Outre-vie/ Afterlife 14 avril – 16 juin 2018
April 14 – June 16, 2018Raymonde April, Jessica Auer, Jacques Bellavance, Velibor BoĹľoviÄ‡, Gwynne Fulton, Katie Jung, Jinyoung Kim, Lise Latreille, Celia Perrin Sidarous, Marie-Christine Simard, Bogdan Stoica, Andrea Szilasi, Chih-Chien Wang
articule is pleased to present SAVACâ€™s Monitor 12:Â Figures Pointing Outside the Frame, a video program co-curated by Toronto-based curator/artist Oliver Husain as well as Jakarta-based programmers at ARKIPEL International Documentary and Experimental Film Festival, Otty Widasari and Yuki Aditya. Following Monitor 11â€™s programÂ These Monsters are Real, this marks the second year that SAVAC invites a local curator to collaborate with international curator(s).
Figures Pointing Outside the FrameÂ presents works that consider the peripheries of the image and the content within as equally significant. Whether film, video, or a still image, the technology dictates the parameters of the frame. Decisions an image-maker makes regarding the composition, duration, performance, and location further contribute to a viewerâ€™s experience. Collaboration is formed between the technology, image-maker, and subjects- though this collaboration is often expanded with elements, situations, and conditions beyond that which is scripted. In this way, the program advocates for the viewer to consider the environmental, labour, historical, economical, gendered, and social conditions that influence the constructed experience.
The screening will be followed by a discussion betweenÂ Indu Vashist,Â SAVAC Executive Director,Â andÂ Nazik Dakkach, articule Board member.
articule’s gallery and washroom are partially wheelchair accessible.
The Post Image ClusterÂ would like toÂ congratulate Concordia MFA Graduate, Aanchal Malhotra on her bestselling book ‘The Remnants of a Separation’.
“Remnants of a Separation is a unique attempt to revisit the Partition through objects that refugees carried with them across the border. These belongings absorbed the memory of a time and place, remaining latent and undisturbed for generations. They now speak of their owner’s pasts as they emerge as testaments to the struggle, sacrifice, pain and belonging at an unparalleled moment in history. A string of pearls gifted by a maharaja, carried from Dalhousie to Lahore, reveals the grandeur of a life that once was. A notebook of poems, brought from Lahore to Kalyan, shows one woman’s determination to pursue the written word despite the turmoil around her. A refugee certificate created in Calcutta evokes in a daughter the feelings of displacement her father had experienced upon leaving Mymensingh zila, now in Bangladesh. Written as a crossover between history and anthropology, Remnants of a Separation is the product of years of passionate research. It is an alternative history of the Partition – the first and only one told through material memory that makes the event tangible even seven decades later.” Amazon
The Post Image Cluster is pleased to present an artist talk byÂ Dana Claxton. Join us 12pm to 1pm, Thursday, Oct 12th, 2017, in the Milieux Resource Room, 11.725, 1515 Saint-Catherine St W. For more details, click here.
Dana Claxton is a critically acclaimed exhibiting artist and film/videomaker. She is recognized as a leading Lakota First Nations contemporary artist and cultural liaison in Canada and the United States. She works in film, video, photography, single and multi channel video installation and performance art. Her practice investigates beauty, the body, the socio-political and the spiritual. Her work has been shown and collected internationally. She has received numerous awards including the VIVA Award and the Eiteljorg Fellowship. She is an Associate Professor in the Department of Visual Art, Art History and Theory at the University of British Columbia.
Claxton was born in Yorkton Saskatchewan and her family reserve is Wood Mountain, Lakota First Nations located in Southwest Saskatchewan.Â Her paternal Euro-Canadian Grandmother taught her how to harvest and preserve food and her maternal Lakota grandmother taught her to seek justice.
Â â€śDana Claxtonâ€™s work is aesthetically innovative, brilliantly written and expertly paced. The thrust of her practice is political, spiritual and social, making it an essential contribution not only to the field of media art, but generally, to a more honest sense of history.â€ť Jason St. Laurent, 2002