto the connatural is exalted. 

In the Drâa Valley vestiges of Hollywood in the form of crumbling stage sets wait to be reclaimed by the Moroccan desert—foregounding the notional power of mirage and what exactly constitutes an oasis (and for whom) in a trenchant critique of the dividends of colonialism and cultural capital. During shooting of The Conquerer in Utah, horses hooves churned up lethal sand storms—a befouled legacy of more than 119 above-ground nuclear tests—resulting in the slow but inexorable poisoning of  “downwinders,” largely Shivwits extras from the Paiute nation. The Prussian blue produced in cyanotypes printed from frames of the 1954 film is also used to treat radiation sickness; a literal and symbolic recuperation of the image memory. A popular television series from India is unmoored from its referents, uninhabited and then reanimated—transporting us from the aesthetics of destruction to the construction of aesthetics with the velocity and intensity of a shooting star. In some surreal present or future on some simulacrum of a soundstage The Nurse exhorts us to take a yes or no quiz while we are fleetingly exposed to alarming and disjointed images. “Did the man harm them,” (s)he enquires? “Do you feel comfortable in a disciplined environment?” In the spaces between the interrogatories and the daft fleetness of photographic “evidence” we internalize the nature of artifice and adapt it to our experience as voyeurs. Congratulations are in order. “You have a split emotional register. Would you like to reseal it?”

Rä di Martino is a graduate of Chelsea College of Art and of the Slade School of Art. Born in Rome, she moved to London in 1997 and to New York in 2005. Selected recent solo exhibitions include: Rä di Martino, Museion, Bolzano (2014), Rä di Martino, MAXX Project, Sierre (2014), Marilyn, Galleria Il Capricorno, Venice (2014), Rä di Martino – Greater Torino, Fondazione Sandretto, Turin (2012); La controfigura – The Stand-In, Monitor Gallery, Rome (2011); Rä di Martino (Artscape at) Vartaj Gallery (2010); Rä di Martino, Artissima, Turin (2010); The Night Walker and Other Works, CAV, Coimbra (2009); Rä di Martino, Espaces Doll – Les Urbaines Festival, Lausanne (2008). Selected group shows include: Concrete, MUMA, Melbourne, Australia (2014), Worlds In Collision, Samstaag Museum, Adelaide (2014), Ruins in Reverse, Tate Modern, London & MALI, Lima (2013); Mardin Biennale, Mardin, Turkey (2013); Mission Afterviews, Victoria Theatre, San Francisco (2012).

Shambhavi Kaul's cinematic constructions conjure uncanny, science-fictive non-places. Described as creating “zones of compression and dispersion,” her work utilizes strategies of montage and recirculation, inviting an affective response while simultaneously measuring our capacity to know what we encounter. She has exhibited her work worldwide at venues such as Toronto International Film Festival, Berlinale, New York Film Festival, London Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival, Internationale Kurzfilmtage Oberhausen, Ann Arbor Film Festival, the 2014 Shanghai Biennale and recently, her first solo show with Jhaveri Contemporary in Mumbai. Kaul was born in Jodhpur, India and currently lives in India and the United States.

Jennet Thomas makes films, performances and installations exploring the connections between everyday life, fantasy and ideology; experimenting with collective constructions of meaning. Using a collision of genres, her work can look like post-internet collage, fantasy TV drama, experimental film or performance art behaviour, and is frequently comic, uncanny and subversive. Thomas is interested in belief systems, ideas of truth, power and pleasure, and how cultural memories are re-made and distorted according to the needs of each era. The convergence of neoliberal ideology with new technology, and how that influences our construction of reality is an increasingly important theme. Thomas emerged from the anarchistic, experimental culture of London’s underground film and live art club scene in the 1990s, where she was a cofounder of the Exploding Cinema Collective. Her single screen work has screened extensively in film festivals internationally and recently at the Tate Britain. Recent exhibitions include All Suffering SOON TO END! (2010) and School of Change (2012) at Matt’s Gallery in London. Her first book of experimental fiction, The Unspeakable Freedom Device, will be published by Bookworks in July of this year.

Hope Tucker transforms what we know as a daily form of terse, text-driven, populist narrative through The Obituary Project, a compendium of lens-based works that give new life to the antiquated documentary practice of salvage ethnography. She has animated cyanotypes of downwinders and instructions for making fishing nets by hand; photographed shuttered bread factories, fallen witness trees, and decaying civil rights era landmarks; recorded mobile phone footage of the last public phone booths of Finland; written the text of a video out of paper clips, a Norwegian symbol of solidarity and nonviolent resistance; and retraced the path of protest that closed the only nuclear power plant in Austria.

