Media City 15 catalogue

MC15 catalogue good:MC15 catalogue good 4/30/09 12:43 PM

House of Toast presents

MEDIA CITY 1515th Annual International Festival ofExperimental Film and Video Art

MAY 20-23, 2009

Director Emeritus: Christopher McNamaraProgram Directors: Oona Mosna, Jeremy RigsbyProgram Committee: Dean Carson, Gustave Morin, Oona Mosna, Jeremy RigsbyInstallation Curator: James Patten (AGW)Regional Programmer: Brandon WalleyTechnical Director: Sergio ForestLead Projectionist: Antonella BonfantiAudio Engineer: Garth RennieTechnical Assistant: Baron ChauvinGuest Coordinator: Lucy HoweVolunteer Coordinator: Emily CopelandYouth Development: Justin LangloisVenue Logistics: MESMPhotographer: Gustave Morin

Media City 15 is presented with the support of a Visual and Media Arts Project grant from theOntario Arts Council, Annual Assistance to Media Arts Festivals and Visiting Foreign Artistsgrants from the Canada Council for the Arts, and a grant from the Cultural Strategic InvestmentFund of the Ontario Ministry of Culture. Other financial support from the Workers Arts andHeritage Centre (Hamilton), the Istituto Italiano di Cultura (Toronto), the City of WindsorDepartment of Cultural Affairs and Mr. Mark Boscariol.

WHERE:Capitol Theatre121 University Ave W

TICKETS:All screenings arePay What You Can.Full festival pass: $20Tix & passes at door.

INFO:www.houseoftoast.ca519 973 9368

MEDIA CITY309 Chatham Street W

Windsor ONN9A 5M8 CANADA519 973 9368

[email protected]


The JuryNICKY HAMLYN was workshop organizer forthe London Filmmakers’ Co-op (now LUX)in the late 1970s. He has made over 40films and videos since 1974 that have beenwidely exhibited internationally, includingsolo screenings at the Pacific Film Archiveand the San Francisco Cinematheque, win-ning (among many other awards) secondprize at Media City 10. His book “Film ArtPhenomenon” was published by the BritishFilm Institute in 2003. He lives in Lewes,Sussex, and teaches at University Collegefor the Creative Arts, Maidstone.

CHRIS KENNEDY is an independent film-maker, programmer and writer currentlyliving in Toronto. He programmed film, videoand live performance for the Images Festivalfrom 2003-06 and served on the screeningcollective for Pleasure Dome from 2000-06.His short experimental films have screenedat over fifty film festivals worldwide and hehas presented film programs in Egypt, Bel-gium, Germany, the US and Canada. Heholds an MFA from the San Francisco ArtInstitute.

Programming film and video since 1977,MARK McELHATTEN is the co-founder andco-curator of the New York Film Festival’s“Views from the Avant-Garde” program, nowin it's twelfth year. He has presented hisongoing “Walking Picture Palace” seriessince 1994. The International Film FestivalRotterdam has featured his programs since1999. He was the program director of theCollective for Living Cinema in New York,The Brattle Theater in Boston, and actingprogram director of the San FranciscoCinematheque in 1985. He is currently thefilm archivist for Martin Scorsese.


phog lounge157 UNIVERSITY AVENUE WEST

the official after-screening bar of Media City

LATE NIGHTLATE NIGHTEVERY NIGHTEVERY NIGHT

“BEST LIVE MUSIC VENUE IN CANADA”phoglounge.com

Nobel Peace ProjectSusan Gold Canada, 2009buttons/ performance/ mail art

In a Media City tradition, Windsor artistSusan Gold has once again created oneof her coveted commemorative buttonsfor festival guests and participants.Wear it. Keep it. Pass it on! Let NOBELPEACE know what you did with yourbutton. Send stories or images to:

NOBEL PEACE PROJECTRR#1 NOBEL, ONTARIOP0G 1G0 CANADA

Documentation to all in August 2009.

SUSAN GOLD is a Windsor artist and co-founder of the NOBEL PEACE Project .The Nobel Peace Project is a form of non-monetary exchange that encouragesiconoclastic communication, ideas, and imagery.


Noiseborder EnsembleOpening reception and event with sound and media performance byWindsor’s own Noiseborder Ensemble, including:

I hear your voice in the circling night (8 min, music: Brent Lee/video:Sigi Torinus, 2008)

Take Me On (8 min, music: Nicholas Papador/video: Sigi Torinus, 2008)

I’m So Lonely I Could Cry (8 min, Noiseborder Ensemble, 2008)

The NOISEBORDER ENSEMBLE was founded in 2008 by professionalmusicians and artists interested in the intersection of sound, image andtechnology. Noiseborder Ensemble performances draw on diverse musicaltraditions including chamber music, experimental music, popular musics,multimedia performance, electronica and improvisation. Current ensemblemembers include Brent Lee (saxophones, keyboards, electronics), ChrisMcNamara (electronics), Nick Papador (percussion, keyboards),Jessica Pistor (vocals, guitars), Trevor Pittman (clarinets),Sundar Subramanian (guitars), and Sigi Torinus (visuals).

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films of Kevin J. EversonUSA, 16mm on video (Home S8mm on video)

Home (1.5 min, 2008) is about disappointment in northern Ohio.

The Reverend E. Randall T. Osborn, First Cousin (3.5 min, 2007) isabout the art of the cut-away.

Ring (1.5 min, 2008) tries to exhibit the sweet science in an elegant way.

Second and Lee (3 min, 2008) is a cautionary tale about when not to run.

Something Else (2 min, 2007) is about found footage as subject matter,with Miss Black Roanoke, Virginia 1971 expressing her thoughts.

Playing Dead (1.5 min, 2008) is about lying still to stay alive.

Key to the Cities (2 min, 2008) has two mayors honouring the CandyMan in two different ways.

Ninety-Three (3 min, 2008) is a wonderful age to celebrate.

Something Else


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Over the past thirteen years KEVIN J. EVERSON has completed three featurefilms and about fifty short 16mm, 35mm and digital films about the workingclass culture of Black Americans and other people of African descent. Hisfilms focus on “conditions, tasks, gestures, and materials in these communi-ties” and “the relentlessness of everyday life.” (KJE)

Recently, Everson “has been responding to the performance of peoples ofAfrican descent in old film footage as if it were theatre. Either by re-enactingthe films or just using the footage, I am attempting to create an archive ofthese performances.” (KJE)

Everson’s work has been widely shown at venues including the Sundance FF,IFF Rotterdam, the International Kurzfilmtage Oberhausen, the Museum ofModern Art (New York), the Whitney Museum (New York), WhitechapelGallery (London) and the Centre Pompidou (Paris). He is a recipient of aGuggenheim Fellowship, a Creative Capital Fellowship, an NEA Fellowshipand an American Academy in Rome Prize. Originally from Ohio, he now livesin Charlottesville, Virginia.

Key to the Cities


Más Se PerdióStephen Connolly England, 16mm, 14 min, 2008

Más Se Perdió (“we lost more”) structurally unites a series of historicaland cultural references in contemporary Havana, Cuba. A variety ofcinematographic approaches are used to explore the spaces of thederelict National School of Ballet, to document young athletes at anoutdoor stadium, and to record a street scene with construction workers(the latter in reference to Chris Marker’s film Letter from Siberia [1957]).Each place maintains some relationship to notions of utopia, howeverthe autonomous soundscape of the film is suggestive of underlying con-flicts contained within these visions.

STEPHEN CONNOLLY holds and MFA from the Central Saint Martins Schoolof Art and Design. Since 2002 he has made eight films which have screenedat venues including the IFF Rotterdam (winning a Special Jury Prize), theAnn Arbor FF, the Melbourne IFF and Media City 11. His work received a soloscreening at the British Film Institute in 2008. He lives in London.

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Sunday 6th April, 11:42 a.m.Flatform Italy, video, 6 min, 2008

A landscape understood as a complex network of connections thatguide relationships between people. The video focuses on actions andplaces, movements and the environment, and points out that people arethe place in which they live as well as the trajectories which the place it-self creates. The video underlines the reciprocal connection between en-vironment and its inhabitants, where territory plays an inevitable rolealso in its anthropomorphic transformations.

FLATFORM is a goup of artists based in Milan, foundedin 2006. Their work has been exhibited at the VeniceBiennale, the Centre Pompidou (Paris), Art Basel,Documenta 12 (Kassel), the IFF Rotterdam and manyother venues internationally.

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Sarah AnnPim Zwier Netherlands, 35mm, 9 min, 2008

Sarah Ann Henley miraculously survived a 250-foot drop after jumpingoff the Clifton Suspension Bridge in 1885. Her Victorian skirt, inflatedby the wind, acted as a parachute. A tale told by contrasting threedetailed newspaper articles with a sober use of image.

PIM ZWIER holds an MFA from the Piet Zwart Institute in Rotterdam. Hemakes public art projects, installations and (since 2004) has made five filmswhich have screened at venues including the IFF Rotterdam, !F Istanbul andthe Courtisane Festival (Gent). He lives in Rotterdam.

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KempinskiNeil Beloufa Algeria/France, video, 14 min, 2007

A unique blend of science fiction and documentary, shot in Mopti, Mali.People emerge from the dark, holding fluorescent lamps; they imaginethe future and speak about it in the present tense. Without a script orscenario, the video plunges us into these surreal stories, mixing glimpsesof an imaginary technological world with an enduring oral tradition.

NEIL BELOUFA studied at the École des Beaux Arts de Paris, at CooperUnion (New York) and at CalArts. His work has been exhibited at internationalvenues including the Prague Triennial, the 12th Biennial of the Moving Image(Geneva), the Palais de Tokyo (Paris) and the National Center of ContemporaryArts in Moscow, and at film festivals including Rotterdam, Images (Toronto)and IdieLisboa, winning the "Arte Prize for Best European Short Film" at the54th International Kurzfilmtage Oberhausen, among other awards. He livesin Paris.


Complex Israel, video, 9 min, 2008

Eitan Efrat, Sirah Foighel Brutmann &Daniel Mann

On a rainy night, a group of young Israeli men reunite in a desertedparking lot. In this abstract setting, they re-enact their previous roles.From the preparations and the routines to the division of tasks, theirgroup chemistry is clearly still intact.

Israeli-born EITAN EFRAT is currently a student in the Audio-Visual depart-ment in the Gerrit Rietveld Academy in Amsterdam. His short videos, madein collaboration with Daniel Mann and Sirah Foighel Brutmann, have beenexhibited at IDFA (Amsterdam), the International Kurzfilmtage Oberhausen,the Courtisane Festival (Gent), and other venues.

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Prrrride Israel, video, 3 min, 2008

Eitan Efrat, Sirah Foighel Brutmann &Daniel Mann

A story about a human complexity, about relations between a son andhis mother and the attitudes of both towards realities of life in Israel.

Israeli-born SIRAH FOIGHEL BRUTMANN is a graduate of PARTS (Perform-ing Arts Research and Training Studios) in Brussels. She has collaboratedwith Eitan Efrat and other artists on several dance, performative and videoprojects that have been exhibited in Europe and Japan.

DANIEL MANN was born in the United States and raised in Israel. He studiedfilm production at the Sam Spiegel Film school in Jerusalem and at the TelAviv University film department. He works as an editor and director for shortfilms and contributes reviews and essays on films to several publications.

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The UnseenPavel Medvedev Russia, video, 30 min, 2007

The film is set during the G8 summit in St. Petersburg in July 2006. Wesee the effects for the local population: sirens, military patrols, blockedstreets, low-flying helicopters and armed escorts. How unpleasant lifebecomes when world leaders meet to solve our problems.

PAVEL MEDVEDEV has worked as a radio and television producer and, since2000, as a director at the St. Petersburg Documentary Film Studio. He hasmade nine films since 2001 which have screened at numerous internationalfestivals including the Berlin IFF, the IFF Rotterdam and the Tampere IFF,winning the Grand Prize from the International Kurzfilmtage Oberhausen in2007 for his film Third Planet from the Sun (2006) and the prize for BestDocumentary from the Karlovy Vary FF in 2004 for his filmWedding ofSilence (2002). He lives in St. Petersburg.

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atlantisPieter Geenen Belgium, video, 11 min, 2008

The construction of the controversial Three Gorges Dam on the YangtzeRiver will be completed later this year. atlantis explores the floodedThree Gorges Reservoir behind the dam, by the searchlights of a Yangtzecruise boat. The lightbeam on this nocturnal landscape reveals a sunkenuniverse of demolished buildings, desolate forests and ghost ships.

PIETER GEENEN holds a postgraduate degree in Transmedia from theHogeschool Sint-Lukas in Brussels. His video work has been screened atinternational festivals including Images (Toronto), EMAF (Osnabrück) andCourtisane (Gent) and exhibited in numerous galleries in Belgium. He livesin Brussels.

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Fashion AvenueJim Jennings USA, 16mm, 8 min, 2008

Filmed in New York’s Garment District, Fashion Avenue uses mirrors toreflect something more beautiful than the world of glamour: the every-day lives of working people. The filming of reflections creates the effectof printed fabric, and their often-jagged shapes resemble sleeves andlapels lying on the cutting-room table.

Since the mid-1970s JIM JENNINGS has made more than 25 films whichhave screened at venues including the “Views from the Avant-Garde”program at the New York FF, the “Wavelengths” program at the TorontoIFF and at Media City 12, 13 and 14. He lives in New York.

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Lost WorldGyula Nemes Hungary, 35mm, 20 min, 2008

The life, demolition and reconstruction of the Kopaszi dam between theyears 1998 and 2007. Ten years in a forgotten landscape. People livingin houseboats, struggling against flood, snow and investors who want toevict them. The second part of The Dike of Transience (2005).

GYULA NEMES studied film at FAMU (Prague) under Vera Chytilova. He hasmade several short films including an earlier segment of The Lost Worldentitled The Dike of Transience, which screened at Media City 12 and manyinternational festivals, including Images (Toronto) and the “Views from theAvant-Garde” program at the NYFF. Lost World won the Best DocumentaryAward at the Karlovy Vary FF in 2008. His feature film My One and Onlies(2006) screened in competition at the Venice FF. He lives in Budapest.

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12 ExplosionsJohann Lurf Austria, video, 7 min, 2008

“In the chapter on sound in his ‘Theory of Film’, Siegfried Kracauerwrites: ‘Supposing shrill screams or the blasts of an explosion aresynchronized with images of their source and/or its environment: muchas they will leave their imprint on the spectator’s mind, it is unlikelythat they will prevent him from taking in the images....’ Johann Lurf hasmade a film that refutes this assumption in seven minutes. 12 Explosionsshows a series of tableaus filmed in Vienna at night. These places arevirtually waiting for something to happen. And because of the film’stitle we know that something will. [But] it might be that the title ismerely a ruse...” – Maya McKechneay

JOHANN LURF studied at the Akademie der Bildenden Künste in Vienna. Hehas made four short films since 2003 which have screened at IndieLisboa,the IFF Rotterdam, the International Kurzfilmtage Oberhausen and manyother festivals. He lives in Vienna where he also works as a projectionist.

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6PM

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ARTISTSPROGRAM

Regional Artists ProgramTen recent films and videos from here or hereabouts.

Baby Time (Sean Hages, Detroit, 13 min, 2008) Two expectant parentsand their journey through the labour and delivery of their first child.

The Smell of Mommy's Honey Muffins (Brandon Walley, Detroit, 4 min,2008) Mmmm, the sweet smell of Detroit.

Paradise (lost) (Vagner M. Whitehead, Detroit, 1 min, 2006) Personalhistory is fictionalized and (re)presented as a slide show.

A City To Yourself (Nicole MacDonald, Detroit, 24 min, 2008) Detroit ishalf the population it was 50 years ago. A lifelong Detroiter looks atsome of the pluses– or at least some of the peculiarities– of having acity to yourself.

Frame Her Look (Kelsey Haas, Stoney Creek, 6 min, 2008) Images andsound are layered to compound and unravel time and memory.

Eldon (Nick Kolevski, Windsor, 4 min, 2008) An elderly man preparesfor his birthday party. He hopes his busy family can attend.


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ARTISTSPROGRAM

When I’m Calling You... (Gilles Hebert, Windsor, 6 min, 1989-2009)At the Bodega Bohemia in Barcelona, a cabaret for aged opera singersand drag queens.

The Big Trees (Paul LaBute, Windsor, 3 min, 2007) Kirk Douglas shinesas a man on a mission to stop wealthy industrialists from plunderinghis local forest. An evil railroad tycoon has an awful fate in store for him.

Digital Framework (Josh Romphf, London ON, 1 min, 2008) “Cinema isnot movement. This is the first thing. Cinema is not movement.” – PeterKubelka, Theory of Metrical Film

beth olem/house of the world (Scott Miller Berry, Detroit/Toronto, 5 min,2008) Beth Olem cemetery houses about 1,400 residents, ironically,slightly more than the current number of employees at the GM PoletownAssembly plant, whose jobs continue to evaporate.


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Robert Fenz USA, all films 16mm

Meditations on Revolution, Part 1 – Lonely Planet (12 min, 1997)Cuban life captured in active street scenes and intimate portraiture.Without parade or polemics, Fenz finds revolution in the tenacity of apopulace trapped by a proud past, in flux towards an unknown future.

Meditations on Revolution, Part 2 – The Space in Between (8 min, 1997)Inspired by a meeting with Oscar Niemeyer, architect of Brasilia, Fenz'svision of a favela neighbourhood in Rocinha – Latin America's largestpermanent shanty town – is a metaphor for revolution abandoned.

Meditations on Revolution, Part 3 – Soledad (15 min, 2001)History and its relationship to the present are contemplated througheveryday events intertwined with fragments of Mexican tradition.

Meditations on Revolution, Part 4 – Greenville, MS (30 min, 2001)A study of a boxer in ritual, ceremonious training. The act of trainingcomes to symbolize the struggle of an individual to transform their lifeand the conditions of those around them.

Lonely Planet


Crossings (10 min, 2007) is a vision of the US – Mexican border as akinetic and disorienting fault line, an abstract force field suspendedbetween the two nations.

The films of ROBERT FENZ have been recognized internationally by manyprizes and awards including a DAAD artist residency in Berlin, a GuggenheimFellowship and the Grand Prize at Media City in 2004 for Meditations onRevolution, Part 5 – Foreign City (2003). He was invited to exhibit in boththe 2002 and 2008 Whitney Biennials, and has had solo presentations of hisfilms at the Locarno IFF, the Cinématheque Français, the IFF Rotterdam, theMuseum of Modern Art (New York), the Harvard Film Archive and many othervenues. Recently, he taught filmmaking at the School of the Museum of FineArts (Boston) and The School for Independent Filmmaking (Vienna). He hasalso worked as a cinematographer on several films including ChantalAkerman’s La Bas (2006) and From the Other Side (2002).

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Greenville, MS


Soledad


Origin of the SpeciesBen Rivers England, 16mm, 16 min, 2008

A portrait of S, a 75 year-old man living in a remote area. S has beenobsessed with Darwin’s works for much of his life. Since a child he haswondered at life on earth and, though he never became an academic,found in Darwin many answers to his questions. The film concentrateson the mysterious geography of his world: his garden, the contraptionsand inventions he has made, his patch of land where he has built ahome after a life of travelling and working around the world. An attemptto span from the beginnings of the world up to an uncertain future.

BEN RIVERS studied at Falmouth School of Fine Art. In 1996 he co-foundedthe Brighton Cinematheque, serving as its programmer for several years. Hehas made more than a dozen short films which have screened at the IFFRotterdam (where he won a Tiger Award in 2008), the ICA (London), the“Views from the Avant-Garde” program at the New York FF, the London FF,and many others. He lives in London.

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ELEMENTSJulie Murray Ireland/USA, 16mm, 8 min, 2008

When the trees were enchanted,/ In the expectation of not being trees,The trees uttered their voices/ From strings of harmony,The disputes ceased./ Let us cut short heavy days,A female restrained the din./ She came forth altogether lovely.The head of the line, the head was a female.

– from “Cad Goddeu” (The Battle of the Trees) Welsh Book of Taliesin,6th century

Originally from Ireland, JULIE MURRAY now lives in Milwaukee. She hasmade more than twenty films and digital videos since 1986 which have beenexhibited at numerous international events including the Whitney Biennial(New York) and the IFF Rotterdam, with solo screenings at venues such asthe San Francisco Cinematheque and Cinematheque Ontario (Toronto). Shewas a member of the competition jury at Media City 6 and her work hasscreened at the festival’s 5th, 6th, 9th, 10th and 11th editions.

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#37Joost Rekveld Netherlands, 35mm, 29.5 min, 2008

“Andronicos says that in a certain place in Spain one finds small, scat-tered stones which are polygonal and grow spontaneously. Some of themare white, others are like wax and pregnant of smaller stones similar tothemselves. I kept one to verify this myself and it gave birth at my place,so the story is not a lie.” – anon, Paradoxographus Palatinus, 3rd century

JOOST REKVELD studied at the Interfaculty Image and Sound of the RoyalConservatory in The Hague. He makes films and kinetic installations and hasengaged in numerous collaborative projects in fields such as music, opera,dance, theatre and robotics, and he has curated numerous film screeningsand installation exhibitions for venues including the Impakt Festival (Utrecht)and the Queensland Art Gallery (Brisbane). His films have been widelyscreened internationally at festivals such as the IFF Rotterdam, the SundanceFF and Media City 6 and 8. He lives in Amsterdam, where he is Head of theArtScience Interfaculty at the Royal Academy.


RoseRobert Todd USA, 16mm, 9 min, 2008

To rise, before.

ROBERT TODD has made more than 40 films and videos since 1985,while teaching at Emerson College and working as a film editor in Boston.His previous films have screened at venues including the “Views from theAvant-Garde” program at the New York FF, the IFF Rotterdam, Cinemath-eque Ontario and at Media City 10 through 14.

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Pie Pellicane Jesu Dominae*Bruce McClure USA, 3 x bipacked 16mm, 15 min, 2008

“. . . flies leisurely over the sea to level off in an environment that theyare suited for.” – Birds of Northern Places (date unknown)

“While visiting the cathedral in Bristol I saw a sacristy door decoratedwith a pelican feeding its young with the blood dripping from sores onits chest. In Glasgow there are stained glass windows with the samesubject.” – Bruce McClure

BRUCE McCLURE is an architect, licensed to practice in New York in 1992.In 1994 he began working with stroboscopic discs as an entry to cinematicpursuits. Since 1995 his film and projector performances have been exhibitedat numerous international venues including the IFF Rotterdam, the “Viewsfrom the Avant-Garde” program at the New York FF and at Media City 8 through14, winning the festival’s Grand Prize in 2006. He lives in Brooklyn.

* “Lord Jesus, blessed pelican.” – St. Thomas Aquinas

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AS EACH PROJECTOR SETS TWOBIPACKED FILM LOOPS INTO MOTION,ACHRONISM IS CHRONICLED AWAY.

DIMORPHIC SANDWICHES, THESEBIPACKED LOOPS ARE BOTH

DIACHRONIC AND SYNCHRONIC.MACHINE TIME CLAWS UP THEARGENTINE INCIDENT RAMPSCONCOMITANT AND LIMITED BY THEINDIFFERENT BEAT OF LIGHT PISTONS.REFLECTIONS OF CLONIC SPASMS FLAP

FLUTTER AND SQUAWK OVERHEADWITHOUT REFERENCE TO HISTORICAL

ANTECEDENTS BEGGING FORDIACHRONIC ORDERING BY THEBIO-SYNOD OF NERVE FIBERS.

EARLIER, A PHENOMENAL 134 FRAMEPELICAN SEQUENCE WAS DISMANTLEDFROM THE ANACHRONISTIC “BIRDS OFNORTHERN PLACES”.GIVEN NEW CYCLIC NESTINGS WITHTHE PISTONS (ONE FRAME BASE TO 25EMULSION), INDIVIDUAL BIRD FRAMESARE CENTRIFUGED, DRAWING OUTSEQUENCES IN SPACE THAT EVIDENCETIME DISPLACEMENT AS A POSSIBLE

INGREDIENT IN DIMENSIONAL PERCEP


TION


Workers Leaving the Factory“The first camera in the history of cinema was pointed at a factory.”

Workers (leaving the factory)Nancy Davenport, Canada, 2008

Workers Leaving the Factory in Eleven DecadesHarun Farocki, Germany, 2006

ExitSharon Lockhart, USA, 2008

La Sortie des Usines LumièreLouis Lumière, France, 1895

Friday, May 22, 3:00 pmArt Gallery of Windsor, 401 Riverside Dr. W.“Workers Leaving the Factory”artist talk and community forum

Exhibition dates: May 2-July 5

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Exit


In 1895 the Lumière brothers of Lyons, France were experimenting withtheir new invention, the Cinématographe. They opened the camera’sshutter onto a scene outside the gates of their own factory at the endof the workday. The result was a forty-five second long motion picturenow known as La Sortie des usines Lumière (usually given in English asWorkers Leaving the Factory), often cited as the first “proper” film evermade, or at least the first to be publicly exhibited when it was shownto a Parisian audience in December, 1895.

More than a century later, La Sortie has found new relevance for severalcontemporary media artists. The film is a point of origin for any historicalcritique of cinematic representations of industrial workers. It is also areference for new ways to depict the very different realities and challengesfaced by industrial workers in the 21st century. As part of Media City,an exhibition entitled “Workers Leaving the Factory” will be presentedfrom May 2 to June 5 at the Art Gallery of Windsor, featuring three ofthese recent film and video artworks by Canadian artist Nancy Davenport,the German filmmaker Harun Farocki and American filmmaker SharonLockhart, along with a video presentation of the original Lumière film.

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Exit


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The space before the factory gates has always been the scene of socialconflicts. This is where strikes were called, and barricades erected todisrupt the work of the plant, in opposition to decisions of the factory’smanagement and owners. This was where labour leaders tried to provethe justice of their case to the factory’s employees. This was the sceneof the demonstrations, protests and campaigns the workers launchedin defence of their rights. The effort invested in Harun Farocki’s WorkersLeaving the Factory in Eleven Decades is a fascinating cinematographicanalysis of more than a century of such episodes as depicted in varousfilms, commencing with La Sortie through to Chaplin’s Modern Times(1936), by way of Fritz Lang’s Metropolis (1927) up to Antonioni’s RedDesert (1964) and onwards. This 12-monitor installation shows that Lu-miere’s short movie already bore the germs of a predictable and criticaldebate, hinging upon the place of the individual in an industrial society.

HARUN FAROCKI has made close to 90 films since 1966, including threefeature films. His work has been shown in international retrospectives andsolo screenings at venues including the Cinémathèque Francaise, the Museumof Modern Art New York and the Austrian Filmmuseum in Vienna. Currently,he is a professor at the Akademie der bildenden Künste, Vienna.

Workers (leaving the factory)


Filmed over a five-day workweek, each of the five takes that compriseSharon Lockhart’s Exit shows the long progression of workers leaving theBath Iron Works at the end of their shift. Each take starts with a titlecard stating the day of the week, and then begins a daily routine thatvaries greatly from day to day. Reminiscent of the original Lumière film,Exit emphasizes the flow of time and the nuances of daily experience.

The films of SHARON LOCKHART have been widely screened at venuesaround the world including the Sundance Film Festival (2009), Cannes FilmFestival (2009) and the New York and Rotterdam International Film Festivals.Her installation works and photographs have been exhibited in solo and groupshows at the Whitney Museum of American Art, the Museum for ContemporaryArt, Tokyo and The Austrian Museum for Modern Art, Vienna, to name a few.She has been the recipient of fellowships from the Guggenheim Foundationand the Rockefeller Foundation. Her films and photographs are housed inpublic and private collections around the world. She is currently associateprofessor at the University of Southern California’s Roski School of Fine Arts

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Workers Leaving the Factory in Eleven Decades


Nancy Davenport’sWorkers (leaving the factory) is a speculative, multi-screen take on labour and globalization, connecting Norwegian workersto their out-sourced Chinese counterparts in a seamless, multi-screenenvironment. At the centre of this moving frieze of animated portraitsis an image of a factory where workers gather at the gates or rocketinto outer space – referencing not only La Sortiebut another iconic work of early cinema, A Tripto the Moon (1902) by Georges Méliès.

NANCY DAVENPORT’s work has been exhibitedat the 2007 Istanbul Biennial, the Kennedy Cen-ter in Washington, the 25th Biennale de SaoPaulo, the 1st Triennial of Photography & Videoat the International Center of Photography inNew York, and at the de Singel InternationalKunstcentrum in Antwerp, among other venues.Her work has been featured in October, Artforum,Art in America, ARTnews, and Flash Art. She iscurrently teaching photography at Cooper Unionin New York.

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FACTORY

La Sortie des Usines Lumière


Workers Leaving the Factory(Dubai)Ben Russell USA, 16mm, 8 min, 2008

A(nother) remake of the Lumière Brothers pseudo-actuality La Sortie desusines Lumière (1895). This time around our factory is a constructionsite peopled by thousands of Southeast Asian labourers, a neo-Fordistarchitectural production site that manufactures skyscrapers like somany cars.

BEN RUSSELL is an itinerant photographer and filmmaker whose workshave screened in spaces ranging from 14th century monasteries to Japanesecinematheques, from police station basements to punk squats, includingsolo screenings at the IFF Rotterdam and the Museum of Modern Art NewYork. A 2008 Guggenheim award recipient, he teaches at the University ofIllinois at Chicago.

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RevueSergei Loznitsa Russia, 35mm on video, 82 min, 2008

As he did with his earlier film Blockade (2005), a re-creation of the WWIIsiege of Leningrad, filmmaker Sergei Loznitsa has once again scouredthe Russian film archives for Revue, selecting excerpts from newsreels,propaganda films, TV shows and feature films that present an evocativeportrait of Soviet life during the 1950s and 1960s.

With scenes taken from the length and breadth of the Soviet Motherland,Revue illustrates industry and agriculture (dam construction, steel plants,Stakhanovite labour competitions, farmland seeded by hand and plowedwith horse), political life (local elections, abundant Lenin iconography,speeches by Khrushchev, the threat of capitalist spies), popular culture(a village choir, a dance troupe, a travelling cinema, poetry readings forworkers, a propagandistic stage play), and technology (space exploration,astronaut Yuri Gargarin, new industrial development).

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The film's flow of disparate scenes representing typical Soviet life of theperiod is, seen from today's perspective, alternately poignant, funny,and tragic. The cumulative impact reveals a life of hardship, deprivationand seemingly absurd social rituals, but one always inspired by a vision,or illusion, of a communist future.

Seen from these dual historical and contemporary perspectives, Revueis both a nostalgic and instructive look back at a communist past thatrepresents social engineering on a grand, and frightening, scale.

SERGEI LOZNITSA studied at VGIK in Moscow. He has made twelve filmssince 1997, most of them produced through the St. Petersburg DocumentaryFilm Studio, which have screened at countless international festivals, winningawards such as the Best Documentary at the Karlovy Vary FF, the Grand Prizeof the International Kurzfilmtage Oberhausen and an Honourable Mention atMedia City 11 (all in 2003) for his film Factory (2002).Loznitsa’s film Blockade screened at Media City 12,and he attended Media City 13 for a retrospectivescreening of his other works. He currently lives inLübeck, Germany.

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Spirit HouseRobert Todd USA, 16mm, 11 min, 2008

A tale of two passages within the Spirit House. A look at the placeswhere we find our spiritual presence augmented, inflamed, or simplyacknowledged.

ROBERT TODD has made more than 40 films and videos since 1985,while teaching at Emerson College and working as a film editor in Boston.His previous films have screened at venues including the “Views from theAvant-Garde” program at the New York FF, the IFF Rotterdam, CinemathequeOntario and at Media City 10 through 14.

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The Sounding Lines AreObsoleteJohn Price Canada, 16mm, 10 min, 2009

A reaction to the dark forecasts... scanning the cosmos in search of lightas my son prepares for the voyage ahead...

JOHN PRICE has made experimental documentaries and diary films since1986. His work has been exhibited at international venues including the IFFRotterdam, Kino Arsenal (Berlin), the “Wavelengths” program at the TorontoIFF and at Media City 13 and 14. He also produces film projections for operaand dance and teaches cinematography in Toronto, where he lives.

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night sideRebecca Meyers USA, 16mm, 4 min, 2008

A side of the universe turned away from the sun.

REBECCA MEYERS is a filmmaker and programmer living in Cambridge,Massachusetts as a 2008-2009 Harvard Film Study Center Fellow. She hasprogrammed film and video works for venues such as the THAW Festival(Iowa City) the Onion City Experimental Film and Video Festival (Chicago)and the Harvard Film Archive. Her own films have screened internationallyat festivals including the Toronto IFF, the London IFF, the InternationalKurzfilmtage Oberhausen and at Media City 9 and 11.

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in die Erde gebautUte Aurand Germany, 16mm, 42 min, 2008

From the groundbreaking ceremony in May 2004 until the opening inFebruary 2007, in die Erde gebaut (“Building under Ground”) follows theconstruction of the new building for the Rietberg Museum, a collectionof art from non-European cultures in Zürich. As the building progresses,the type of work changes from the heavy physical labour of the initialexcavation and pouring of the foundation to the laying of wooden floorsand plastering the walls to the final placement of the exhibits. Thedifferent activities of the workers determine the rhythm of the film.

UTE AURAND studied at the Deutsche Film- und Fernsehakademie, Berlin.She has made more than thirty films since 1985 which have been widelyscreened internationally at venues such as Anthology Film Archives (NewYork) and the Toronto IFF. Since 1989 she has curated numerous film eventsfor Kino Arsenal and Filmkunsthaus Babylon in Berlin, and has held variousteaching positions at universities including the Hochschule der KünsteHamburg and the Hochschule für Gestaltung, Zurich. She lives in Berlin.

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Trypps #6 (Malobi)Ben Russell USA, 16mm, 12 min, 2009

From the Maroon village of Malobi in Suriname, this single-take filmoffers a strikingly contemporary take on a Jean Rouch classic. It’sHalloween at the equator, Lightning Bolt for the jungle set.

BEN RUSSELL is an itinerant photographer and filmmaker whose workshave screened in spaces ranging from 14th century monasteries to Japanesecinematheques, from police station basements to punk squats, includingsolo screenings at the IFF Rotterdam and the Museum of Modern Art NewYork. A 2008 Guggenheim award recipient, he teaches at the University ofIllinois at Chicago.

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Jean-Claude RousseauFrance, selected short works 1984-2008.Screening and discussion with the artist.

Identified by Jean-Marie Straub as one of the three “greatest living filmmakersin Europe”, the French auteur JEAN-CLAUDE ROUSSEAU began working onSuper 8mm in the early 1980s, inspired by the films of Ozu Yasujiro. On 8mmhe created two short works (seen here) and three longer films, including LaVallée Close (1995) which screened at the Locarno FF and won the GrandPrix du Documentaire at the Belfort FF. Countless other venues, including theVenice FF, the Vienalle, the Jeonju IFF, the Centre Pompidou (Paris) and theCineteca Nazionale (Rome) have also presented retrospective or soloscreenings of Rousseau’s works. Beginning in 2002, Rousseau switched toworking in digital video, leading to a more prolific recent output of shorts andseveral longer works, including De son appartement (2007) which won theGrand Prix at FID Marseille. He has published several texts on the films ofRobert Bresson and the aesthetics of the painter Jan Vermeer. He lives in Paris.

"La beauté n'est jamais fictive." – Jean-Claude Rousseau.

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ROUSSEAU

Venise n’existe pas


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Venise n’existe pas (16mm, 11 min, 1984)

If he leaned out of the window, if he made that move at the risk offalling or dropping the camera, if he leaned out to the point of falling,he would see, we would see, beyond the window, the inhabited islands,the churches and the palaces where the boats are moored.

La nuit sans étoiles (video, 18 min, 2006)

Can you tell if yours is a colour or a black and white dream? If yours isa silent or sound dream? If there’s a voice-over or natural sound?

Deux fois le tour du monde (video, 8 min, 2006)

I don’t know why/ I love this world/ where we come to die– Natsume Soseki

301 (video, 18 min, 2008)

Chute des patineurs sur le lac gelé.

Keep in Touch (16mm, 25 min, 1987)

Les régions océaniques verront arriver en soirée un voile des nuagesélevés... Dimanche, nuages et pluies envahiront dans la journéel'ensemble du pays. Temps observé à New York: 7 et -1, neige.

Deux fois le tour du monde


Above: Keep in Touch Below: La nuit sans étoiles


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KalendarNaomi Uman Ukraine/USA, 16mm, 10 min, 2007

Kalendar (a segment of a six-part film entitled Ukrainian Time Machine)is both a chronology of seasonal observations and a record of the film-maker’s assimilation into a new language.

NAOMI UMAN, former private chef to Malcolm Forbes, Calvin Klein andGloria Vanderbilt, traded in her oven mitts for a 16mm film camera and acidresistant rubber gloves several years ago. Her films have screened at venuesincluding The Sundance FF, The IFF Rotterdam,The Guggenheim Museum,The Whitney Museum, The Smithsonian Institute, Mexico City's Museo deArte Moderno and Media City 6. American by birth, she currently lives in asmall village in Ukraine, 30 km from the town of Uman, birthplace of her ownancestors.


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Two Times 4’ 33”Manon de Boer Belgium, 35mm, 11 min, 2008

"In a situation provided with maximum amplification, perform adisciplined action."

"The performer should allow any interruptions of the action, the actionshould fulfill an obligation to others, the same action should not beused in more than one performance, and should not be the performanceof a musical composition." – John Cage

MANON DE BOER studied at the Rijksakademie in Amsterdam. She worksin film, video and sound and also creates CD-rom and internet projects. Shehas had solo exhibitions at the Power Plant (Toronto), the Stedelijk Museum(Amsterdam) and has exhibited in the 2007 Venice Biennale, the 2008Berlin Biennale and in numerous group exhibitions at prominent galleriesthroughout Europe. In 2001 she published the artist book Oscillationsthrough the imprimatur of La Lettre Volée. She lives in Brussels.


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Les ChaisesVincent Grenier Canada (QC)/USA, video, 9 min, 2008

Two weather-worn red vinyl chairs on an outdoor promontory stand aswitnesses to a view. The chairs provide flickering openings, internalviews, into colour fields that quickly forgo a sense of scale. The chairs’standard issue “natural textures” offer their oval screens to natural sun-light as projected through wind-swept tree leaves.

