Yvonne Rainer’s career in many ways runs parallel with the concerns that we expect to trace over the course of this four-day Congress. Trained as a dancer, Rainer moved into filmmaking in the 1970s and then further branched out into video and most recently back to choreography. Through these shifts, her work has retained a constant focus on formal experimentation, the expressive possibilities of the body and an ongoing engagement with political and feminist thought. In conversation with filmmaker John Greyson, Rainer will trace her work as it has developed over the years and reflect on what it means to move through one medium to another. Open to non-registrants, $10 general, $5 students, Images Festival members.
This panel explores the artist’s relationship to the status of the medium in an increasingly interdisciplinary world. Within the last decade, the proliferation of digital intermediation and a continuing movement toward the dissolution of the art object have raised the question of whether the category of “medium specificity” continues to hold significance. In the age of what Rosalind Krauss has termed the “post-medium condition,” does the medium still matter? And how can we talk about medium specificity without resorting to essentialist qualities of its material support: Celluloid, projected light, bits, bytes, pixels?
This session examines experimental media as inscriptions of history. How do art works express, reflect, document or intervene in the aesthetics, ideas, politics–the critical elements–of an historical conjuncture? How might they serve to keep histories alive and help shape public perceptions and memories? What are the pedagogies of knowing and remembering? Listen: Part 1: Part [...]
Artists presenting elsewhere at the Images Festival will talk about their work. Discussion will include the process of making, their relationship to historical moments and the development of new forms. Listen: Part 1: Part 2: Part 3: Part 4: Part 5: Part 6: Part 7:
India has produced a burst of experimental media in the last decade, inspired in part by the rise of festivals like Experimenta in Mumbai and Bangalore. This field report will focus on recent production in India, as well as contextualizing the scene in which it is made. Listen: Part 1: Part 2: Part 3: Part [...]
Catch the bus up to York University to see the projects being developed in the Future Cinema Lab, including a new research component on three-dimensional cinema for experimental artists.
BUS PICKUP/DROP OFF in front of the Ontario College of Art and Design (OCAD).
All Congress registrants are invited to bring a short work to show at one of two late night screenings at the Music Gallery (197 John Street, Toronto). MiniDV, DVD, 16mm or Super 8. First come, first shown ‘til last call.
Attendance is open to non-registrants.
Moving images have been a mainstay of galleries for half a century. Discussants with backgrounds in a wide range of interdisciplinary programming examine questions regarding the increasingly complex world of the gallery, of presentation formats and settings. Have the lines between artforms blurred, have audience expectations shifted, how have these phenomena altered curatorial practice? Do moving images necessarily imply the cinematic? How easily does expanded cinema manage to shuttle between the white and the black box or the public space outside either one of these more traditional venues? [...]
This session explores the changing face of documentary, as those strategies and formal structures migrate from the cinema into galleries and museums. Just as the modes of production change, so do the particulars of how a film is viewed. Expanding on some of the general formal concerns addressed in the Cinematic Enters the Gallery roundtable, this session focuses the discussion on the place non-fiction practice has within the context of contemporary art. [...]
What is the interface in the age of the digital? Technology itself has long been an important locus of experimentation for media artists. Refiguring and rearticulating the technological experience is often the by-product, if not the intention, of much electronic media art. It is an approach that in its most compelling forms subtly rearticulates questions about the politics of technology away from macro-social questions of politics and policy towards consideration of the design and organization of technological artefacts themselves. [...]
An open screen for non-time dependent media (websites, slide documentation and new media projects).
A chance to catch up on what we’ve missed: ideas that were raised but had no proper airing or thoughts that have been lost in the shuffle. Open floor! Listen:
Night two of visual treats from participants.
The archival preservation of experimental film and media has increased dramatically in the last decade even as archivists juggle the increasing obsolescence of everything from film stocks to video monitors to computer software and hardware. [...]
An undercurrent of the preparations for this Congress, when compared to the 1989 Experimental Film Congress, has been a sense of the degree by which aspects of experimental media have become institutionalized. They have been institutionalized through mythologizing; through economic support (both through public funding and commercial models); through academic research; and through preservation and historicization. [...]
Barbara Hammer launches her first book with a reading from “Hammer!”, a memoir tracing her life and practise through its many twists and turns. Come early for a performance of her piece, Available Space, first presented in Toronto in 1979!
This session responds to the renewed interest in artist collectives and community in a period described by critics as increasingly fractured and isolated, on the one hand, and increasingly interconnected and global, on the other. This session includes artists and organizers from collectives that focus on celluloid film technologies, as well as artists from collectives whose practice spans a variety of media forms and discursive practices. What does this phenomenon indicate about the current status of the artist? Where does the return of the collective point us?
The term “Raiding the Archive” speaks to the tendency of experimental film, video and media artists to interrogate and transform the materials constituting the moving image archive through the deployment of a diverse arsenal of rhetorical and aesthetic strategies. For this panel, we have invited artists working with archival materials to discuss past projects and the direction of their current work. These artists have taken unorthodox approaches toward the archive, transforming it from a static storehouse of historical memory into malleable databanks to be interrogated, reconstituted and even invented.
Seoul is currently experiencing an explosion of experimental media activity that has begun to receive international notice thanks to organizations like EX-iS and Space Cell and a large number of new post-secondary media art programs. This field report will present some of the work coming out of Seoul, with a special emphasis on the scenes that have had hands in creating it.
One final look at the 2010 Experimental Media Congress, with preparations for the 2012 Congress in Berlin. Three respondents share their views on what has been discussed and what questions we can pose for the future. Listen: Part 1: Part 2: Part 3: Part 4: Part 5: