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WHERE: Capitol Theatre121 University Ave W, Windsor

TICKETS: Pay What You Can ($5 suggested) Festival pass: $20Tix & passes at door

INFO: www.houseoftoast.ca519 973 9368MEDIA CITY

FILM FESTIVAL

House of Toast presents

MEDIA CITY 1616th Annual International Festival of

Artist’s Film and Video

MAY 25-29, 2010

Program Directors: Oona Mosna, Jeremy RigsbyProgram Committee: Dean Carson, Gustave Morin,

Oona Mosna, Jeremy RigsbyRegional Programmer: Brandon WalleyTechnical Director: Sergio Forest Lead Projectionist: Kathryn McKaySecond Projectionist: Doug McLarenGuest Services: Lucy HoweTransportation Services: Chris LambVenue Logistics: MESMPhotographer: Gustave MorinVolunteer Coordinator: Stephen Hargreaves

Media City 16 is presented with the support of a Media Arts Festivals grant from the On-tario Arts Council, an Annual Assistance to Media Arts Festivals grant from the CanadaCouncil for the Arts, the Ontario Trillium Foundation and the Art Gallery of Windsor. Otherfinancial support from the Downtown WIndsor Business Improvement Association and theCity of Windsor Department of Cultural Affairs.

MEDIA CITY309 Chatham Street W

Windsor ON N9A 5M8 CANADA519 973 9368

mediacity@houseoftoast.ca

MAIN VENUE1. Capitol Theatre121 University W.

OTHER VENUES2. AGW401 Riverside W.(for F. vom Gröllertalk/tour May 28)

3. Burton Theatre3420 Cass Ave inDetroit (for Eriescreening May 25)

TThhee JJuurryyELLIE EPP (Canada) has a post-gradu-ate diploma in film studies from theSlade film program at University College,London, an MA in the philosophy ofmind, and a recent PhD in perceptualepistemology. She began making 16mmexperimental films at the London FilmCo-op in 1973, and has also workedin still photography, video, experimen-tal writing, and web design. Her filmsTrapline (1976), Notes in origin (1986)and Current (1988) have had extensiveinternational distribution.

From 2002-06 SANJA GRBIN (Croatia)pursued various activities broadcastingexperimental music, film and video onCroatian national radio and televisionprograms. She is a co-founder of the25 FPS Association for Audio-VisualResearch in Zagreb, whose main proj-ect is the 25 FPS International Experi-mental Film and Video Festival, forwhich she curates the Expanded Cin-ema section. 25 FPS is also active inpublishing, curating programs in othercities, and promoting Croatian experi-mental media to international events.

ERWIN VAN ‘T HART (Netherlands) beganworking in the cinema department atde Balie (a political and cultural centerin Amsterdam) in 1997. He was part ofthe curatorial team of the distributorFilmbank which developed “Dlight”, aretrospective program of Dutch experi-mental film presented at the IFF Rot-terdam in 2004 and he has worked asa short film programmer for Rotterdamsince 2006. He also works as a cura-tor and technician for the open aircinema company Openluchtbioscoop.

ErieKevin Jerome EversonUSA, 16mm on video, 81 min, 2010

at the Burton Theatre (3420 Cass Ave, Detroit)tickets $5-$7 US or free with Media City passfilmmaker in attendance

Erie consists of several independent events filmed in black-and-white in the area around Lake Erie. Each event lasts about 10 min-utes, the length of a roll of film, and they are edited back-to-back.

Hardly any words are spoken, apart from the particularly signifcantdialogue of three workers from a General Motors factory. The factoryis soon going to close, like so many major steel and car companies,to the joy of those who think that “untrained” workers are earningtoo much money.

Erie is a major contribution to a central theme in the sizeable oeuvreof Kevin Jerome Everson: the culture of African-American workers.

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Over the past thirteen years KEVIN J. EVERSON has completed severalfeature films and about fifty short 16mm, 35mm and digital films aboutthe working class culture of Black Americans and other people of Africandescent. His films focus on “conditions, tasks, gestures, and materials inthese communities” and “the relentlessness of everyday life.” (KJE)

Everson’s work has been widely shown at venues including the SundanceFF, IFF Rotterdam, the International Kurzfilmtage Oberhausen, the Mu-seum of Modern Art (New York), the Whitney Museum (New York),Whitechapel Gallery (London) the Centre Pompidou (Paris), the 15th edi-tion of Media City in 2009 and theImages Festival (Toronto), whereErie won the Best International FilmAward in 2010. He is a recipient of aGuggenheim Fellowship, a CreativeCapital Fellowship, an NEA Fellow-ship and an American Academy inRome Prize. Originally from Mans-field, Ohio, he now lives in Char-lottesville where he teaches at theUniversity of Virginia.

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Shadow DetectionKero Canada, 2010

An installation in Milk Coffee Bar. Shadow Detection is an interactiveimage-generator of bodies and their shadows. Patrons in Milk wit-ness their shadows as real time data streams. Their bodily presenceis shifted from the standardized and regulated object of surveil-lance technology into flowing, solarized and inverted apparitions.

KERO (Sohail Azad) has over 20 releases on some of electronic music’smost celebrated and innovative labels such as Bpitch, Ghostly Interna-tional, Shitkatapult, Touchin' Bass and his own critically acclaimed DetroitUnderground Records. Recently he has performed with notables such asSpeedy J, Ken Ishii and Funkstorung, opened up for Flying Lotus, and pre-sented high-tech graphic visuals at venues across North America on tourwith the Butthole Surfers. He has presentedinstallation or performance projects at three previous editions of Media City. www.keroblog.com

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Opening Partywith live performance by Chris Bissonnette. Free!

Meet, mingle and have a drink with your fellow festivalists in theCapitol’s Joy Theatre. Windsor artist Chris Bissonnette sets themood with a short series of video vignettes, with accompanyingaudio arrangements of field recordings and live instrumentation.

CHRIS BISSONNETTE is a sound artist and graphic designer. In 1997he co-founded Thinkbox (with Mark Laliberte and Christopher McNa-mara), a media collective focused on the intersection of art and popularelectronic music. In 2005, Bissonnette released his debut album Pe-riphery on the Kranky label, followed by In Between Words in 2008. Hisvideo Corridor (2001) was screenedat the Media City 7 in 2001.

