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7pm at Deluge: The Lost Object
Christopher Spencer-Lowe | 5:05 | Canada | 2017 | W Cdn Premiere
Disorder incarnate, the lady of the wheel. Turning and cranking, spinning and churning the stuff of chaos. Randomness, chance and the unpredictability of being are at her command.
Susan MacWilliam | 3:17 | Ireland | 2016 | W Cdn Premiere
Conjuring the dark spaces of the séance room, Pull Down observes the repeated collapsing and slumping of a girl through the focusing lens of a camera, drawing attention to the role of the camera in historic psychical research studies.
Another Self Portrait
Patrick Tarrant | 7:25 | UK | 2017 | World Premiere
A single-take video recorded through the holes in a revolving film reel, this self-portrait renders two images of the artist as he manually draws a film through the projector.
The Lost Object
Sebastian Diaz Morales | 13:00 | Netherlands | 2017 | Cdn Premiere
A film studio; a simple room with a bed, chair, desk and sink; a crew. A mysterious object. Following Jean Baudrillard’s notion that the world has disappeared behind its own representation and it is therefore impossible to return to it, The Lost Object examines the complex mechanisms of how we perceive the constructed nature of reality and how this construction is achieved, in both the realms of our imagination and cinema.
Simon Payne | 7:00 | UK | 2016 | Cdn Premiere
A short section from Man Ray’s film Return to Reason (1923) used anew as a graphic score, tracking the code in sequence, and randomly, at different magnifications in negative and positive. Various critics and historians see this section of Return to Reason as a redacted poem or telegram, akin to Man Ray’s “dumb” poetry.
Mónica Savirón | 5:00 | USA | 2016 | Cdn Premiere
Answer Print was made with deteriorated 16mm colour stock and it is meant to disappear over time. Neither hue nor sound has been manipulated in its analog reassembling. The soundtrack combines audio generated by silent double perforated celluloid, the optical tracks from sound films and the tones produced by each of the filmmaker’s cuts when read by the projector.
Emily Pelstring | 7:00 | Canada | 2015 | W Cdn Premiere
Distorted voices offer an expressionistic tour of the inside of a dirty VCR. Hand-drawn and digital animation, analog video effects, re-photography and video feedback transform images issuing from an apparently malfunctioning machine.
John G. Boehme, Beauregard Boehme, John Truly Boehme | 15:00 | Canada | 2017 | World Premiere
Credits is a collaborative performative and sonic work which consists of a simultaneous durational reading of credits from the film Alien vs. Predator by Boehme and his sons John Truly (17) and Beauregard (12). Motivated by a fascination with the acquisition of written and spoken language, Credits harnesses the many and varied possibilities to be found in the gift of neuro-diversity.
Originally from La Jolla, California and not constrained by any specific medium, John G, Boehme’s recent trans-disciplinary work encompasses and integrates painting, sculpture, performance, digital technology, installation and photography. His work examines the performance of masculinity, the valourization of labour, the pursuit of leisure and the marshalling of amity, using both the spoken and gestural aspects of human communication. Boehme has presented across Canada, Australia, the Americas, United Kingdom, Europe and China and teaches Visual Art at Camosun College and the University of Victoria.
9pm at Deluge: The Powers
Live Media/Music Performance: Katherine Kline, Emily Pelstring & Jessica Mensch (Canada)
The Powers is a collaborative project of that integrates video projection, dance, costumes, puppetry and experimental electronic music to bring the audience on an uncanny journey. Drawing inspiration from mythological archetypes, particularly trinities of sisters such as the Graeae, the Gorgons and the Fates, The Powers create a feminist pantheon of their own. Entering the performance as masked medieval crones, each sister undergoes a series of physical and psychological transformations throughout the audiovisual set. The angry ghosts of their maternal lineages are conjured in a live participatory ritual, where power is redistributed and the classical “hero's journey” is redefined. In addition to an aural collage of synthesizers, samples and drum machines, distorted screams and New Age self-help cassette tapes provide guided meditations on how to achieve power.
Katherine Kline is a scholarly researcher, psychoanalytic therapist and musician. Through her music, she creates a messy seance with tape, synth and field recordings of psychic channeling sessions. Non-physical energies and entities, translated into speech via the human medium, are reworked and channeled through machines. Academically, Kline is interested in the meeting of psychic and material fields, material and immaterial dimensions, psyche and senses. Her research looks at the question of the psychoanalytic unconscious in ecological theory. In particular, she asks what a theory of human narcissism might bring to ecological ethics, and how psychoanalytic praxes might be challenged and enriched by materialist work. Current research focuses on psychoanalytic field theory, the techniques and metapsychology of Wilhelm Reich and human relationships with non-human entities.
Jessica Mensch is a Brooklyn/Montreal painter and mixed-media artist currently pursuing an MFA at Hunter College in New York. Mensch received her BFA from the Nova Scotia College of Art and Design and has gone on to exhibit at such institutions as The Judith & Norman ALIX Art Gallery, Confederation Centre, PDA Projects, The National Gallery of Canada, Art Toronto, Superchief Gallery and Pop Up Gallery PS1 MoMA. Mensch was the recipient of a Canada Council Grant for Visual Arts in 2014, and a finalist for the RBC Painting Prize in 2013. She has participated in residencies at Extrapool (Nijmegen, Holland), The Banff Centre, Studio XX (Montreal), Saw Video (Ottawa) and the FOFA Gallery in Montreal, Quebec.
Emily Pelstring is a media artist whose work spans the areas of installation, performance, animation and video. Emily holds a BFA from Rhode Island School of Design and an MFA from Concordia University. Her work has been shown internationally in galleries, film festivals and music festivals, including Transmediale Berlin, Seoul International New Media Festival, Antimatter, Ann Arbor, Pop Montreal, the PHI Centre, Khyber Centre for the Arts, FoFA Gallery, Powerhouse Galerie La Centrale and the Judith and Norman Alix Art Gallery. Her work has been supported by residencies at the Experimental TV Centre, Studio XX, and SAW Video Association. She has done visual commissions for musicians including Aids Wolf, AroarA, Julia Holter, Slim Twig, U.S. Girls and Yamantaka // Sonic Titan. She teaches in the Department of Film and Media at Queen’s University.