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|November 2 to December 1, 2018
Nearness To or Distance From
Nearness To or Distance From consists of a series of abstracted, candid portraits of tourists visiting the Grand Canyon. These individuals were standing about a kilometre away from my camera on an adjacent cliff, unaware that their imprinthowever ghostly and lacking in detailwas making its way into my camera. In post production, I zoomed into the vast iconic landscape in my pictures and plucked out the tiny portions of captured information describing these humans. Through a process of printing, scanning and reprinting, the results reveal an ink dot pattern that is reminiscent of pointillism. It’s as if these people could have been stolen from the background of a Seurat painting, where they had been forgotten.
These spectres prompt us to think about our mark in the world, our presence, even when insignificant and unseen. The process of looking at this work is a meditation on the act of seeing and the difficulty of knowing what it is we see.
Laura Dutton is a Victoria-based visual artist working primarily with video installation and photography. She holds a BFA in Photography from Concordia University, Montreal (2006) and an MFA in Visual Arts from the University of Victoria (2011) where she currently teaches. Her work has been exhibited across Canada, most recently at Esker Foundation Project Space in Calgary, as well as the Legacy Gallery in Victoria, PAVED Arts in Saskatoon, VU Photo in Quebec City, and as part of the emerging artists exhibition Ensuing Pictures which kicked off the inaugural year of the Capture Photography Festival in Vancouver. She has been the recipient of two Canada Council for the Arts Project Grants (2013, 2015), a BC Arts Council Project Grant (2012), the Canwest Global Scholarship in Film and Video (2010) and represented Quebec in the 2006 BMO First Art nationwide competition.
|October 11 to 21, 2018
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.
|October 11 to 27, 2018
Kyath Battie | Ramey Newell | Elina Oikari | Kalpana Subramanian | Emilio Vavarella
“Animism makes real the permeability of human and nonhuman worlds. As a structure of perception and framework of experience, the relevance of animism to the theme of cinema beyond the human lies in its conception of the self as porous with respect to a multiplicity of life forms.” Screening Nature: Cinema beyond the Human, Anat Pick & Guinevere Narraway
Framing Nature is a group exhibition that gives voice to ecological thought, uncentering human language in favour of the non-human, the other. Nature here is resistant to definition through anthropomorphic language, insisting on an interconnectivity and creative function far beyond the shadow cast by man’s colonizing and taxonomical tendencies. These five works subvert and dismantle existing historical depictions of the environment through a multiplicity of approaches which challenge our limited temporal understandingrefracting and expanding our comprehension of the past into a future comprising worlds within worlds, not all of our making and beyond our control.
Kyath Battie | 7:10 | Canada | 2018
Bordering on the fantastic, Senescent Vivarium represents four distinct seasons created by plants and insects selected to imitate authentic biospheres. These macro worlds are architectural masters of their own domain yet defy traditional still life representations. Transient narratives of familiar ecological cycles are pushed further into supernatural territory by the effects of hand processed 16mm black and white film and a deeply atmospheric, magnetic sound score.
Kyath Battie is a filmmaker and experimental media artist, with specific interests in mysteries, landscapes and sound design. Her work ranges from personal and observational documentaries to atmospheric spatial explorations of space. Battie’s work also involves large-scale viewership, often creating a fine line between a “cinematic” and still photographic experience. She teaches in the Department of Cinema at Denison University, in Ohio, USA.
Ramey Newell | 4:52 | Canada/USA | 2017
Archival video and narration, combined with original laboratory photography and intricate sound compositions, examine our collective relationship with the nonhuman world. Implicating histories of both scientism and documentary filmmaking, this short experimental film constructs an increasingly unsettling portrait of human callousness in our compulsive quests for knowledge and control of the “natural” world.
Ramey Newell is an interdisciplinary artist and filmmaker whose work explores issues relating to ecology and mass extinction, scientific epistemologies, anthropocentrism and the expectations of documentary film. Her moving image work has screened in festivals, galleries and museums throughout the United States, the United Kingdom, Canada and Australia. She holds a BFA in Photography, a graduate certificate in Documentary Media and is currently based in Vancouver, Canada while completing her MFA in Visual Art at UBC.
Elina Oikari | 8:43 | Finland/Norway/Sweden | 2018
Govadas explores the contradiction and harmony between humans and nature through Sámi poetry. The cyclical perception of time among the only indigenous people living in the European Union is presented in the work as unfolding forms and layers based on archival material from the 1940s and Super 8 footage from 2010s. Govadas creates a kinetic meditation on time, memory, landscape and the ruptures between them.