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Retrospective:Johan van der KeukenNetherlands

The prolific career of the Dutch documentary filmmaker JOHANVAN DER KEUKEN (1938-2001) spans 42 years, during which timehe made 55 short and feature-length films which screened at count-less venues worldwide, winning several major awards. During hislifetime, van der Keuken was the subject of retrospective screeningsat most of the world’s prominent film institutions including theCinémathèque Québécoise (Montreal, 1975), the Pacific FilmArchive (Berkeley, 1978 and 1999), the Film Museum (Munich,1980), the Cinémathèque Française (Paris,1987), Kino Arsenal(Berlin, 1999) and both the Centre Georges Pompidou (Paris) andCinematheque Ontario (Toronto) in 2000.

Media City is pleased to present a selection of five of Johan van derKeuken’s short films, four dating from the 1960s and one,Temps/Travail, that is among the last of his completed works.

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Blind Child 2

Blind Child 16mm, 24 min, 1964

What is reality? A leap across an abyss. To gather material for BlindChild, van der Keuken spent two months at the Dutch Institute for theBlind. The major theme of the film is perception; the secondarythemes are communication and the never-ending struggle to be incontact with reality.

Four Walls 16mm, 22 min, 1965

A reflection on the relationship between physical and mental space.In 1965, Amsterdam underwent a severe housing crisis. Van derKeuken investigates the living conditions of families occupying tiny,state-issued apartments. The result is a thought-provoking portrait ofthe inhabitants and their environments.

Herman Slobbe/Blind Child 216mm, 29 min, 1966

The second film on blind children follows one young boy in particular.Upon reaching puberty, Herman Slobbe needs to struggle against hisenvironment in order to carve out a path for himself.

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Blind Child

A Moment’s Silence 16mm, 10 min, 1960-63The incessant coming-and-going of cars slows to a crawl, thepassersby stop and the city of Amsterdam comes to a standstill. Thisfilm is one of the first that van der Keuken made on his own, freely,and without the constraints of anecdote, storyline or script

Temps/Travail 16mm on video, 11 min, 2000A montage showing the repetitive movements typical of many types oflaborious rural, craft and industrial activities in completely differentgeographical contexts.

"Film has its origins at the fair and it should stay that way. But is that fair notsituated in the marshy country behind the church, the temple and themosque? Just past the warehouse and the town halll? Not far from the con-cert hall, the police-station and the disco, yes, the wholecommunity full of homeopaths and psychopaths, who allrun around or are stuck in a traffic-jam, restless in searchof the meaning of life. The filmmaker is there, I think, tomake something of this confusion visible, but alsosomething of that meaning.” —Johan van der Keuken

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Temps/Travail

LullabyRobert Todd USA, 16mm, 9 min, 2009

Sleepy... waiting for something to happen, with a camera in the dim,in a playground, quiet and colourful. Swinging away, and slowlydrifting off.

ROBERT TODD has made more than 45 films and videos since 1985,while teaching at Emerson College and working as a film editor inBoston. His films have screened at venues including the “Views fromthe Avant-Garde” program at the New York FF, the IFF Rotterdam, Cin-ematheque Ontario and at Media City’s 10th through 15 editions, win-ning Third Prize in 2007.

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RihlaGerbrand Burger Netherlands, video, 11 min, 2009

The imaginary journey of a man who travels from east to west. Hischaracter is composed of a collection of literary fragments datingfrom the 14th century until today. The original texts are largely writ-ten by Arabs travelling to Europe. The word “rihla” means “journeyin search of wisdom or knowledge”. Ibn Battuta's book by that titleforms a travelogue containing fiction, Islamic study, poetry, observa-tions and other forms of writing.

GERBRAND BURGER studied at Leiden University, the Gerrit RietveldAcademie (Amsterdam), and Cooper Union (New York). He has made13 video works since 2003 which have have screened at numerous in-ternational venues and festivals including the IFF Rotterdam, the CentreGeorges Pompidou (Paris), the Milano Film Festival and Kino Arsenal(Berlin). He was a recent participant in the Artist Research Program atthe CCA Kitakyushu, Japan. This is his first appearance at Media City.He lives in Amsterdam.

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DistanceJulie Murray USA, 16mm, 12 min, 2010

Time spent at two shores, one thinly populated, the other a waste-land, joined by the interluency of various paths taken, each bit realenough, though exact measures are obscurely indicated. Notions ofhome and its ache are, to borrow a phrase, “not capable of beingtold unless by far-off hints and adumbrations.”

Originally from Ireland, JULIE MURRAY now lives in Milwaukee. She hasmade more than twenty films and digital videos since 1986 which havebeen exhibited at numerous international events including the WhitneyBiennial (New York) and the IFF Rotterdam, with solo screenings at ven-ues such as the San Francisco Cinematheque and Cinematheque On-tario (Toronto). She was a member of the competition jury at Media City’s6th edition in 2000 and her work has screened at six editions of the festi-val since 1999, winning five Honourable Mentions of the jury.

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Oral HistoryVolko Kamensky Germany, 35mm, 22 min, 2009

A report from the land of the Brothers Grimm: the story of a sleepyGerman hamlet presented in twenty-two images. The voices of itsinhabitants guide the audience through the rural environment. Butthe impact of the film owes as much to what is concealed as towhat is shown and said. The crucial distinction between story andhistory becomes increasingly flimsy.

VOLKO KAMENSKY studied film at the Hochschule für bildende Künstein Hamburg. His films have screened at venues including the Festival In-ternational du Documentaire Marseille, the Hamburger Kurzfilmfestivaland the Duisburger Filmwoche. This is his first appearance at MediaCity. He lives in Hamburg.

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One Bright DayJem Cohen USA, video, 18 min, 2008

While out shooting for a different project altogether, I encounteredtwo men sleeping on a Manhattan street. A short time later, I wasstanding in front of Penn Station when one of the men suddenlyreappeared. He stepped in front of my camera and began to speak.

The short and feature-length films of JEM COHEN have screened atcountless international festivals (including Media City 13 in 2007), atgalleries including the Walker Art Center (Minneapolis) and the NYMoMA, and have been featured in retrospectives at venues includingBAFICI (Buenos Aires) and the International Kurzfilmtage Oberhausen.His films have been broadcast by the BBC, ZDF/ARTE, the SundanceChannel and PBS. They are in the collections of the NYMoMA, The Whit-ney Museum and the Screen Gallery in Melbourne, Australia. Cohen hasalso made numerous videos and concert films for musicians includingGodspeed You Black Emperor!, Fugazi, Vic Chesnutt, the Ex, Terry Riley,Patti Smith, R.E.M., Sparklehorse and others. He lives in New York.

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Image

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Regional Artists ProgramNew film and video from here or hereabouts.

