| March 7th 2008 | (613) 238.7648 | SAWVideo.com |
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SAW Video Newsletter for !*FIRST_NAME*! !*LAST_NAME*!
SAW Video News:
DIRECTOR'S
NOTES
ANALOGUE
SCREENING SERIES
ANALOGUE
PANEL DISCUSSION
UPCOMING
WORKSHOPS
Also in this issue:
UPCOMING
FESTIVAL DEADLINES
CALLS
FOR SUBMISSION
SCREENINGS
AND EVENTS
OTHER
SAW VIDEO NEWS:
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On March 14 to 16, SAW Video and the Ottawa Art Gallery are co-presenting ANALOGUE: Pioneering Video from the UK, Canada and Poland. This screening series comes to us from Vtape in Toronto and is a fantastic opportunity to see historic video art work. Screenings take place in the Arts Court Theatre and admission is free, so please come check it out! Also in association with Analogue, on Sunday, March 16th from 2-4pm, there'll be a panel discussion with the curator of the Canadian program of ANALOGUE, Peggy Gale, artist Tom Sherman, and media art educator Richard Fung. The panel will be moderated by James Missen. More great video programming follows at the end of the month. On Thursday March 27th, SAW Video is pleased to present the first presentation of Feedback, our new series spotlighting the work of local artists pushing the medium of video. The artists spotlighted in March will be Ryan Stec and Phil Rose. More details to follow. And also that weekend, SAW Video will be the toast of the town in Montreal! Two programs of work by SAW Video artists will be presented at the Cinematheque Québecoise on March 28th and 29th. Check out: http://www.cinematheque.qc.ca/affiche/projections.html#28. Finally, also in this newsletter, we're announcing two advanced workshops coming up in May - an Advanced Avid Adrenaline workshop with Ed Folger and The Art of Lighting with director/DOP Anthony Seck. Check them out! Penny McCann
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As part of Analogue: Pioneering Video from the UK, Canada and Poland (1968-88), OAG, SAW Video and Vtape have organized a panel discussion concerning early artist video in Canada. Please join us and our distinguished panelists for a lively exchange concerning video's place in Canadian art history.
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day-Introduction to Final Cut Pro Sun
March 30th, 2008 Learn the basics of FCP from A to apple Z! This 2 day course will cover all steps of the process from setting up a project and capturing from a dv device, to using the timeline based interface, and outputting back to dv. Day 1 of the workshop will focus on a complete overveiw of the FCP software demonstrated by the instructor. Day 2 of the workshop will be hands on for all participants to practice editing a brief sequence under the supervision of the instructor. This workshop includes 3 hours of practice time which may be booked with the Technical Coordinator according to availability. Workshop is limited to 6 participants. On day 2 participants will be seated in pairs at each editing workstation. Deadline for registration is Monday February 18th, 2008 Instructor: Ryan Stec Ryan Stec is an artist and curator who's work deals with the idea of plurality in audiences experience of media. He started the Remix project(artengine.ca/remix) in 2002 with co-curator Anne Clarke, and it has become a popular local commissioning program producing over 30 new works from local video artists. He has also recently completed a residency at Platform Gallery (www.platform.fi) in Vaasa, Finland where he curated a program of nordic media art which was presented as a performance where the work was remixed in a live context. Members
$125.00 Deadline
for registration is Monday March 24th, 2008 ---------------------------------
2-Day
Introduction to Video Production On the first day of the workshop, participants will receive basic instruction on SAW Video's prime 3-chip HDV and Mini DV cameras -- such as the, Sony Z1U and V1U and the Panasonic AG-DVX100. Participants will be introduced to three point lighting and dealing with power on location. A variety of mics will be used and their applications will be discussed. Day two of the workshop provides the added opportunity for more hands on time and instruction. Shooting exercises will be indoors and outdoors (weather permitting) simulating varying conditions and situations. WORKSHOP LIMITED TO 6 PARTICIPANTS Deadline for registration is Monday April 14th, 2008 Instructor: TBD Members
$125.00
2-Day
Introduction to Avid Xpress Editing Sun
April 27th, 2008 The course will cover all steps of the editing process from setting up and capturing from a DV device, using the timeline based interface, and outputting back to DV or exporting for the web. Day One of the workshop will focus on a complete overview of the Avid Xpress software demonstrated by the instructor. Day Two of the workshop will be hands on for all participants to practice editing a brief sequence under the supervision of the instructor. Depending on the size of the class, participants on Day Two may be seated in pairs at each editing workstation. This workshop includes 3 hours of practice time which may be booked with the Technical Coordinator according to availability. Workshop
