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November 21 to December 19, 2008


Marlaina Buch | Tamsin Clark | Megan Dickie
Sandra Doore | Chris Gillespie | Brian Grison
Cody Coyote Haight | Lisa Hebden | Ted Hiebert
Danielle Hogan | Karina Kalvaitis | Daniel Laskarin
May-ling Martinez | J McLaughlin | Heather Passmore
Ingrid Mary Percy | Steve Rayner | Brooke Semple
Shawn Shepherd | Caleb Speller | The Woodpile Collective

At a time of the year when clichés invoking goodwill and cheer fly about like so many snowflakes, Gifted is a group exhibition which asks participating artists to propose a new, less cynical, seasonal language while re-examining their personal and highly idiosyncratic ideas of illumination, transcendence and desire.

Shopping Cart, Shawn Shepherd, stencil/acrylic paint, 2008

Rescheduled Antimatter Screenings

Antimatter screenings at Open Space on Sept 28 were cancelled due to a bomb scare and police activity that closed part of downtown. Three of the screenings have been rescheduled for October 22, 23 and 24 at Deluge.

Wednesday, October 22 at 7pm

Somewhere Between

Journeys and migrations elevated by [super]natural forces in luminous and sentient landscapes.

Fallen Flags
Amanda Dawn Christie | 16mm | 2007 | Can | 8:00 | Victoria Premiere
A layered tapestry of trains and underwater footage exploring the realms of fate, death and transience, the film places the traces of human voices amidst the flickering light and shadow of empty passenger cars. ADC

Deep Six
Sami van Ingen | 35mm | 2007 | Finland | 7:00 | Can Premiere
Deep Six has three starting points: a little narrative re-edited from a Hollywood B-film (The Rage, 1998), an attempt to use the colour photocopy as a cinematic aesthetic and to explore the frame line as a dynamic visual element. The mechanical touch of my hand is visible on the analogue nature of the medium—what we see depends on the lamp, the actual surface of the film print and the projectionist's ability to focus the film. SVI

Sara MacLean | 35mm | 2008 | Can | 5:47 | W Can Premiere
“…In looking at things spiritual, we are too much like oysters observing the sun through water, and thinking that thick water the thinnest of air.” – Moby Dick, Herman Melville
Fore-and-Aft was created by the Bay of Fundy in Nova Scotia, Canada—site of the highest tides in the world. Images of the tides are married with celluloid that was buried in the seabed, and dragged through the ocean behind a boat. Physically exposing film to the motion and light of the sea recorded tactile evidence of the repetitive and changes wrought by tide cycles.

5 Walks: Hercynia Silva
Anna Abrahams | 35mm | 2008 | Netherlands | 16:00 | N American Premiere
“In the northern region is the vast expanse of the Hercynian forest, untouched by the ages and coeval with the world, which surpasses all marvels by its almost immortal destiny.” (Natural History, Pliny, 23–79 AD)
The forest itself is not threatening, mysterious, resplendent or idyllic. We are the ones that fill it with meaning using stories and images. Culture annexes nature by animating it. Forest histories differ little from country to country and era to era. They are always stories about wandering, hunting, meetings with magical creatures, fertility cults and tree worship whereby desecration of the tree can only be put right with a sacrifice. He who knows nature’s laws will see wonderful places whilst roaming the forest. Those that don’t belong, will become hopelessly lost.