The Use of MovementChristopher McNamara Windsor/Ann Arbor, video, 15 min, 2009

Each scene is an incomplete narrative, with monologues in Spanish,German, Bengali and Italian creating occasional dissonances withthe images and action.

SprawlAllegra Pitera Detroit, video, 1.5 min, 2010

A humourous look at a serious subject that is altering the face ofDetroit's suburban sprawl: the garage facade.

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The Use of Movement

RebelTed Kennedy Ann Arbor, video, 3 min, 2009

A collage presented in three vertical frames, addressing the motiva-tions for human control over other living creatures.

Everything to Live ForScott Northrup Dearborn, video, 5 min, 2008

A discarded reel of 8mm film, some loosely remembered passagesfrom an old romance novel and years of heartache… but no regrets,not one.

Sleeping BearJack Cronin Detroit, S8mm on video, 10.5 min, 2010

Filmed at the Sleeping Bear Dunes National Lakeshore in northernMichigan over three years, loosely following the cycle of seasons.

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Sleeping Bear

See/SawCharlie Egleston London, 16mm, 5 min, 2010

A film about seeing, wanting to see, and having seen.

Ice/FigureMichelle Tarailo Windsor, video, 4.5 min, 2008

A meditation on the movement of the Detroit River and the indus-trial landscape it flows through.

The Men and Wrestling with My FatherCharles Fairbanks Ann Arbor, video, 3 and 4.5 min, 2009

The Men presents the fighter’s perspective in a grappling match; animmersive experience between intimacy and violence.

In Wrestling with My Father my father watches me wrestle. My fatherwas a wrestler. You never stop being a wrestler.

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Ice/Figure

ControllerEd Janzen Kingsville, video, 2 min, 2010

A fly compresses time and captures itself on video by triggering amotion-activated surveillance webcam.

AufsatzVernichtung (Undone Electronics) Detroit/Berlin DE, audio/video performance, 15 min, 2010

A live electronic punk performance soundtrack to a video portrait.The video portraits are created specifically for each performance,shown only once, and specific to the program/venue. Vernichtung isDavid S. Blunk, II (Detroit) and Matthias D. Vernichtung (Berlin).

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Controller

Sea FrontStuart Moore & Kayla Parker England, S8mm on video, 5.5 min, 2009

The once-grand 19th century structures built into the limestonecliffs at the seashore in Plymouth, England are now cracked andcrumbling. This space between land and sea is a site for rites ofpassage for modern day Plymouth youth, who gather here at hightide throughout the summer months.

STAURT MOORE is a filmmaker and sound artist currently teaching atUniversity College Plymouth. KAYLA PARKER has made more than 30films and videos since the mid-1980s which have been widely screenedat international film festivals and exhibited in the UK at venues includingthe Tate Modern, the Whitechapel Gallery, Hayward Gallery, and theICA. Together they founded Sundog Media in 1997, collaboratively cre-ating several animations, installations and interdisciplinary projects.This is their first appearance at Media City.

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Four Little FilmsNick Collins England, 16mm, 10 min, 2009

Frost Table documents dawn and sunrise on January 1st, 2008, acold morning on a French hillside. Tholos looks at an excavatedMycenean tomb in Messenia, Peloponnese, set amid olive groves,but with patches of shade close by where flowers grow. Jasmine Teaunfurls itself from a white screen to an infusion which is ready todrink. Garden looks at a corner of my garden which is both sombreand joyful.

Since 1976 NICK COLLINS has been making films which have beenshown widely at international festivals, including recent screenings atImage Forum (Tokyo), the International Kurzfilmtage Oberhausen, EX-iS (Seoul) and at Media City 13 in 2007. He is currently a lecturerin Film and Video at Northbrook College Sussex and a visiting lecturerat the University of Brighton. He lives in Lewes, Sussex.

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Hanging upside down in thebranches Ute Aurand Germany, 16mm, 15 min, 2009

A montage of brief recollections filmed before the death of mymother in 2000 and the death of my father in 2007. I stand as anadult in the midst of childhood feelings, gazing at the disappear-ance of my family home and the changing relation to my parents.

UTE AURAND studied at the Deutsche Film- und Fernsehakademie,Berlin. She has made more than thirty films since 1985 which have beenwidely screened internationally at venues such as Anthology FilmArchives (New York), the Toronto IFF and at Media City 15 in 2009, win-ning the festival’s Grand Prize for her film in die Erde gebaut (2008).Since 1989 she has curated numerous film events for Kino Arsenal andFilmkunsthaus Babylon in Berlin, and has held various teaching posi-tions at universities including the Hochschule der Künste Hamburg andthe Hochschule für Gestaltung, Zürich. She lives in Berlin.

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ToadsMilena GierkeGermany, S8 to 35mm enlargement, 6 min, 1997/2008

Images of a stream in southern France: it‘s the toads' mating sea-son. Movement on the water surface distorts the toads, sometimesmaking them unrecognizable, bringing two different levels of per-ception into the action at hand.

MILENA GIERKE studied film at the Frankfurt Hochschule für BildendeKünste under Peter Kubelka and sculpture at Cooper Union in New YorkCity under Hans Haacke. She works exclusively with Super 8mm, al-though she has recently revised and prepared 35mm prints of some ofher earlier films. Among the many international presentations of herfilms are retrospective screenings at Anthology Film Archives (New York)in 1995 and at 25FPS (Zagreb) in 2009. As of 2001, she is also a mem-ber of the curatorial group "Filmsamstag". This is her first appearance atMedia City. She lives in Berlin.

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Groundplay Robert Todd USA, 16mm, 12 min, 2009

Life is a speck of dust. A camera as a microscope, nosing about ina world on a different scale. The sensitive instrument does not per-ceive objects, but dives into the empty spaces between them. Thefocus shifts to a new world filled with structures, grit and dustbarely perceptible to the naked eye. —IFF Rotterdam

ROBERT TODD has made more than 45 films and videos since 1985,while teaching at Emerson College and working as a film editor inBoston. His films have screened at venues including the “Views fromthe Avant-Garde” program at the New York FF, the IFF Rotterdam, Cin-ematheque Ontario and at Media City’s 10th through 15 editions, win-ning Third Prize in 2007.

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FrontierHarriet McDougall England, video, 13 min, 2008

The senses act simultaneously as receptors and filters, both enablingus to make sense of our surroundings and preventing us from fullydoing so. In Frontier, two layers of imagery (shot in a continuous 15hour take from dawn to dusk) are interlaced and compressed. Tran-sient effects of light and colour confound expectations of visualdepth and space within the frame.