A Québec City native, VINCENT GRENIER has been making experimentalfilms since the early 1970s, after receiving an MFA from the San Francisco ArtInstitute. His films and recent video works have been exhibited at venuesincluding the Centre Pompidou, the Museum of Modern Art New York,Anthology Film Archives and countless international film festivals. His videoTabula Rasa (2004) won 2nd Prize at Media City 11 and he was the subjectof a retrospective screening at Media City 12 in 2006. He lives in Ithaca, NewYork, and is Chair of the Cinema Department at Binghamton University.


Light SpeedKaren Johannesen USA, S8mm, 6 min, 2007

Time as a measure of space. Units of time. Quantum particlesinexplicably simultaneous. Flickers of a shadow, syncopated, a beat,rhythm, pattern repeating. Single frame magnetic force field speedingat the rate of light. Light speed.

KAREN JOHANNESEN studied at the University of Illinois at Chicago. Shehas made eleven films since 2001, all on Super 8mm,which have screenedat venues such as the San Francisco Cinematheque, the Images Festival(Toronto), Anthology Film Archives (New York) and were included in the small-gauge retrospective “Big as Life” organized by the Museum of Modern Art NewYork in 2001. She lives in Chicago.

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GreenpointJim Jennings USA, 16mm, 8 min, 2009

Instead of being a “city symphony,” Greenpoint is a neighbourhood jamsession. In lieu of skyscrapers and Civil War monuments, we see mom-and-pop shops and the detritus of daily life. This film is a frank andloving portrait of a Brooklyn neighbourhood.

Since the mid-1970s JIM JENNINGS has made more than 25 films whichhave screened at venues including the “Views from the Avant-Garde”program at the New York FF, the “Wavelengths” program at the Toronto IFF,the IFF Rotterdam and at Media City 12, 13 and 14. He lives in New York.

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films of Helga FanderlGermany, all films S8mm

Gare d’Austerlitz (3 min, 2008) A rhythmic exploration of an old Parisianrailway station and parts of its architecture.

Luftparade (Air Parade, 3 min, 2007) An interplay between paradingairplanes and helicopters and the camera eye.

Kakibaum im Winter (Kaki Tree in Winter, 3 min, 2008) Evocation of amarvelous tree whose fruit is ripe when the leaves are gone.

Große Kaskade (Big Cascade, 0.5, 2008) Twenty dreamlike seconds ofblue; a baroque fountain whose water is flowing down huge steps.

Lichttempel (Temple of Light, 2 min, 2008) Blinded by Mediterraneanlight, the metamorphosis of a Doric temple dedicated to the god of fire.

Pfosten im Fluss (Piles in a River, 1 min, 2007) Old rotten piles thatonce bore a landing stage stand like enigmatic ruins in the Hudson River.

Jardin tropical im Frühling (Tropical Garden in Spring, 3 min, 2007)Architectural and natural elements of an old tropical garden.

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Schmetterlinge


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Wassertanz I (Dance of Water I, 1.5 min, 2007) Water dancing in the suntransformed into a sort of abstract film painting, full of gestures.

Pflanzen (Plants, 1 min, 2007) Close-ups of plants on a terrace creatingrhymes of colours, structures and light.

Zora schaukelt (Zora Swinging, 1 min, 2007) A little girl in a red dress,on a red swing, under a green tree.

Schmetterlinge (Butterflies, 3 min, 2007) On the difficulty and enthusiasmof filming butterflies in a museum of natural history.

Kirche in Bernui (Church in Bernui, 1.5 min, 2007) The colourful interiorof an old village church in the Spanish Pyrenees.

Nach dem Feuer II (After the Fire II, 3 min, 2008) The transformingpower of fire in the vestiges of a ruined taxidermy shop.

HELGA FANDERL studied at the Stadelschule Frankfurt and at Cooper Union.Her films have been screened at venues including the Deutsches Filmmuseum,Kino Arsenal, Anthology Film Archive and the Centre Pompidou, and are heldin collections including those of the Museum für Moderne Kunst (Frankfurt) andthe Louvre. She was the subject of a retrospective at Media City 13 in 2007.She lives in Paris and Frankfurt.

Jardin tropical im Frühling


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Trilogy, Kettle’s YardJayne Parker England, 16mm on video, 25 min, 2008

Linear Construction, Woman with Arms Crossed and Arc form a trilogy offilms set in Kettle’s Yard, University of Cambridge, featuring cellistAnton Lukoszevieze. These films are documents of musical performance:respectively, “Recitation” (1980) by Georges Aperghis, “Sensitivo, perarco solo” (1959) by Sylvano Bussotti and “Raimondas Rumsas” (2002)by Laurence Crane. They include art objects from the Kettle’s Yardcollection, opening up metaphorical space and meaning.

JAYNE PARKER studied at Slade School of Art, London. She has made twodozen films since 1979. Her earliest films were minimally animated drawings,illustrating cryptic feminist narratives. More recently she has embarked on aseries of films ( e.g. Stationary Music [2001] and Catalogue of Birds [2006])engaged with the work of 20th century composers such as Stefan Wolpe andOliver Messiaen. Her films have been exhibited at venues including the TateModern and the ICA in London and at international festivals including theJeonju IFF, IKF Oberhausen and Media City 12 and 13. She lives in London.


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16 – 18 – 4Nishikawa Tomonari Japan, 35mm, 2.5 min, 2008

This film was shot using a still camera with sixteen lenses which takes aseries of sixteen pictures in 1.5 seconds, fitting onto two normal frameareas. The film depicts the Tokyo Racecourse during its biggest annualevent, the Tokyo Derby. Each race lasts two minutes, thirty seconds.

NISHIKAWA TOMONARI earned an MFA from the San Francisco Art Institutein 2006. Since 2001 he has made a dozen films which have screened atvenues including the “Views from the Avant- Garde” program at the NewYork FF, the IFF Rotterdam and Media City 12 and 14. He lives in Tokyo.


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Iris OutSimon Payne England, video, 10 min, 2008

A video composed of single frames from sequences of expanding orcontracting irises, reformatted for different aspect ratios. In the middleare rows incorporating nine contrasting sequences of six differentcolours and tones in alternating combinations. At stake is the relationbetween the edges of planes and the shape of the screen, as well as theway in which colour fields are reproduced by the eye and brain, affectingperception.

SIMON PAYNE studied at the Royal College of Art, London. His video workshave been exhibited at ExIS (Seoul) the IFF Rotterdam and the Tate Modernand Serpentine galleries in London, among other venues, and are discussedin Nicky Hamlyn’s book “Film Art Phenomena” published by the BritishFilm Institute in 2003. He lives in London and teaches at Anglia RuskinUniversity in Cambridge.