In Govadas, Elina Oikari creates a cinematic portrait of Sámi people from history to our times and explore their relation with nature as Nils-Aslak Valkeapää has described. In Valkeapää’s work, traditional Sámi culture is presented as nomadic, holistic, non-violent and in harmony with nature, while Western culture is presented as intrusive, violent, arrogant and polluting.
Oikari’s approach to the subject starts from Valkeapää’s poem, where he describes “image” as a concept of an auto-portrait that is being seen from outside and inside. This poem inspired the director to create a cinematographic essay about the possible images that Valkeapää could have received during his writing process. Valkeapää’s poetry is very visual and he has even created some new words to describe the word “image.” Also the structure of Govadas is close to a poem, as the filmmaker intended to create an experience for the viewer to let him or her to find out the core meaning of the film.
Elina Oikari is a filmmaker and media artist based in Helsinki. She received her MA from the Aalto University Documentary Film Studies in 2014. Oikari emphasizes experimental connections between image and sound in her works which have also screened as film concerts and live cinema screenings at various film festivals and music events. Her work is often related to the classics of dramatic literature and experiences of otherness.
A Dialogue of Dissonance
Kalpana Subramanian | 6:30 | USA | 2016
An aesthetic meditation on the technological incompatibilities of cinematic apparatus that engages the poetics of materiality. Light and projections mediated by a 16mm projector playing a aging strip of stock film are captured by a state-of-the-art video camera at various speeds and settings. Visual “disruptions” occur as these disparate media engage with each other, creating a “dialogue of dissonance,” blurring lines between the digital and analogic and between the pro-filmic and filmic.
In my view, light is like the “breath” of cinema’s body. In this film I explore the intervals and inbetweenness of cinematic form, in dialogues between “old” and “new” media. The differences in frame-rates of digital and analog media lead to a cinematic event that is both created with and captured by my camera. A play of intermittencies emerging from the techno-dialogue of digital and analogic media led to a sensorial experience for me as a cinematographer, and later as an editor when I attempted to articulate this. The process of filming became an act of contemplation on difference and the aesthetics of dissonance. This film was shot in a day, in a single setting, as part of a series of five films titled Light Mediated: Eyes on Brakhage (2016).
Kalpana Subramanian is an artist, filmmaker and educator, currently pursuing a practice-based Ph.D. in Media Study at the State University of New York at Buffalo. She is interested in transcultural and interdisciplinary approaches of inquiry into the aesthetics of experimental film and media. Her research re-considers American avant-garde film history though the lens of non-Western philosophies. She was awarded a Fulbright Professional and Academic Excellence Fellow at the Stan Brakhage Center at the University of Boulder Colorado in 20152016. Her short films has been screened at several international festivals and received various awards. She is also the recipient of the UK Environmental Film Fellowship (2006) and the Audio International Design Award (1996).
Emilio Vavarella | 12:12 | USA | 2017
Animal Cinema is a film composed of fragments of videos of animals operating cameras. All cameras were stolen by animals who acted autonomously. These video materials, downloaded from YouTube between 2012 and 2017, have been reorganized as a constant unfolding of non-human modes of being.
Animal Cinema is my first film. It stems from my art practice and it expands my investigation of non-anthropocentric audio-visual experiences. I believe that a new regime of moving images is emerging in the tension between ideas of sensorial contact, encounter and closeness, and the presence of the unthought, the unsummonable, the inexplicable and the undecidable.
Emilio Vavarella is an artist whose work blends interdisciplinary art practice and theoretical research and is centered around the study of the relationship between humans and technological power. Currently working toward a PhD in Film and Visual Studies and Critical Media Practice at Harvard University, his artworks have been exhibited at many of the most prestigious festivals of media arts and in foundations and museums around the world, including Rome’s MAXXI Museo Nazionale delle arti del XXI Secolo, Bologna’s Museo d’Arte Moderna, Santiago’s Museo Nacional Bellas Artes and Tokyo’s National Art Center. His work has been discussed in Artforum and Neural, in books such as The New Aesthetic and Art, and it regularly appears in the popular press and in peer-reviewed journals.
|in the Deluge transom window | dusk10pm:
Flying to Nowhere
single channel video installation | 1:14 | Canada/France | 2017
A kinetic study in discipline and hope: what is the measure of success?