is limited to 6 participants. Instructor: Jacob Hanna Members
$125.00 --------------------------------- Sun
May 11th, 2008 This 2-day hands on intensive intermediate workshop will focus on the art, aesthetics and techniques of commercial and feature film lighting. Expand your skills of manipulating and controlling the quality, direction and quantity of light in order to create a great mood and look for your project. Participants will gain hands on experience with SAW’s versatile Arri kits, and lowell kits as well as a chance to use HMI’s, Fresnels, Kino Flo kits, and industry quality Flags and Silks - all donated to us for use in this workshop by our friends at Cinequip White. Previous experience and basic understanding of lighting for DV production is a required prerequisite for this workshop. Limited
to 6 participants. Book early, this workshop will fill up fast! Instructor: Anthony Seck After graduating from film school in the early 90’s, Anthony began producing and directing music videos for his friend's bands, winning awards at Canada's MuchMusic for his quirky narrative concepts and poppy style. Several of his music videos have played like short films, appearing in several festivals including The New York Underground Film Festival, The Toronto International Film Festival and the Los Angeles Independent Film Festival. Artists he has worked with include; Feist, Tom Noonan, Broken Social Scene, Stars, Tom Green, Amy Millan, Kinnie Starr, Black Rebel Motorcycle Club, Sam Roberts, Ted Nugent, Ron Sexsmith, and The Be Good Tanyas. He has currently completed his first independent narrative short film Mercy Seed, starring Tom Noonan (Manhunter), and Deirdre Smith. A rural tale in the spirit of Sam Shepard, about a pig farmer who goes out on the road to confront an abusive trucking company. The film was shot in 35mm color, 1:85 aspect ratio and is 27 minutes in length. Anthony works as a Producer, Director, and Director of Photography. He specializes in HD greenscreen photography, shooting with both the Panasonic and Sony Vari-cams, as well as all film and video formats including HD, MiniDV 24p., 8mm, 16mm, Super 16mm and 35mm. Members
$75.00
Thu
May 15th, 2008 If you’ve been cutting with Avid Xpress and are wondering what the advantages might be or if you've been using the Adrenaline and now want to move on to more advanced techniques with it, then this workshop is for you! This two part evening workshop will provide both demonstrative and hands-on instruction to increase your efficiency with and knowledge of the Adrenaline. Come prepared with your questions. Topics covered will include:
….and much more…. This workshop comes with 3 hours of practice time which can be booked with a technical staff based on availability. Workshop is limited to 4 participants. Deadline for registration is Monday May 12th.
Edward Folger studied physics at Columbia University in New York City but opted to become an artist rather than a scientist, after becoming depressed by Gödel's Incompleteness Theorem. He has worked as a writer/director, still photographer, cameraman, and editor; apprenticed in feature films with John Cassavettes, Alain Resnais, Milos Forman, and others; wrote and directed a film for PBS in the Canadian Arctic (1975); and discovered the Inuit to be most amazing people on earth. He moved to Baffin Island to teach and produce the earliest Inuktitut TV programming and used all his skills in the struggle for Inuit land claims and the establishment of the Nunavut Territory. He moved to Ottawa in 2004. Members
$60.00 |
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Video Pool 2008 / 2009 (Winnipeg) Video
Pool invites submissions pertaining to the theme Resistance for the
2008/09 programming season. Resistance is a movement, a position, an
attitude, and a measure. It is an individual or collective response.
It can be political, or it can relate to physical properties of the
known universe. It concerns citizens. It concerns artists. It concerns
that which is local as well as that which is global. It is about forces,
agency, strategy, play, and subversion. It is an argument. It seeks
change, or it fights to stay the same. It mobilizes. It is unconscious.
It is a side effect. It is intentional and affirmative. Video Pool’s
2008/09 programming season will include two programs specifically focused
on new media performance and single channel film and video that resist
conventional thinking and/or assumptions about what constitute video
and new media art practices, and possibly the environs within which
they take are expected to place. Please send submissions to: Programming
Committee, c/o Video Pool Media Arts Centre, #300 – 100 Arthur
St., Winnipeg, MB R3B 1H3 Canada.