HARRIET McDOUGALL is a painter and video artist. She studied at theChelsea School of Art and Design and at Duncan of Jordanstone Collegeof Art. Her videos have been screened at venues including AnthologyFilm Archives (New York), EMAF (Osnabrück), the Simrishhamm Interna-tional Art Film Festival (Sweden), and the Museum of Modern and Con-temporary Art, Strasbourg. This is her first appearance at Media City.She lives in Haltwhistle, Northumberland.

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AtlantiquesMati Diop Senegal/France, video, 15 min, 2009

By nightfall, around a campfire, a young man from Dakar tells hisfriends about his clandestine odyssey.

MATI DIOP is completing a residency at the Studio national des artscontemporains du Fresnoy. She has created four short works which havescreened at venues including the Cinémathèque Française and Cinémadu Réel in Paris, with Atlantiques winning a Tiger Award for Short Filmat the 2010 IFF Rotterdam. She is also an actor, appearing most promi-nently in Clair Denis’ film 35 Rhums (2008). This is her first appear-ance at Media City.

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So Sure of Nowhere BuyingTimes to ComeDavid Gatten USA, 16mm, 9 min, 2010

Excerpts from Sir Thomas Browne's 1658 text HYDRIOTAPHIA Urne-Burial Or, A Brief Discourse of the Sepulchrall Urnes Lately Found in Nor-Folk are superimposed with the stone faces of grave markers andburial urns. This image-text bookends a series of objects framed inthe ancient glass window panes of a tiny shop in a tiny snow-cov-ered town on a mountain top in Colorado.

DAVID GATTEN lives in a tiny snow-covered town on a mountain top inColorado. His films are in the permanent collections of the Whitney Mu-seum and the Art Institute of Chicago, have been screened at venuessuch as the Pacific Film Archive, the Cinémathèque Française, Anthol-ogy Film Archives and Image Forum, and at festivals including Rotter-dam, New York, London, and Ann Arbor. The have also been seen at fiveeditions of Media City since 2002, winning three Honourable Mentionsand a Grand Prize in 2005 for The Great Art of Knowing (2004).

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Present ParticipleShirin SabahiIran/Sweden, R8mm on video, 25 min, 2009

A film inspired by the artist’s chance discovery of three reels ofsilent 8mm footage shot by Ellis Edman (1899-1988), a prominentSwedish journalist. The researcher (the artist), the filmmaker(Edman) and the archivist (Edman’s son) each have a “voice” in de-scribing the images. Contradictions of nationalism, the narrativeconstruction of history, and generational patterns of receivingknowledge are all at stake in a continually oscillating narrative.

Born in Tehran, SHIRIN SABAHI is a graduate of the Iran University ofScience and Technology. In 2009 she went to Sweden to obtain an MFAat Malmö Art Academy. Her work has been exhibited at venues includingthe Iran Photo Museum, the 7th Mercosur Biennial in Brazil and theBruges Cultuurcentrum. This is her first appearance at Media City.

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AlikiRichard Wiebe USA, video, 5 min, 2009

Lake Aliki, Cyprus. For centuries, countless flamingos have winteredhere from Iran. Rimbaud encountered them when he worked aquarry in Larnaca. 7th century Arabs described them to mark theburial site of Umm Haram, aunt of the Prophet Muhammad. It issaid that Lazarus spent his days on the shores of this lake after hisresurrection, staring into the sun to shake off the darkness of thegrave. The Greeks represented flamingos in poetry, the Romansslaughtered them for their tongues. Today, a man sings:

Pharmacist, oh pharmacist, oh pharmacist,I want medicine for myself, I want medicine for myself,My heart, my heart, my heart is beating like this,My heart is afflicted because of you.

RICHARD WIEBE is a graduate student at the University of Iowa wherehe also teaches courses in film theory and production. He has worked asan editor on several short films; Aliki is his first film of his own.

Through Some Trick of Nature It AppearsBruce McClure USA, 3 x 16mm, 16 min, 2010

A 16mm projector performance for three machines each embracedwith bi-packed film loops. Loops patterned with base and emulsion(one base to two emulsion) are sandwiched with loops composed ofnegative and positive prints from Birds of Northern Places. The origi-nal camera image is 149 frames long. The duration of this work isvariable but on this occasion it will last 16 minutes.

BRUCE McCLURE is an architect, licensed to practice in New York in1992. In 1994 he began working with stroboscopic discs as an entry tocinematic pursuits. Since 1995 his film and projector performances havebeen exhibited at numerous international venues including the IFF Rot-terdam, the “Views from the Avant-Garde” program at the New York FF andat every edition of Media City since 2002, winning several awards, includ-ing the festival’s Grand Prize in 2006 for his multi-projector performanceNethergate (2006). He lives in Brooklyn.

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A pattern shapekeeper, this projectionist deploys three projectors, film loops and

effects pedals in the chum of Finnegans Wake.In anticipation of the eternal conjunction inthe unknown of a theatre quarrel, another pattern shapekeeper, the projectors are

deployed and handle off to shade exchange reverse and each is wrought with the other.

High fidelity daildailer, as modern as tomorrow afternoon and in appearance up to

the minute and a coupling system with vitaltone speakers, capable of capturing sky

buddies and the whowle hamshack and wobbledown in an eliminium sounds pound so as toserve him up melegoturny marygotaund, eclectrically filtered for allrish ohmes. This harmonic condenser enginium they

caused to be worked from a magazine batterywhich was tuned up by twintriodic singulvalvulous pipelines with a

howdrocephalous enlargement, a gain controlof circumcentric megacycles ranging from antidulibnium onto the serostaatarean.

They finally caused, or leastways brung itabout somehows to pinnatrate inthro an

auricular forfickle a meatous conch culpableof cunducing with concertiums so as to lall thebeygone dozed the arborised around, up hiscorpular fruent and down his reuctionary

buckling, hummer, enville and cstorrap lill thelubberendth of his otological life. Put me down for all ringside seats! 35

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Friedl vom Gröller (Kubelka):Year PortraitsA discussion with the artist at the Art Gallery of Windsor401 Riverside Drive West3 pm, Friday May 28

Organized by Media City to coincide with a retrospective of herfilms, the three series of Year Portraits (1977-78, 1997-98 and2002-03) exhibited at the AGW represent a small fraction of theartist’s ongoing photographic practice that spans nearly forty years.Friedl vom Gröller (Kubelka) has taken a self-portrait every daysince 1972, organizing the photos into calendrical sequences. Theresult is a body of work including thousands of precisely arrangedphotographs documenting the passage of time. In one sense, thephotos could be seen as a film, running at a rate of one frame per day.