Jason Britski | video | 2008 | Can | 11:00 | World Premiere
Caribou is an experimental portrait of Saskatchewan. Structurally, it is a journey from the forests of the north to the Badlands in the south. It is the final part in a series of North American landscape films I have made in the past few years. My aim for this project stems from a desire to document my surroundings, and examine the relationship between environment and identity. The audio is composed of NASA recordings of Saturn’s rings, sound effects and location sound. Caribou is a film about mortality, death, decay, notions of beauty and respect for the natural world. It is grounded in the detail of our surroundings, and the beauty that resonates from these hidden places. JB
“[Britski’s work] has come to define an aesthetic that has been recognised as distinctly from the Canadian prairies, where landscape is a starting point for the evolution of photographic memories.” – WNDX Festival

somewhere between here and there
Liss Platt | video | 2008 | Can/USA | 9:00 | W Can Premiere
Comprising images of Brooklyn, New York, Hamilton, Ontario and the roadways that connect them, the film is a rumination on places we call home. It explores the complexities of coming and going, and the loss experienced when trying to return. The experimental form of the film is, in part, homage to my filmmaker friend, Diane Bonder. LP

Niels Plenge | 35mm | 2008 | Denmark | 24:00 | N American Premiere
A black and white abstraction of Danish composer Per Nørgård’s 1969 Voyage into the Golden Screen. In Voyage, Nørgård presented the infinity series that made him world famous. While it was originally scored for an ensemble of 20 instruments, here the idea of the composition is interpreted mainly by train sounds. The special look of the images is due to a hand processed high-contrast film, which is scanned, edited digitally and then transferred to film again. NP
Thursday, October 23 at 7pm

Profit motive and the whispering wind

A trio of films offering unique and timely perspectives on politics, class and social histories.

American Dreams #4:1. Courtesy, Professionalism, Respect
Moira Tierney | 16mm | 2008 | USA | 8:00 | Can Premiere
Shot on Elder Avenue in the Bronx: a mural painted in honour of Amadou Diallo, who lived just down the block; daily life in the ’hood, where people are de facto targets for police bullets, but go about their daily lives regardless: shopping, sweeping the street, looking after the kids…. MT

Christina Battle | 35mm | 2006 | Can | 4:00 | W Can Premiere
An unstable community leads to accusations and panic. Reconsidering the Salem witch trials of 1692. Then doesn’t always seem so far off from now. CB
In Hysteria, Christina Battle refers more obliquely to the contemporary political climate using schoolbook illustrations of the Salem witch trials. She works the surface of the film in distinctive ways, lifting the emulsion to add new wrinkles to the image one frame at a time. – Chris Gehman & Andréa Picard, TIFF

Profit motive and the whispering wind
John Gianvito | video | 2007 | USA | 58:00 | Victoria Premiere
A loose adaptation of Howard Zinn’s A People’s History of the United States, John Gianvito’s film is a radical act in its own right, a calm, patient and beautiful testament to the fallen. Consisiting of elegantly composed shots of gravesites and public shrines, and progressing through American history, it’s a monument to monuments and a call to arms. The resting places of such famed figures as Mother Jones and Cesar Chavez stand alongside some unfamiliar but just as important radicals, and markers of crucial strikes, protests and massacres. Gianvito punctuates these scenes with glorious landcsapes of the wind blowing through the trees, exemplifying the spirits of the nation’s earliest victims. This is a singular, never-dull experience, one presenting a forceful argument suggesting that, while legends might pass, cinema will persist. – Michael Posner, The Globe & Mail

Every shot of Profit motive, which the National Society of Film Critics named the best experimental film of 2007, is beautifully composed. Gianvito frames the memory of bygone human struggles against the majesty of nature: stone and metal remnants lie beneath bending tree branches and leaves fluttering in the breeze. Such stately visual compositions evoke on another level the human dramas played out beneath the immutable Monument Valley landscapes of John Ford’s Westerns. The gentle pace of the film, underscored by ambient sounds, conveys an elegiac, restrained quality. Gianvito contrasts this style with his own hand-drawn animation of frenzied stock exchange transactions and gold mines, setting capitalism against the struggle for social justice. At the climax of the film, the rapid-fire montage sequence of a contemporary protest elicits a call to action of the citizenry not unlike the spirit of Eisenstein’s film Potemkin. – Jon Gartenberg