Matthew Lancit is an award-winning Canadian filmmaker based in Paris, France. His work varies between experimental, narrative, documentary, ethnographic and video dance. His films have screened at Museum of the Moving Image, UnionDocs, cutlog gallery, Anthology Film Archives in New York, the Kaohsiung Film Archive in Taiwan, the Musée Dapper in Paris and the Jerusalem Cinematheque. After moving to Cameroon Lancit made his first feature length documentary, Funeral Seasonwhich has since been chosen for preservation by the Library and Archives of Canada and selected by more than 50 festivals internationally.
|at Legacy Art Gallery, 630 Yates St | dusk10pm
single channel video installation | 7:46 | Canada/Germany | 2016
Breathing is an improvisational moment in the suspended time before a storm. Filmed between the conjuring and arrival of heavy-bellied clouds, the dropping pressure invites energy to flow freely, and the possibility of detecting something previously unnoticed arises.
Time stretchessomething is put up to huddle under. A suspended plastic tarp is a tenuous shelter: too close and its surface impedes respiration, too far and contact is lost. The bottom edge becomes loose. Partially freed from its four-cornered restraint, the draped surface flickers in the diffuse light. The spectral movement and crackle of creases, folds, concavities and edges indexes latent wind, in what had seemed like empty space.
Based in Edmonton, Canada, Taryn Kneteman uses video, photography and sculpture to create situations where the valence of certainty is thin, to challenge complacencies of seeing and invite curiosity in perception. Kneteman received her BFA from the University of Alberta and has exhibited and participated in residencies in Canada, the United States, Germany and China.
|at Ministry of Casual Living Window Gallery, 764 Yates St
Sculpt the Motion.
single channel video installation | 6:08 | Italy | 2017
Sculpt the Motion shows continuous transformations of metallic bodies through different urban plans. Contemporary architecture is a scenario for performance, an experience as a sculptural promenade in continuous flux. Silver strata of insulating material in action via the body become mobile sculpture evoking Boccioni’s Futurist dynamism. This film echoes back to the textile kinematics of Serpentine Dance, recalling a mobile texture and a continuous metamorphosis of shapes. The body becomes a ritualistic/gestural expression, partly from an interest in the depiction of the body as malleable material. Gilles Deleuze’s famous remark that the body is “but a series of images” remembered, desired, rejected and dreamt, is an apt description of its place within the piece.
A multi-disciplinary artist based in Milan, Devis Venturelli deftly employs the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has participated in many solo and group shows in museums, institutions, art galleries throughout the world, including the Lincoln Center for the Performing Arts, Anthology Film Archive, PAC, Milano, Ace Gallery, Kunsthalle, Wien and la Biennale di Venezia.
|at FLUX Media Gallery, 821 Fort St
Oct 11 to Nov 3 | TuesFri, 125pm
Resonant Disintegration is an interactive multimedia installation that presents an immersive space for viewers to reflect on their relationships to oceanic life in the context of climate change. A life-size form of an adolescent female orca is suspended at eye level in the space, inviting viewers to approach and physically engage with the sculpture. The metal whale is corroded from having been immersed in the Salish Sea, a performative gesture which connects the material to this specific body of water. The sculpture is a representation of “J-53,” the youngest living female southern resident killer whale of J-Pod. The installation fosters a sobering emotional space that is both beautiful and haunting, where viewers can be present with complex feelings of mourning and admiration.
As a tree planter in Northern British Columbia, Colton Hash has been exposed to mass industrialization from forestry and petroleum development. Now living in close proximity to the Salish Sea, he has become increasingly influenced by factors affecting ocean ecosystems and the critical importance of marine life to coastal communities. These observations have informed his practice as both an artist and social justice organizer. Hash has collaboratively performed in social events and has exhibited emotionally engaging artworks in community-oriented spaces.
|at FLUX Media Gallery [windows], 821 Fort St
Oct 11 to 21 | dusk10pm
single channel video installation | 4:30 | USA | 2018
Faceless forms inhabit the shadow-sprayed remnants of an electronic board game. Slumber party capitalism, now a bargain bin of lost dreams.