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Along with the Year Portraits, also on view at the AGW is vomGröller’s photograph Venzone (1975) and a selection of photobooks and monographs about the artist and her work.

Year Portraits opens at the AGW April 10 and continues until July 4.

FRIEDL VOM GRÖLLER (KUBELKA) was born in London in 1946 andspent her childhood in East Berlin and Vienna. In 1971 she graduatedwith a diploma in industrial photography from the Graphic Instructionand Research Institute in Vienna. She has had solo exhibitions of herphotographic works at museums and galleries including the CentreGeorges Pompidou (Paris), Museum Moderner Kunst Stiftung Ludwig(Vienna), Galerie Fotohof (Salzburg) and the Frankfurter Kunstverein.She made her first films in the late 1960s while still a student. Her filmshave screened at venues such as the Munich Film Museum, the IFF Rot-terdam, Anthology Film Archives, the Austrian Filmmuseum and manyothers. In 1990 she founded the School for Artistic Photography in Vi-enna, followed by the School for Independent Film in 2006. In 2005 shewas awarded the Staatspreis für Photographie, Austria’s most presti-gious photography award. In 1997 she completed her psychoanalyticaltraining. Currently she teaches photography in Salzburg and Vienna.

Venzone (detail)

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Retrospective:Friedl vom Gröller (Kubelka)Fifteen short films by the Austrian filmmaker, spanning her careerfrom the late 1960s to the present day. Accompanied by a discus-sion with the artist.

“Friedl vom Gröller (Kubelka) has a mulitfaceted relation to photographyand film. She is not only an artist working with (these) media, she is alsoa psychoanalyst who uses her camera in order to study psychic processes...she considers herself an artist who ‘thinks psychoanalytically’.“

“In (her) work, the psychoanalytic frame is intimately connected with apreoccupation with the human face...The camera becomes a privilegedpoint of access to the psyche... For her, the making of an image impliesconnecting visual details with each other on a surface as well as organiz-ing visual clues in time.” —Mika Elo, “Extending, Transfering, Re-sponding”, from the monograph Secret Identities of a Psychoanalyst,Finnish Academy of Arts, 2010

Passage Briare

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Program includes:

Erwin, Toni, Ilse 35mm, 9 min, 1968/69

Graf Zokan (Franz West) 35mm, 3 min, 1969

Neuffer's Gegenstände 16mm, 6 min, 1971

Ohne Titel 35mm, 5 min, 1981

Secret Identities of a Psychoanalyst16mm, 6 min, 1995-2005

Eugen Bavcar 16mm, 3 min, 1999

Spucken 35mm, 2 min, 2000

Le Baromètre 35mm, 3 min, 2004

Paris June 2009 16mm, 3 min, 2009

Boston Steamer 16mm, 3 min, 2009

Passage Briare 16mm, 3 min, 2009

Delphine de Olivera 16mm, 3 min, 2009

Hen-Night 16mm, 3 min, 2009

Wedding 16mm, 3 min, 2009

Der Fototermin 16mm, 3 min, 2009

Le Baromètre

Friedl vom Gröller (Kubelka): Hen-Night (top) and Delphine de Olivera (lower)

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LoutronBarbara Meter Netherlands, video, 17 min, 2009

A day in the life of an old Ottoman bath, from dawn till dusk. Thelight, the mirroring in the water and the visitors figure alongside theprotagonist: the bath itself.

BARBARA METER made her first short film in 1967 and co-founded-Electric Cinema (a bastion of Dutch experimental film) in the early 70s.Since then she has made dozens of experimental films and documen-taries that have been widely screened internationally, including at MediaCity in 2004 and 2006. She also works as a curator of film programs andas a teacher and freelance lecturer on film. She lives in Amsterdam.

Summer Grass 2/10Mie Kurihara Japan, S8mm, 10 min, 2008

A hot and quiet summer once again arrives. Only 20% of ants actu-ally do any work.

MIE KURIHARA works exclusively on Super 8mm; her films have beenshown worldwide at numerous events devoted to small-gauge cinema.Her film Level Blue (1999) was screened at the 6th edition of MediaCity in 2000, winning an Honourable Mention, and subsequently pre-sented by the festival in special programs at the Ann Arbor FF and atPleasure Dome in Toronto. She lives in Yokohama.

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ProlegomenaCédric Gaul-Berrard France, 16mm, 11 min, 2008

Thirteen fragments studying time using various techniques such asstep filming, matte-boxes and superimposition.

CÉDRIC GAUL-BERRARD lives in Paris. Prolegomena has previouslyscreend at the International Kurzfilmtage Oberhausen, at Scratch Projec-tion (Paris) and other venues. This is his first appearance at Media City.

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Burning BushVincent Grenier Canada/USA, video, 9.5 min, 2010

“In Eastern Orthodoxy a tradition exists that the flame Moses sawwas God's Uncreated Energies/Glory, manifested as light, thus ex-plaining why the bush was not consumed. Hence, it is not inter-preted as a miracle in the sense of an event, which only temporarilyexists, but is instead viewed as Moses being permitted to see theseUncreated Energies/Glory, which are considered to be eternal things;the Orthodox definition of salvation is this vision of the UncreatedEnergies/Glory, and it is a recurring theme in the works of Greek Or-thodox theologians.” —New World Encyclopedia.

VINCENT GRENIER has been making films since the early 1970s. Hisfilms and recent video works have been exhibited at venues includingthe Centre Georges Pompidou (Paris), the NY MoMA and countless in-ternational film festivals. His video Tabula Rasa (2004) won 2nd Prizeat Media City 11 and he was the subject of a retrospective screening atMedia City 12 in 2006. A Québec City native, he now lives in Ithaca, NewYork and is Chair of the Cinema Department at Binghamton University.

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Daylight and the SunKaren Johannesen USA, S8mm, 5 min, 2009

“...light itself comes in packages... and is emitted and absorbed notcontinuously, but in small units of quanta... traveling through spaceat high velocity.” —The Dancing Wu Li Masters

KAREN JOHANNESEN studied at the University of Illinois at Chicago.She has made twelve films since 2001, all on Super 8mm, which havescreened at venues such as the San Francisco Cinematheque, the ImagesFestival (Toronto), Anthology Film Archives (New York) and were includedin the small-gauge retrospective “Big as Life” organized by the Museum ofModern Art New York in 2001. Her film Light Speed (2007) won ThirdPrize at Media City 15 in 2009. She lives in Chicago.