Gianvito’s remarkable new film is lean, poetic, and rigorous. In just under one hour, Profit motive takes us on a tour of the United States via its cemeteries, minor monuments, and out-of-the-way historical markers. There is no voiceover narration, virtually no explanatory on-screen text, and very little camera movement. Instead, Gianvito has created an unconventional landscape film, one that recalls the strategies of certain avant-gardists (James Benning in particular, and perhaps Peter Hutton to a somewhat lesser degree) while at the same delivering a bracingly unique experience, one that leaves viewers awestruck by its rigorous simplicity. – Cinemascope
Friday, October 24 at 7pm

Beautiful Losers

Aaron Rose & Joshua Leonard | video | 2008 | USA | 90:00 | W Can Premiere

Beautiful Losers celebrates the spirit behind one of the most influential cultural movements of a generation. In the early 1990s a loose-knit group of likeminded outsiders found common ground at a little NYC storefront gallery. Rooted in the DIY (do-it-yourself) subcultures of skateboarding, surf, punk, hip hop and graffiti, they made art that reflected their lifestyles. Developing their craft with almost no influence from the “establishment” art world, this group, and the subcultures they sprang from, has become a movement that is transforming pop culture. Starring a selection of artists who are considered leaders within this culture, Beautiful Losers focuses on personal stories…speaking to themes of what happens when the outside becomes “in” as it explores the creative ethos connecting these artists and today’s youth. Co-directed by Aaron Rose and Joshua Leonard, Beautiful Losers speaks to the collective memory of the 1990s and sheds new light on those unbeknownst to mainstream America.

Beautiful Losers is an intimate and moving assessment of underappreciated yet wildly influential outcasts such as Shepard Fairey, Margaret Kilgallen, Mike Mills, Barry McGee, Jo Jackson, Chris Johanson, Harmony Korine, Stephen Powers, Geoff McFetridge, Thomas Campbell and Ed Templeton. Informed by their individual experiences and the generation’s “Do It Yourself” culture, these artists left an indelible mark on the worlds of fashion, music, art, design, film and ironically, sports. The story of Beautiful Losers is a retrospective celebration of their contribution to artistic independence. – ArtDaily

What I didn’t expect from Beautiful Losers was how much fun it would be to watch a documentary of the most unpretentious, unmoody and successful artists of my generation. All the artists (Harmony Korine, Mike Mills, Stephen Powers, Thomas Campbell, Margaret Kilgallen, Shepard Fairey, Jo Jackson, Ed Templeton, Geoff McFetridge, Chris Johanson, Barry McGee, Aaron Rose) seem like they’re unconsciously competing to steal the show and win biggest laugh (Harmony wins, in my book). But the best part of Aaron Rose’s movie is how it transcends its genre and becomes a coming of age movie like I’ve not seen in a doc before. – Paul Moore, Spoutblog
September 19 to October 18, 2008

Uncharted Histories: Pirates

Christina Battle

Through film, video, and collage, Uncharted Histories: Pirates investigates the changing political status of pirates by considering the roles they played in the power struggle among monarchs of the sixteenth, seventeenth and eighteenth centuries. Generally defined by their attacks and thievery indiscriminate of nationality, many pirates contributed considerably to the development, growth and success of struggling nations. As countries battled to gain power, a number of pirates facilitated the expansion and colonialization of new lands through the exploration and mapping of uncharted territories. Positioning the pirate as explorer, the work also imagines encounters faced on the shores of undiscovered islands. Pirates noted in the historical record are placed within dark and curious scenarios as they fight off surprise attacks from the unfamiliar surroundings.

With a B.Sc. in Environmental Biology from the Universityof Alberta and an MFA from the San Francisco Art Institute, Christina Battle currently lives and works in Toronto, Canada. Her artworks have been supported by the Canada Council for the Arts, the Liaison of Independent Filmmakers of Toronto (LIFT), the National Film Board of Canada, The Ontario Arts Council and the Toronto Arts Council, and have screened internationally in festivals and galleries including: The Images Festival (Toronto), The London Film Festival (London, England); The International Film Festival Rotterdam (The Netherlands); YYZ Artists’ Outlet (Toronto); White Box (New York); The Foreman Art Gallery at Bishops University (Sherbrooke, QB); The city of Toronto’s Nuit Blanche 2006 and in the 2006 Whitney Biennial: Day for Night (New York).