Matt Meindl is a filmmaker and musician whose work reveals strange new views of familiar surroundings. His work often explores fickle fantasy, isolation and the fine line between precious and obsolete. Meindl’s films and videos have screened at festivals and art spaces throughout North America including the Ann Arbor Film Festival, Chicago Underground Film Festival, WNDX, Rural Route @Anthology Film Archives, OFF THE WALL and the Milwaukee Underground Film Festival. He is the recipient of media arts grants from the Ohio Arts Council and Greater Columbus Arts Council, and is a former Wexner Center video artist-in-residence. Meindl lives in Los Angeles and is currently working on new films and a recording project (as Hoodie Guthrie).
|at FLUX Media Gallery [windows], 821 Fort St
Oct 11 to 21 | dusk10pm
The Fullness of Emptiness
single channel video installation | 5:00 | UK/Canada/USA | 2018
Hundreds of still photographs from copyright-free archives were assembled into a digital sequence of one still per frame, cropped to the same size and aspect ratio. At 24 frames per second the sequence insists on the sovereignty of the individual frame and rejects the illusion of movement produced by persistence of vision. Each image eradicates the last. Some images seem consciously visible to the viewer, whilst others are apparently never seen.
The soundtrack“The Heart Sutra” by Baird Hersley and his group Pranauses overtone vocal harmonics to recite the mantra, Gate Gate Paragate Parasamgate Bodhi Svaha.
The film is thus both a meditation on the nature of perception and an expression of the power of emptiness. As Thich Nhat Hanh explains in his essay “The Fullness Of Emptiness” (Lion’s Roar, Aug 6, 2012): “When Avalokita says that our sheet of paper is empty, he means that it is empty of a separate, independent existence. It cannot just be by itself. It has to inter-be with the sunshine, the cloud, the forest, the logger, the mind and everything else. It is empty of a separate self. But, empty of a separate self means full of everything.”
|September 7 to October 6, 2018
I’ve also been thinking about snakes. Absently, I find myself drawing them
To loop. To coil.
picturing their perfect funnelling, my imperfect lines.
Somewhere they have my attention. There is something there.
It’s not enough to just apply the ouroboros; neither Tiresias' strike, his/her blindness, or his/her/his (growing and shrinking) breasts; nor my mother’s acute fear; nor psychoanalysis’ tiresome assertions, for example. No, somewhat traceable here, but beyond and through.
So now I am in the desert. You got me here. Lofty sky.
Thinking heat. Thinking of rocks, of a landscape resembling a snake’s hide; coming to be called for it, in fact.
To be like the serpent.
I am thinking of geologypressure and timeincubating conditions.
And I think of the baby.
Not the baby’s booties this time, but your nipple cast in bronze. And of the body and skin. And now of patina.
And of how the snake moves
The work of Laura Piasta considers the agency of objects through a conceptual exploration of their materiality. Based in Vancouver, Piasta received her BFA from the Emily Carr University of Art and Design in 2006 and an MFA from the Umeå Academy of Fine Arts in Sweden in 2012. Her work has been exhibited at a number of institutions and galleries in Europe and North America including Bildmuseet (Sweden), Auto Centre (Berlin), Romeo (New York), Malmö Show Room (Sweden), The Charles H. Scott Gallery and The Contemporary Art Gallery (both Vancouver). Recent solo shows in Vancouver include A Definite Volume but No Fixed State at BAF, Sounding the Ultraviolet at Access Gallery and Bog Breath at Sunset Terrace. She has been an artist in residence at Fabrikken for Kunst og Design (Copenhagen), Sikås Art Center (Sweden), The Burrard Arts Foundation (Vancouver) and the Banff Centre.
Katrina Niebergal (Kelowna, BC, 1986) is an interdisciplinary artist working primarily in sculpture and installation. Her practice is centrally concerned with feeling. She questions how intimate, fleeting experience might be distilled into form and how form might be made to transmit affect. She is currently studying in the Master of Artistic Research program at the Royal Academy of Art, Den Haag, The Netherlands. She received her BFA in Visual Arts from Emily Carr University of Art + Design in 2013 and was a co-founder of Sunset Terrace and Duplex, shared artist-run studio and exhibition spaces in Vancouver.
|July 14 to August 11, 2018
the future is a distorted landscape
Science fiction often suggests alternative visions for society. This multiscreen video installation takes up time travel as a political act and a way to draw attention to the failings and inequalities embedded within contemporary life.