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Point Line Plane (for PP)Simon Payne England, video, 8 min, 2010

A multidimensional video in which shifting grids continuously reframeperspective, and increasing layers illuminate the viewer. (Multidi-mensional cinema= luminance, the x and y axes + an illusionaryaxis consisting of depth, time, sound and the auditorium.)

SIMON PAYNE studied at the Royal College of Art, London. His videoworks have been exhibited at venues including EXiS (Seoul) the IFF Rot-terdam and the Serpentine and Tate Modern galleries in London, forwhich he also curated the program “Colour Field Films and Videos” in2008. His video Iris Out was also screened at Media City’s 15th editionin 2009. He lives in London and teaches at Anglia Ruskin University.

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Recent Canadian film and video

Strips Félix Dufour-Laperrière Montréal, 35mm, 5.5 min, 2010

n. M; shortened form of striptease. From strip, to remove, to takeaway, and tease, to entice, to tempt. And then all this in plural.

Strips is the 7th film of FÉLIX DUFOUR-LAPERRIÈRE. His work hasscreened at international venues including the IFF Rotterdam and theAnnecy Animation Festival, winning several awards.

Sometime. Somewhere. Zohar Kfir Montréal (Israel), S8mm on video, 6.5 min, 2009

If I were silent, I’d hear nothing. But if I were silent all the othersounds would start again.

Israeli artist ZOHAR KFIR is currently completing an MFA at ConcordiaUniversity in Montréal. Her video works have screened at festivals suchas Transmediale (Berlin), the New York Underground FF and the Interna-tional Kurzfilmtage Oberhausen.

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Refraction Series Chris GehmanToronto, 35mm, 8 min, 2008

An experimental approach to optics, using simple materials andtechniques to generate a range of pure light and colours in motion.

CHRIS GEHMAN is a filmmaker, writer and curator who was Artistic Di-retor of Toronto’s Images Festival from 2000-2004. His film Contrafacta(made with Roberto Ariganello) was shown at Media City 7 in 2001.

Sea Series #7 and #5 John PriceToronto, 35mm, 3.5 and 5 min, 2010

#7– Naufragé aux Îles de la Madelaine. Watching a ferry disappearinto the horizon on a frigid winter day. #5– Georgian Bay: a survey of littoral recreation. In-camera experimen-tation as the sun set in a beautiful part of the world with loved onesclose at hand.

The films of JOHN PRICE have screened at many international venues in-cluding the IFF Rotterdam, the “Wavelengths” program at the Toronto IFFand the previous three editions of Media City.

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Trees of Syntax, Leaves of AxisDaïchi Saïto Montréal, 16mm, 10 min, 2009

A collaboration with musician Malcolm Goldstein. Patterns, varia-tion and repetition, using trees in a park as the main visual motif.

DAÏCHI SAÏTO is a founder of the Double Negative Collective, a groupdedicated to exhibition and production of artist’s film in Montréal. His-films have shown at venues including the New York FF and the SF MoMA.

The Wheel Pixie CramOttawa, 16mm on video, 3 min, 2009

A mother breastfeeds her child. A woman peels an orange.

PIXIE CRAM makes animations, music videos and documentaries and isa member of The Windows Collective, a group devoted to film-based in-stallation projects.

j. Solomon Nagler & Alexandre LaroseHalifax/Montréal, 16mm, 6.5 min, 2009

A dig into the orphaned trash cans of cinema archives, transposingold celluloid into a poem on need, affection and solitude. —VideoEx

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Simultaneous Contrast Chris KennedyToronto, 16mm, 5.5 min, 2008

Spatial oscillations provide a permutating play of figure, groundand space, imaging the possibility of being two places at once.

CHRIS KENNEDY’s short experimental films have screened at over 75film festivals worldwide. He programmed film, video and live perform-ance for Toronto’s Images Festival from 2003-06 and he has presentedfilm programs in Egypt, Belgium, Germany, the US and Canada.

Puccini Conservato Michael SnowToronto, video, 10 min, 2008

A visual and sonic commentary to La Bohème.

In 2007 MICHAEL SNOW was made a Companion of the Order of Canada"for his contributions to international visual arts as one of Canada’s great-est multidisciplinary contemporary artists."

————————————————————————————————←← j. is the first collaboration of ALEXANDRE LAROSE and SOLOMONNAGLER; the film has previouly screened at prominent international ven-ues such as EMAF (Osnabrück), VideoEx (Zürich) and the Jihlava IDFF.

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Gregor AlexisJana Debus Germany, 16mm on video, 20 min, 2009

“The locations chosen for this portrait (a desolate apartment and awasteland littered with abandoned machinery) are indicative of thecondition of someone potentially as vulnerable as the insects thatcollect on his windowsill.” —Mark Webber, London FF

JANA DEBUS has made seven films since 2003 while working in London,England as a photographic assistant. Her films have been screend at ven-ues including EMAF (Osnabrück), the IFF Rotterdam and the InternationalKurzfilmtage Oberhausen, winning the the Grand Prize at the 2009 edi-tion of the 25 FPS Festival (Zagreb) for Gregor Alexis. She currently livesin Cologne where she is studying at KHM. This is her first appearance atMedia City.

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DissonantManon de BoerNetherlands/Belgium, 16mm on video, 11 min, 2010

The dancer Cynthia Loemij improvises for about 10 minutes to Eu-gène Ysaÿe’s Three Sonatas for Violin Solo. The camera follows hermovements. The 3-minute duration of one 16mm film roll inter-rupts the recording. While the dance continues and the sound of itis audible, the screen is black for the time that is needed to changea film roll. During the moments that the image is in suspense, agame with the audience’s memory is being played.

MANON DE BOER studied at the Rijksakademie in Amsterdam. Sheworks in film, video and installation and has had solo exhibitions at thePower Plant (Toronto), the Stedelijk Museum (Amsterdam) and has par-ticpated in the 2007 Venice Biennale, the 2008 Berlin Biennale and innumerous group exhibitions at prominent galleries throughout Europe.Her films have also screened at many film festivals worldwide, includingat Media City’s 15th edition in 2009. She lives in Brussels.

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Piensa en MiAlexandra Cuesta Ecuador/USA, 16mm, 15 min, 2009

Moving from east to west and back again, the windows of a busframe fleeting sections of the urban landscape of Los Angeles. Images of riders, textures of light and fragments of bodies in spacecome together to weave a portrait in motion. Isolation, routine andeveryday splendour create the backdrop of the journey, while the intermittent noise of traffic contructs the soundscape.