Artist's website

also at Deluge (stairwell video installation):


Peter Byrne, Carole Woodlock, Michaela Eremiasova

Merging live action footage with hand-drawn and CGI animation sequences, murmur is a visually and sonically dense consideration of memory and landscape; a collaboration between artists Peter Byrne, Carole Woodcock and composer Michaela Eremiasova.
September 19 to 27, 2008

Film Festival

Dedicated to the exhibition and nurturing of film and video as art, Antimatter has grown into the premier showcase of experimental cinema in the west. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive festival setting in Victoria, British Columbia, free from commercial and industry agendas.

The highest standards of curatorial practice are employed to build thematic programs of innovative film and video selected from international submissions. In addition, our annual Foreign Matter series has become the incubator for hundreds of short films, all new to North American audiences, compiled and contextualized by international curators. Reciprocally, Antimatter delivers curated programs of new Canadian work to international audiences through our Foreign Matter tours.

Since 1998, the quality and creativity of its programming, commitment to audience development, and respect for filmmakers and their work have made Antimatter one of the most important media arts events in Canada, and the world.

Antimatter website
Thursday, August 14, 2008 at 8 pm

(free admission/limited seating)

PureScreen 02
recent artist film and video from the UK

curated by Sophia Crilly, Castlefield Gallery, Manchester

PureScreen is Castlefield Gallery’s regular screening event for artist film and video. Since its inception, in March 2003, the programme has provided a platform for outstanding recent work and supported new and established practitioners and curators. It operates an annual, international open call for submissions for new works, and also produces PureScreen: Film & Video Artists Information Pack, compiling international resources with the intention of assisting artists and curators whose practice involves the production and exhibition of moving image work.

PureScreen is supported by Arts Council England, and from each new season of screenings a compilation is produced, which tours internationally, in order to support and promote the practice of the artists PureScreen has worked with.

The films selected for inclusion in PureScreen 02 represent the highlights and a cross-section of the diversity of works from the 2006/07 season of screening programmes. It features recent work by UK and internationally based artists: Jordan Baseman, Dave Griffiths, Alexander Heim, Hamish Dunbar & Jack Holden, Jim Hollands, Esther Johnson, Lisa Keiko Kirton, Rob Kennedy, Jeremy Newman, Alex Pearl, Erica Scourti, Josh Weinstein, and Marilyn Whittle.

PureScreen website
July 11 to August 9, 2008

How Clouds Dream

Mike Swaney & Lee Hutzulak

In the exhibition How Clouds Dream, Michael Swaney and Lee Hutzulak follow their thoughts/subjects through the scrim of consciousness to explore the limitless terrain of internalised space. Through the mediums of collage and drawing respectively, Swaney and Hutzulak create absurd yet transcendent narratives that blur the line between notions of the interior and exterior, connectivity and detachment to conjure the weightless but undeniable ephemeral, the unimagined and undeclared.

Born in Canada, Swaney currently lives and works in Barcelona. Primarily engaged with the medium of collage, the artist creates extraordinary detailed and nuanced works of fiction, meticulously cut and pasted to create discomfiting yet light-hearted domestic scenarios and sites of hypothetical performance. Composed of old and/or recycled materials, Swaney's work often makes reference to -- and fun of -- the artifacts of art history. He has exhibited internationally in Barcelona, Miami, New York, Hamburg, Portland, Tokyo and Vancouver. In September of 2008 Swaney will participate in the Fountainhead Residency in Miami, Florida.