Petite histoire des plateaux abandonnés, Rä di Martino, 2012, HD video, 8:23
Handful of Dust, Hope Tucker, 2013, HD video, 9:00
21 Chitrakoot, Shambhavi Kaul, 2012, HD video, 9:00
The Advice Shape, Jennet Thomas, 2013, HD video, 6:11
April 10 to May 16, 2015


Paul MacIntyre | Sasha Opeiko | Matt Trahan

duplicate features the work of three artists and friends who unbeknownst to each other, have recently made work based on the meticulous hand-wrought reproduction of existing surfaces, giving rise to a sort of process-based visual alchemy.

Paul MacIntyre has laboriously repainted the iconic blue markings of a deck of Bicycle playing cards red, tracing the mechanically produced markings with thousands of brushstrokes. Sasha Opeiko approaches the memetic and sculptural possibilities inherent in the reproduction of natural substances; the perimeters between what is and is not real—in this case wood and stone. Matt Trahan considers the aesthetic possibilities of security patterns found inside envelopes. This covert and unexpected visual information is abstracted and exploded from its small scale mechanical mass production after fastidious and durational registration of the original designs.

Paul MacIntyre is a current MFA candidate at the University of Guelph. He completed his BFA at the University of Victoria in 2012 before spending a brief period in Berlin. His work in drawing and painting combines strict self-imposed limitations with a fetishization of the inescapable imperfections associated with repetitive labour; his research interests can be summed up as a kind of systematic cartography. His work has been exhibited at the University of Guelph and the Fifty Fifty Arts Collective in Victoria.

Sasha Opeiko sustains a solo and collaborative artistic practice in Windsor ON, with a maintained interest in critical theory. Focusing on topics of ideological entrapment, objects, materiality and perception, she works in a variety of media including painting, drawing, video, installation and sculpture. Sasha received a BFA in Visual Arts from the University of Windsor in 2009, followed by a MFA in Visual Arts from the University of Victoria in 2012. Her work has most recently been exhibited at Artcite Inc. (Windsor ON), Thames Art Gallery (Chatham ON) and Judith & Norman Alix Art Gallery (Sarnia ON). Her recent collaborative projects include Third Line (with Martin Stevens, International Zizek Studies Conference 2014, Cincinnati OH) and the Meta-Etcetera Hovercraft 1.0 (with Megan Press, part of Artcite Inc.’s Precariat, Windsor ON).

Matt Trahan is an artist currently living in Victoria, BC where he teaches drawing and contemporary art theory at The University of Victoria. He holds a BFA from The University of Western Ontario (2009) with an additional major in philosophy and an MFA from The University of Victoria (2012). His work examines the material possibilities of drawing by challenging some of its most fundamental precepts, including the relationship between positive and negative space, figure and ground, and the discreteness of line. His work has been shown primarily in BC and Ontario and he has upcoming shows at Deluge Contemporary Art in Victoria and Wil Aballe Art Projects in Vancouver.
Painted Blue Deck (detail), Paul MacIntyre, 2014
February 6 to March 14, 2015

Latent Image (Part One) 2012–2015

Mike Andrew McLean

In the conception and creation of the works that comprise Latent Image (Part One), McLean focuses on variant techniques that allow for reproduction of an image: stabilized photogenic drawing, salt paper printing, cyanotype, ferrotype, albumen printing and finally, photographs made with the Kodak 1—the first consumer oriented camera, patented in 1888. His intention throughout these contemporary reinterpretations is consistent, despite the manifold chemical and material variations involved in their production, reigniting interest in the way photographs are made and perceived in our media-saturated society and allowing for fluid investigations of the medium itself.

Mike Andrew McLean holds a BFA in Media Arts from NSCAD University, and an MFA from the University of Victoria. McLean’s work, which draws upon research into the historical and contemporary uses of photography, has recently been shown in solo and group exhibitions including Vancouver’s Contemporary Art Gallery, the Art Gallery of Greater Victoria, Richmond Art Gallery, Open Space, Southern Alberta Art Gallery and Gallery 44 in Toronto. With the assistance of Canada Council and BC Arts Council production grants, McLean’s most recent projects Latent Image and Debris investigate the earliest forms of production within the medium.