ALEXANDRA CUESTA is an Ecuadorian filmmaker currently based inLos Angeles, where she received an MFA from CalArts. Her films havescreened at venues including the Viennale, the London FF and the“Views from the Avant-Garde” program at the New York FF. This is herfirst appearance at Media City.

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Lumphini 2552Tomonari Nishikawa Japan, 35mm, 3 min, 2009

All images were shot with a 35mm still camera in Bangkok’s monu-mental Lumphini Park. Although it may give the sense of an on-site,sync-sound audio recording, the sound arises from visual informa-tion on the film’s optical track, the result of directly printing eachstill photo to the full frame of 35mm motion picture film. “Lumphini”is derived from the Sanskrit word for the birthplace of the Buddha;2009 is 2552 according the Buddhist calendar.

Since 2001 TOMONARI NISHIKAWA has made a dozen films whichhave screened at venues including the “Views from the Avant- Garde”program at the New York FF, the Berlinale, the Toronto IFF and MediaCity’s 12th, 14th and 15th editions, winning an Honourable Mention in2008. He is a member of the Board of Directors at Canyon Cinema (SanFrancisco) and works as a guest curator for the Yebisu International Fes-tival for Art and Alternative Visions in Tokyo. A Tokyo native, he is cur-rently teaching as a visiting artist at Binghamton University in Ithaca.

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In the Park and A WalkUte Aurand Germany, 16mm, 6 and 4.5 min, 2008

In the Park of the Rietberg Museum in Zürich, with its collection ofAsian, African and Indian art.

A Walk through the winter of Engadin and Bergell in Switzerland.

“Aurand's oeuvre draws deeply from her daily life, travels andfriends. (Her) films find a spontaneous interaction with the here andnow. Her filmmaking has a constant, improvisatory engagementwith the profilmic events before her camera and pulls its energyfrom a rapid-fire shooting scheme. (The films) carry forth a decid-edly joyous present tense, the flooding imagery of the now.” —ChrisKennedy: In Present Tense: Films of Ute Aurand, 2009

For biography of UTE AURAND see page 22.

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In the Park

I Know Where I’m GoingBen Rivers England, 16mm, 30 min, 2009

A drive way off the beaten path on an automotive pilgrimage, seek-ing out the hidden trails and solitary places of autonomy and con-cealment beyond the public domain. En route to the Isle of Mull,Rivers encounters geologists, beekeepers and forest clearers, aswell as confronting the elements of anomalous weather and dailysurprise. —Mark McElhatten, NYFF

BEN RIVERS studied at Falmouth School of Fine Art. In 1996 he co-founded the Brighton Cinematheque, serving as its programmer for sev-eral years. He has made more than a dozen short films which havescreened at numerous festivals including the IFF Rotterdam (where hewon a Tiger Award in 2008), the ICA (London), the “Views from theAvant-Garde” program at the New York FF, the London FF and at MediaCity 15 in 2009, winning an Honourable Mention for his film Origin ofthe Species (2008). He lives in London.

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Vampire(s)Arnaud Gerber France, 16mm on video, 29 min, 2008

In the late twenties in Düsseldorf, terror had a name: Peter Kürten,the Vampire. Today, the confessions of the serial killer that inspiredFritz Lang’s M (1931) are still haunting the streets of the city. Todaylike yesterday, society has only one answer: “He is not human!”

ARNAUD GERBER has made eight experimental and documentary filmssince 2005, with screenings at venues including the Locarno FF, theCentre Georges Pompidou (Paris) and Mediawave (Györ). This is his firstappearance at Media City. He lives in Paris, where his affiliated withEtna, an experimental cinema studio.

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Dining CarsArianne OlthaarNetherlands, S8 to 35mm enlargement, 15.5 min, 2009

Interiors of dining cars from the 1960s and 70s, shot on Super 8.Having dinner here must have been very cozy once, but today therolling interiors have become rocking time capsules.

ARIANNE OLTHAAR studied at the Royal Art Academy in The Hague.She has made eleven Super 8 films and videos since 1993 which havescreened at the IFF Rotterdam, the International Kurzfilmtage Ober-hausen, Onion City (Chicago) and many other festivals. Her film Sou-venir uit Afrika (2002, made with Marjolijn van der Meij) was screenedat the 10th edition of Media City in 2004. She lives in The Hague.

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A Psychowesterngustave morin Canada, paper film, 2010

The Western Expansion has hit the skids of the Pacific and is now re-doubling backwards. Here in lawless big sky country it’s high noon onthe outskirts of the quintessential frontier town, the trouble-grabbingPodunk, Tin Falls. The sun is a vicious orb, scorching sand and rock un-remittingly, a dress rehearsal for the light that will one day be brighterthan a thousand suns. Through this hostile and arid climate, newly ap-pointed deputy Doug Honda is pointing his horse east when he isalerted to the existence of an uranium deposit nestled in the grimygulch between Boot Hill and the local Potter’s field. The clicking of theblack box sets Honda’s brain a-clicking, and with a wild yelp, he rabbit-bolts off at a gallop in a frenzied yet nonetheless impossible race to un-split the atom. The result is a never before seen motion study mutatingthe original black & white one-horse-town slice & dice shoot-em-up intoa horse opera of a different stripe, only this time the bad guys are un-named and unnamable and the entire rodeo sideshow is lensed sansspaghetti. Starring Lionel Carson as the greenhorn deputy, and featuringhis indomitable sidekick Spook the Horse in his 2nd appearance in apaper film written, produced and directed by gustave morin.

A Psychowestern is GUSTAVE MORIN’s tenth book. In addition to countlessother bedpost scratchings, he has served on the Board of Directors for Houseof Toast/Media City for the past nine years.

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Nobel Peace ProjectSusan Gold Canada, 2010

In a Media City tradition, Windsor artist Susan Gold has once againcreated one of her coveted commemorative buttons for festivalguests and participants. Wear it. Keep it. Pass it on! Let Nobel Peace know what you did with your button. Send stories or images to:

NOBEL PEACE PROJECTRR#1 NOBEL, ONTARIOP0G 1G0 CANADA

Documentation to all in August 2010.

LATE NIGHT EVERY NIGHT PARTIES AT PHOG LOUNGE157 University Avenue West

Holy Eyjafjallajokull it’s a disco volcano! After the screenings justooze your red-hot magma next door to Phog Lounge for socializing,drinks and DJs. Itchyscratchy clouds of vinyl particulates are eruptedinto your nightly flight-path by Gunnfríður J. Fitzgeraldsdottir, SnorriHargreavesson and other fjoking superstars. Clog my turbines, baby.