Hutzulak, a Vancouver-based artist and musician, is consumed with the ongoing  documentation of his external and internal environment through a fantastic world of bottled colour. He wanders though his day-to-day life with a sketchbook and a selection of felt markers from Itoya, a nine-story stationery and art-supply store in Tokyo. Fascinated by his surroundings as well as his fluorescent, iridescent and metallic inks, Hutzulak subjects twist and drift in minimal or non-existent contexts: he is also in thrall to the untouched expanse of his paper. Hutzulak has exhibited his work nationally, and most recently at EstacionArte 2008 in Mexico City. 

Artists' websites:
Lee Hutzulak
Mike Swaney
May 16 to June 14, 2008

2008 World Telekinesis Competition

The 2008 World Telekinesis Competition is a first of its kind event that involves teams from around the world competing from their home locations to psychically influence the behaviour of a candle. Hosted by Noxious Sector Arts Collective and Deluge Contemporary Art, the WTC is a forum for the practical exploration of telekinetic possibility, remote influence and imaginative interaction. For more information visit the World Telekinesis Competition website.
April 23 to 27, 2008

Estacionarte 08

Centro Cultural Tlatelolco, Mexico City

Deluge Contemporary Art and the Antimatter Underground Film festival have been invited to participate in Estacionarte, a prestigious contemporary arts festival taking place in Mexico City from April 23 - 27, 2008. This annual event features visual, media and sound art, with exhibitions, installations, screenings and live performances and this year features the work of over 50 invited artists.

Estacionarte 08 will be held at the Tlatelolco Cultural Centre using tractor trailers in the main patio for installations, as well as the Centre's auditorium for screenings and two floors of the building for exhibitions and sound installations. Tlatelolco, a very significant place within Mexico City, is centered on the Plaza de las Tres Culturas, a square surrounded on three sides by an excavated Aztec site, the 17th century church Templo de Santiago, and modern office complexes. An important market district during precolonial times, Tlatelolco was the site of the Aztecs' last stand against the conquistadors. In October 1968 it was the scene of the Tlatelolco massacre where over 300 student protesters were killed by police and army in advance of the Olympic games, hosted by the city.The area suffered heavy damages and loss of life in the 1985 earthquake, with the collapse of entire buildings and housing projects.

In 2006, the former Foreign Ministry Building, designed by iconic Mexican architect Pedro Ramirez Vasquez, was rehabilitated and opened as the Centro Cultural Tlatelolco, operated by the National Autonomous University of Mexico (UNAM). In addition to hosting a variety of exhibitions, screenings, performances and events, the Centro houses a permanent memorial exhibition on the 1968 massacre and the Andrés Blaisten Collection, one of the most important archives of 20th century Mexican art. Tlatlelolco, chosen by Estacionarte organizers for the role it played in the the student movement of 1968 and its ripple effect on the country's burgeoning democracy, still represents a collective expression of the city and country's rupture forty years later.

Curated around the festival's themes of urban phenomena and the contemporary ruin, Deluge Director Deborah de Boer has selected the work of five Canadian and four international artists to be installed on the previously abandoned 19th and 20th floors of CCUT, alongside the work of other international artists. de Boer will include work from Tamsin Clark, Chris Gillespie, Madoka Hara, Lee Hutzulak and Daniel Laskarin (Victoria/Vancouver); Luis Hampshire and Jessica Wozny (Oaxaca, Mexico); and Mesora + Jimenez (Aruba/Mexico). Antimatter Festival Director Todd Eacrett has curated two screening programs of film and video, Terminal Velocity and Architectonics, featuring the work of 13 Canadian and international artists.

Estacionarte runs concurrently to FEMACO, the more commercial Mexico City Contemporary Art Fair and is supported by the Fundación/Colección Jumex.

March 28 to April 19, 2008


Konrad Kordoski

In Lumonic, Kordoski couples the possibilities of the sculptural plane with the luminous and seductive quality of the video image. Interested in the nature of the looped phosphorus image as content in and of itself, Kordoski plays with the notion of image interruption and redefinition, as the video is made to slide off then rejoin its sculptural underpinnings.