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Wagnerischer LichtungHenning Lundkvist Sweden, video, 30 min, 2008

Extracts from Richard Wagner's autobiography as well as from hisopera "Tristan und Isolde" (1859)- The composer’s experience anddescription of the 1849 revolution attempt in Dresden set against thesecret nightly meetings of his heroes; the “enlightening” gaze of historyset against the twilight in which its possibilities still slumber.

HENNING LUNDKVIST is a sound and audiovisual artist based in Malmö.His work has been performed or presented at international venues includingWhite Space (Zürich), Ausland (Berlin) and Cobra (Buenos Aires). He hasreleased several CDs, CD-rom and vinyl discs on Inaktiverlag, EconomicThought Projects, Komplott and other labels. Since 2007 he has been curatorof the “Audiotrium” series at the Teatr Weimar in Malmö and he is also thefounder of Radiowy.se, a web-based forum for radio plays and sound art.


XXXBruce McClure USA, 3 x 16mm, 15 min, 2008

BRUCE McCLURE is an architect, licensed to practice in New York in 1992.In 1994 he began working with stroboscopic discs as an entry to cinematicpursuits. Since 1995 his film and projector performances have been exhibitedat numerous international venues including the IFF Rotterdam, the “Viewsfrom the Avant-Garde” program at the New York FF and at Media City 8 through14, winning the festival’s Grand Prize in 2006. He lives in Brooklyn.

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SEERI PPL ESOFL IGHTSTI RREDANDCHI MEDBYSI LVERWAVERL INGS. In no particular order: Julia Sosnovskaya at the St. Petersburg Documentary Film

Studio, Angelika Ramlow at Arsenal Experimental (Berlin), Marie Logie at Auguste

Orts (Brussels), Ina Rossow at Deckert Distribution (Leipzig), Sencer Vardarman at

Mondaynews (Berlin), Katalin Vajda & Márta Bényei at Magyar Filmunio (Budapest),

Theus Zwakhals at Netherlands Media Art Institute (Amsterdam), Mike Sperlinger at

LUX (London UK), Alexandra Querrec at Capricci Films (Paris), Matthias Rajmann at

Harun Farocki Filmproduktion (Munich), Clay Lerner at Lockhart Studio (Los Angeles),

Alexandra Gaty and Renée Martin at Blum & Poe (Los Angeles), Ruth Phaneuf at

Nicole Klagsbrun Gallery (New York), Karim El Khettabi-Shimsal at Indielisboa

THANKSNOTES

(Lisbon), Gretchen at PDX (Portland OR), Lori Fried at Icarus Films (New York), Madeleine

Molyneaux at Picture Palace Pictures (New York), Andrew Lochhead at the Workers Arts &

Heritage Centre (Hamilton), Martin Stiglio at the Istituto Italiano di Cultura (Toronto), Scott

McLeod & Jayne Wilkinson at Prefix Photo (Toronto), Pablo de Ocampo, Scott Miller Berry

& Rebecca Gimmi at the Images Festival (Toronto), Andréa Picard at Cinematheque

Ontario/TIFF (Toronto), Andrei Gravelle at TIFF (Toronto), Robin Ginsburg (Brooklyn), Ralph

McKay at Sixpack Film Americas/Filmbank (Marfa TX), Claartje Opdam at Filmbank

(Amsterdam), Gerard Holthuis at Filmstad (Amsterdam), Julie Leclerc at the Ontario Min-

istry of Culture (Toronto), Larissa Fan at CFMDC (Toronto), Marcos Ortega at ExpCinema,

Patrick Friel (Chicago), Nadja Pelkey (Guelph), Chris Toner at the Canada Council for the

Arts, Mark Haslam at the Ontario Arts Council.

Locally: Chris Blais at the University of Windsor School of Visual Arts, Garth Rennie and

Michael Darroch at Communications Studies, University of Windsor; James Patten, Gilles

Hebert, Tony Mosna, Marty Hunt, Cassandra Getty, Sandra Wong, Nicole McCabe and

Mary Anne VanWatteghem at the Art Gallery of Windsor, Otto Buj and Mark Boscariol from

WIFF, Karl Jirgens and Stephen Pender at the English Dep't, University of Windsor, Brent

Lee at the University of Windsor School of Music, Stephen Hargreaves and John Doherty at

WAMM, Hugh Barrett at the Windsor Community Museum, Utsy Hadaro at the Arts Council

of Windsor and Region, Ron Drouillard and Brandy at the Windsor Worker’s Action Centre,

Nicole Macdonald and Robert Andersen at the Detroit Film Center, Brandon Walley at Y

Arts and Detroit Projection Project, Keith and Sarah at Klever design (Detroit), David, Vicki,

and Stephen at S. Funtig & Associates, Mary Baruth at the City of Windsor, Dan Bombardier

at Printworx, Adam Fox at CJAM radio, Frank and Tom at Phog, Thomas McDonald the

FedEx guy, Bob Williams and Amanda Gellman at RJ Williams and Associates, Grace Manias,

Jackie Fitzgerald, Peggy Dorner, Elaine Weeks, Chris Mangin, Steve Daigle and anyone we

forgot. Extra thanks to all hardworking volunteers whose names were not available at press

time and to those who graciously opened their homes to billet visitors.

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

Running times are rounded to the nearest half minute. Names of Japanese artists

are given as family name first, given name second. The work of Jean-Claude

Rousseau, Harun Farocki and Robert Fenz is exhibited out of competition.


DISTRIBUTIONSOURCES

films of Kevin J. Everson: Picture Palace Pictures, New York.Sarah Ann (Pim Zwier) and #37 (Joost Rekveld): Filmbank, Amsterdam Kempinski (Neil Beloufa): Montevideo/NMAI, AmsterdamThe Unseen (Pavel Medvedev): St. Petersburg Documentary Film StudioLost World (Gyula Nemes): Magyar Filmunio, Budapest12 Explosions (Johann Lurf): Sixpack Film, ViennaOrigin of the Species (Ben Rivers) & Trilogy, Kettle's Yard (Jayne Parker):Lux, London UKExit (Sharon Lockhart) courtesy Blum & Poe, Los AngelesWorkers (leaving the factory) (Nancy Davenport) courtesy NicoleKlagsbrun Gallery, New YorkRevue (Sergei Loznitsa):Icarus Films, New Yorkin die Erde gebaut (Ute Aurand): Arsenal Experimental, BerlinVenise n'existe pas and Keep in Touch (Jean-Claude Rousseau):Capricci Films, ParisTwo Times 4'33" (Manon de Boer): Auguste Orts, Brussels

All other films and videos courtesy the artists.


Media City 15 catalogue

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Transcript of Media City 15 catalogue