A Psychowestern is the pilot project for the newly-minted

MEDIA CITY EDITIONSan imprint devised to extend the festival into daring directions inpublication. Planned to appear twice-yearly, future volumes will beartist-specific commissions devoted to a host of para-cinematicundertakings, ranging from single-contributor artist book one-shots to monographs with interviews, criticism, and assorted dis-quisitions on current experimental films and their makers.

BEGIN

NIN

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25ANDTHROUGHOUTTHEFE

STIVAL...

Erie (Kevin J. Everson) from Picture Palace Pictures, New York. Rihla (Gerbrand

Burger), Loutron (Barbara Meter) and Dining Cars (Arianne Olthaar) from EYE Film

Institute Netherlands, Amsterdam. Films of Johan van der Keuken from Medici

Arts International, Paris. One Bright Day (Jem Cohen) from Video Data Bank,

Chicago. Atlantiques (Mati Diop) from Le Fresnoy, Tourcoing. Films of Friedl von

Gröller (Kubelka) from Sixpack Film, Vienna. I Know Where I’m Going (Ben Rivers)

from Lux, London UK. Strips (Félix Dufour-Laperrière) and Prolegomena (Cédric

Gaul-Berrard) from Lightcone, Paris. Vampire(s) (Arnaud Gerber) from Aurora

FIlms (Paris). Refraction Series (Chris Geman), Simultaneous Contrast (Chris

Kennedy), Trees of Syntax, Leaves of Axis (Daïchi Saïto) and Puccini Conservato

(Michael Snow) from CFMDC, Toronto. Sometime. Somewhere. (Zohar Kfir) from

Groupe Intervention Vidéo, Montréal. Gregor Alexis (Jana Debus) from KHM,

Cologne. Dissonant (Manon de Boer) from Auguste Orts, Brussels. All other films

and videos courtesy the artists.

DISTRIBUTION

In no particular order: Marie Logie and Isabelle Tollenaere at Auguste Orts (Brus-

sels), Carine Gauguin at Medici Arts International (Paris), Oliver Filser at KHM

(Cologne), Natalia Trebik at Le Fresnoy (Tourcoing), Dietmar Schwärzler, Michaela

Schwentner and Brigitta Burger-Utzer at Sixpack Film (Vienna), Gil Leung at Lux

(London UK), Peter van Hoof & Joop van Langen at the IFF Rotterdam, Patrick

Huber at VideoEx (Zürich), Liliana Nunez at GIV (Montréal), Ross Nugent at the

Milwaukee Underground FF, Christophe Bichon at Lightcone (Paris), Donald Harri-

son at the Ann Arbor FF, Maureen McGoey at HotDocs (Toronto), Ed Halter at

Light Industry (New York), Zach Rottman at Migrating Forms (New York), Pablo de Ocampo & Scott Miller Berry at the Images Festival (Toronto), Andréa Picard & Andrei

Gravelle at TIFF (Toronto), Robin Ginsburg (Brooklyn), Ralph McKay at Sixpack Film

Americas/EYE New World (Marfa TX), Tom Taylor at Pleasure Dome (Toronto), Martin

Heath at Cinecycle (Toronto), Eyan Logan (Toronto), Gilles Hebert at the Art Gallery of

Alberta, James Patten at the McIntosh Gallery (London ON), Claartje Opdam and Jaap

Schoutsen at EYE FIlm Institute Netherlands (Amsterdam), Larissa Fan at CFMDC

(Toronto), Marcos Ortega at ExpCinema, Patrick Friel at the Onion City FF (Chicago),

Josh Romphf at Univ. of Western Ontario, Mike Hoolboom (Toronto), David Dinnell (Mil-

waukee), Ben Donoghue and Renata Mohamed at LIFT (Toronto), Michelle Stanley at the

Canada Council for the Arts (Ottawa), Mark Haslam at the Ontario Arts Council

(Toronto). Locally: Tony Mosna, Marty Hunt, Veronika Mogyorody, Mandy Slater, Nicole

McCabe and Mary Anne Vanwatteghem at the Art Gallery of Windsor, Lori, Paul & Jenny

Kimmerly at Standard Printing, Peter Coady and Mark Boscariol from WIFF, Karl Jirgens,

Michelle Tarailo and Brenda Pelkey at the University of Windsor, Matthew Kelson & Co.

at the Burton Theatre, Carolyn Rourke and Pat Lewis at WEA, Justin Langlois at the

ACWR/Broken City Lab, Benny Min, Sandra Braendle & Brian Gray at the Ontario Trillium

Foundation, Chris Edwards & Laney McVeity at the DWBIA, Jason and Sarah at klever de-

sign, David Asher at S. Funtig & Associates, Rosita Blackman-Smith at Travelodge, Mary

Baruth at the City of Windsor, Adam Fox at CJAM Radio, Frank and Tom at Phog, Dan at

Vermouth, Angelo at Milk, Thomas McDonald the FedEx guy, MPP Sandra Pupatello,

MP Brian Masse, Barbara Peirce Marshall, Tim Swaddling, Gayle Allen, Phil Beaudoin,

Grace Manias, Nasseme Albonaimi, Emily Copeland, Cary Platt, Jackie Fitzgerald,

Nadja Pelkey, Peggy Dorner, Chris Mangin, Steve Daigle and anyone we forgot. Extra

thanks to all hardworking volunteers whose names were not available at press time and to

all those who graciously opened their homes to billet visitors.

THANKS

NBAll descriptions of works are provided by the artists unless another source is cited.

Running times are rounded to the nearest half minute. The work of Johan van der

Keuken and Friedl vom Gröller is exhibited out of competition. Back cover image:

Trees of Syntax, Leaves of Axis (Daïchi Saïto)

The New Normal

April 10-July 4 at the Art Gallery of WindsorGuest-curated by Michael Connor and co-organized byICI and Artist’s Space, New York.The New Normal explores the increasing exposure of the privatesphere to public view. Each of the works shown was completed after9/11, when US Vice-President Dick Cheney described new govern-ment surveillance measures as “the new normalcy”. In response,many of the artists featured have used other people’s private infor-mation and images as the basis of their work, offering glimpses intothe lives of neighbours, strangers and celebrities while revealingthe social conventions behind these disclosures. Includes work fromSophie Calle, Corinna Schnitt, Miranda July, Kota Ezawa, Thomson& Craighead and others.

Media City is proud to support the AGW’s Educa-tional Outreach activities for The New Normal.