Konrad Kordoski received his MFA from the University of Victoria after a career in television and film production in Canada and Australia, including a decade developing First Nations broadcasting projects in the Canadian North. Kordoski teaches in the Visual Arts Department at the University of Victoria. This is his second exhibition with Deluge Contemporary Art (Filter, 2003).
March 24 & 25, 2008 at 8 pm

(free admission / limited seating)

The Cool School
or how LA learned to love modern art

a film by Morgan Neville / 86 minutes / USA / 2007

The Cool School is the story of Los Angeles' legendary Ferus Gallery and the birth of the West Coast modern art scene.

"One of the most fun art documentaries I've seen... a movie that's true to the best parts of its subjects." - Jen Graves, The Stranger

"The Cool School' is a thoughtful slice of a critical moment in American art history. It's also a fast-paced educational and entertaining romp through L.A. of the late 1950s to early 1960s." - Houston Chronicle

Feb 29 to Mar 15, 2008

RPM: The Lost Art of LP Covers
A fundraising show and sale

The art of the record sleeve, remixed and remastered by more than 60 artists.

Remember the LP cover? Two square feet of eye-popping, groin-stirring, world-rocking graphics, titles, and liner notes rolled into one precisely measured object of desire? Well it's back!

This special leap year edition of RPM features the work of 60+ local, national and international emerging and established artists employing a variety of concepts to interpret this endangered species in a wide range of media. These creations will go on sale to the public for $45 each at the the gala opening on Friday, February 29th. The exhibition and sale continues through Saturday, March 15th.
Collected, Daniel Laskarin, digital photograph, 2007
Jan 18 to Feb 23, 2008

Then & There
Work from the One Hundred Drawings Project

Michelle Forsyth

Then & There: Work from the One Hundred Drawings Project is a collection of gouache drawings representing the artist’s experiences within one hundred historical and contemporary sites of disaster such as the Halifax harbour explosion, the Triangle Shirtwaist building fire and closer to home, the Point Ellice Bridge collapse of 1896. Although the exact nature and magnitude of each event included in this monumental undertaking varies considerably throughout the series, all have been the focus of media attention and endure as sites of macabre spectacle. Forsyth has chosen to approach these sites obliquely and intuitively, exposing and transmuting her grief through “the compassionate process of translating my first-hand visits into thousands of tiny brightly coloured brush marks and glitter. As opposed to trying to recreate the aesthetic spectacle that once occurred at each site, my work documents the absence of it.” The drawings favour a formal elegance of pattern and the visceral qualities of the handmade over the efficiency of digital production. Concerned with the aesthetics of horror, and equal parts obsession, devotion and requiem, this work is a reflection on, and powerful indictment of, the onslaught of images of suffering in our contemporary world.

Born in Vancouver in 1972, Michelle Forsyth holds an MFA from Rutgers University and a BFA from the University of Victoria. She currently resides in Pullman, Washington where she teaches painting and drawing at Washington State University. Her work has been widely exhibited across Canada and the US, at venues including Shift Gallery (Seattle), Lorinda Knight Gallery (Spokane), Third Avenue Gallery (Vancouver), The Northwest Museum of Arts and Culture (Spokane), Charleston Heights Arts Centre (Las Vegas), Mercer Union (Toronto); Truck Contemporary Art (Calgary); Kirkland Art Centre (Seattle) and the Hogar Collection (Brooklyn). She recently received second prize in the William and Dorothy Yeck award for young painters competition at Miami University in Oxford, OH, and in the spring of 2009 she will be a visiting artist in residence at the University of Southern Maine (Gorham, ME).

For more information visit the artist's website.
Point Ellice Bridge Collapse, Victoria, BC, May 26, 1896, gouache and glitter on watercolor paper, 28 x 42 inches, 2007
Mine Disaster, Cherry, IL, November 13, 1909, gouache on watercolor paper, 15 x 22 inches, 2005