Chronesthesia, or mental time travel, refers to the brain’s ability to remember the past while imagining the future. In essence, chronesthesia allows us to visualize the future based on our previous experiences. The more exposure we have to an experience or a particular type of event, the more likely it is that we can imagine and realize a similar event in the future. The recent discovery of gravitational waves by a team of astrophysicists in Louisiana makes the fantasy of time travel seem possible, even if not within our lifetimes. The knowledge that it might be possible to escape from the struggles unfolding worldwide (climate change, capitalism, inequality, nuclear war, racism...) offers much needed hope. This project proposes that visualizations which imagine what the future might look like, both good and bad, could offer a way to encourage the collective creation of a better one.
Originally from Edmonton (AB), Christina Battle is currently based in London (ON) Canada. Her research and work consider to the parameters of disaster; looking to it as action, as more than mere event and instead as a framework operating within larger systems of power. She has exhibited internationally in festivals and galleries, most recently at: Nuit Blanche (Toronto), Galveston Artist Residency (Texas), Studio XX (Montréal), Le Centre des arts actuels Skol as part of Le Mois de la Photo à Montréal (Montréal), Thames Art Gallery (Chatham, ON), Casa Maauad (Mexico City); and SOMArts (San Francisco).
the future is a distorted landscape was commissioned by Nuit Blanche Toronto in 2017.
CLICK HERE for Q&A with Christina Battle about the exhibition
|A screening series of revealing documentaries tracing the lives and work of two seminal and elusive artists as well as the birth of the the 20th century land art movement.
Thursday, May 10 at 7pm
Dir. Marcie Beglieter | 102 min | 2016
As the wild ride of the 1960s came to a close, Eva Hesse, a 34-year-old German-born American artist, was cresting the wave of a swiftly rising career. One of the few women recognized as central to the New York art scene, she had over 20 group shows scheduled for 1970 in addition to being chosen for a cover article in ArtForum Magazine. Her work was finally receiving both the critical and commercial attention it deserved. When she died in May, 1970 from a brain tumour, the life of one of that decade’s most passionate and brilliant artists was tragically cut short. As Jonathon Keats wrote in Art and Antiques Magazine, "Yet the end of her life proved to be only the beginning of her career. The couple of solo gallery shows she hustled in the 11 years following her graduation from the Yale School of Art have since been eclipsed by multiple posthumous retrospectives at major museums from the Guggenheim to the Hirshhorn to the Tate." Her work is now held by many important museum collections including the Whitney, MoMA, the Hirschhorn, the Pompidou in Paris and London's Tate Modern.
Eva Hesse deepens the understanding of this extraordinary artist, not only in terms of her ground-breaking work, but also the life that provided the fertile soil for her achievements. With dozens of new interviews, high quality footage of Hesse's artwork and a wealth of newly discovered archival imagery, the documentary not only traces Eva's path but engages in a lively investigation into the creative community of 1960s New York and Germany.
Friday, May 11 at 7pm
Burden: a film about the artist Chris Burden
Dir. Tim Marrinan and Richard Dewey | 86 min | 2016
A probing portrait of Chris Burden, an artist who pushed the limits of creative expression and risked his life in the name of art. For more than 45 years, Chris Burden’s work has consistently challenged ideas about the limits and nature of modern art. His pioneering and often dangerous performance works of the 1970s earned Burden a place in the art history books while still in his early 20s. He had himself shot (Shoot, 1971), locked up (Five Day Locker Piece, 1971), electrocuted (Doorway to Heaven, 1973), cut (Through the Night Softly, 1973), crucified (Trans-fixed, 1974) and advertised on television (4 TV Ads, 197377). But as the 70s progressed Burden became disillusioned with the expectations and misconceptions based on his early works and as the pressure grew, the line between his life and his art blurred.
Burden quit performance in the late 1970s and had to artistically reinvent himself, going on to create a multitude of assemblages, installations, kinetic and static sculptures and scientific models. His work has influenced a generation of artists and been exhibited around the world, but the provocative nature of his art coupled with his sense of privacy mean that most people know the myth rather than the man. Now, having followed Burden creating new works in his studio and with access to his personal archive of images, video and audio recordings, Burden is the first feature documentary to fully explore the life and work of this seminal artist.
Saturday, May 12 at 7pm
Troublemakers: The Story of Land Art
Dir. James Crump | 72 min | 2015
Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of painting and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms. The film casts these artists in a heroic light, which is exactly how they saw themselves. Iconoclasts who changed the landscape of art forever, these revolutionary, antagonistic creatives risked their careers on radical artistic change and experimentation, and took on the establishment to produce art on their own terms. The film includes rare footage and interviews which unveil the enigmatic lives and careers of storied artists Robert Smithson (Spiral Jetty), Walter De Maria (The Lightning Field) and Michael Heizer (Double Negative); a headstrong troika that established the genre. As the film makes clear, in making works that can never be possessed as an object in a gallery, these troublemakers stand in marked contrast to the hyper-speculative contemporary art world of today.
|March 17 to May 5, 2018
The State of Things (in two parts)
James Lindsay | Lance Austin Olsen
A continuation and evolution of their 2016 exhibition hide in plain sight, The State of Things (in two parts) extends the interrogative narrative of that exhibition into uncharted territory for Olsen and Lindsay, even as it it arises from the cumulative sum of each artist's life. Lindsay eschews pure abstraction to present a suite of 19 new paintings that “document our contentment with the unpalatable parts per million in our nature.” The precarity and beauty of islands under threat from spillage and navigational hazards underscore ongoing concerns around health, environment and corporeal existence. Olsen, whose experimental sound work has always seamlessly tied into his visual output, has imagined an installation composed of and reliant on both; presenting a new sound work scored from drypoint print plates, in addition to prints and paintings. The artists“both at an age where death is no longer an abstraction”agree that careerism is anathema to life. The exhibition has been bifurcated temporally for these most recent (and undoubtedly not last) iterations of their vital and ongoing production, with Lindsay and Olsen remaining in conversation with each other, despite or perhaps because of the resolute independence of each voice.
|Tuesday, March 27, 2018 @ 7:00pm
Untitled (Just Kidding)
Screening/Performance: Jesse Malmed in person
Untitled (Just Kidding) is an ever-evolving suite of films and performative interjections made over the last half decade.
The works play in creative reading, studied density, the one-(hundred)-liner, choirs, screen texts, the bootleg, the cover, jokes, speculative etymologies, accents, loops, the cinemagical, body swaps, poetry, citation and human voice. Conceptually engaged, language-intensive and visually mesmerizing, the suite scrambles somewhere in the intersects of conceptual comedy, dizzying illogics, the poetic plu-future and sustainable sourcing. Through deliberate mistranslation and strategic denaturing of languages and codes, Malmed revels in and reveals their extra-communicative potential as sound, as image, as object, and shift audiences’ concepts of the show, of the cinema.
Including and occluding collisions and confoundments between textual formswritten, spoken, sung and otherwise enunciated; variations on versioning; shifting registers of spectatorial engagement; jokes that are poems that turn out to be videos. Unexpect the expected.
Jesse Malmed is an artist and curator living and working in Chicago. His work in moving images, performance, text and occasional objects has exhibited widely in museums, cinemas, galleries, bars and barns, including recent and upcoming solo presentations at the Museum of Contemporary Art Chicago, San Francisco Cinematheque, Microlights, Echo Park Film Center, and the University of Chicago Film Studies Center. His platformist and curatorial projects include the Live to Tape Artist Television Festival, programming at the Nightingale Cinema, instigating Western Pole, the mobile exhibition space and artist bumper sticker project Trunk Show (with Raven Falquez Munsell), programming through ACRE TV and organizing exhibitions, screenings and performance events both independently and institutionally. Originally from Santa Fe, he earned his BA from Bard College and his MFA from the University of Illinois at Chicago, where he currently teaches.
|January 19 to February 24, 2018
Curated by Wil Aballe
D’Onofrio complicates the real and synthetic effects of media as applied in dialogue with social and political struggles of power, liberty, exploitation and humiliation. In this, her most recent work, the artist uses art historical references, filmic tropes and commercial aesthetics to tease out social codes of subjectivity and consider how they affect freedoms and power.
Using tears and the act of crying as both subject and conduit to investigate these codes and their affect, D'Onofrio takes on an analysis of the specific social impositions of sincerity and virtue as contrived "authentic" or "biological" signs that internalize and enforce the feminine position. As an investigation of the deliberate boundaries of what is genuine and what is pretense, Real Tears exists as a hologram, enacting the contranym of the virtual as both "not existing" but also "almost the same."
Christine D'Onofrio is a visual artist based in Vancouver, British Columbia. She was born and grew up in Toronto, Ontario and attended York University for her BFA. D'Onofrio completed an MFA at the University of British Columbia where she now teaches.