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NFB
- DOC AGORA ONTARIO CONVERGENCE LAB
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DOC Agora Ontario, in partnership with the National Film Board of Canada, invites mid-career to experienced documentary and new media producers to submit applications to the inaugural NFB DOC Agora Ontario Convergence Lab. NFB DOC Agora Ontario Convergence Lab will guide eight participants through a process with the goal of extending creative documentary concepts into the digital realm. It will provide a thorough understanding of the interactive funding landscape and present guidelines in how to develop effective proposals for funding agencies and new media production partners. The Convergence
Lab incorporates skills-based
training, mentorships and
panel presentations from leading experts in
cross-platform production to
create a boot camp in interactive production for
the documentary filmmaker.
The Program The
Lab: First Step (April 11th-12th) - Overview
of production roles on interactive projects The
Incubator (April 13th 17th) Design
Day & Presentations (April 17th) The
Incubator (April 18th 22nd) The
Hot Docs Presentation
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SAW
GALLERY: WA, TEMPORARY SURFACE
GALLERY
101: FUNLAND ARCADE
THE
REEL FOOD FILM FESTIVAL
DRUNKEN
MASTER REVUE PRESENTS: "BLACK BELT JONES"
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WA, surface d'autonomie temporaire Exposition organisée et mise en circulation par CULTURESFRANCE et présentée par la Galerie SAWGallery avec l'appui de l'Ambassade de France au Canada Artistes
: Ivan Fayard (Paris), Olivier Millagou (Bandol) + Bruno Peinado (Douarnenez) Lieux : Galerie SAW Gallery + Club SAW (67, rue Nicholas, Ottawa) Dates : Du 13 au 29 mars 2008 (deux peintures murales seront permanentes) Fête d'ouverture : Le jeudi 13 mars de 20 h à 2 h. En présence des artistes Ivan Fayard et Olivier Millagou. Contributions volontaires. Musique avec le djBEARwitness (Ottawa). Vin offert par l'Ambassade de France. Galerie
SAW Gallery Directrice
:Tam-Ca Vo-Van, sawgallery@artengine.ca WA, surface d'autonomie temporaire par Anne Roussel et Pascale Samuel Ni feuille ni toile ! Depuis quelques années, la peinture et le dessin échappent au cadre pour préférer des surfaces d'intervention plus vastes. S'attaquant directement aux sols, aux murs ou aux plafonds, les artistes explorent une nouvelle utilisation de l'espace. Ils varient les échelles et les formats, composent des allers-retours entre le détail et le monumental. Cette pratique intervient au croisement de plusieurs domaines : peinture murale traditionnelle, expression urbaine ou encore héritage des procédures conceptuelles. Les emprunts aux arts décoratifs, au design, les références à l'Op Art, au Pop, au cinéma et à la littérature se croisent dans ces ouvres décloisonnées, symboliques du bouillonnement de la jeune scène française. Récemment, plusieurs expositions ont témoigné de cette évolution - en France, l'on citera ainsi Urgent Painting en 2002 au musée d'Art moderne de la ville de Paris, Lee 3 Tau Ceti Central Armory Show à la villa Arson de Nice en 2003 et, la même année, Mursollaici au Centre culturel suisse de Paris. WA est une exposition de peinture murale contemporaine, mais pas seulement. Seize artistes - Virginie Barré, Simon Bernheim, Stéphane Calais, Stéphane Dafflon, Philippe Decrauzat, Pauline Fondevila, Ivan fayard, Édouard Levé, Philippe Mayaux, Mathieu Mercier, Olivier Millagou, Petra Mrzyk et Jean-François Moriceau, Bruno Peinado, Guillaume Pinard, Lili Reynaud Dewar - proposent une ouvre qui pourra être réalisée par eux ou par un tiers. WA mène une réflexion sur l'exposition comme mode de diffusion, prolongeant une expérience comme Do It initiée en 1995 par Hans Ulrich Obrist. L'exposition WA pousse davantage la logique d'occupation et de ramifications à l'ouvre dans la peinture murale contemporaine en proposant aux artistes invités un terrain de jeu éclaté aux quatre vents. Au fur et à mesure que ses propositions se matérialiseront en différents sites, WA donnera naissance à un réseau. WA ne se transporte pas mais se transfère. La délégation à des étudiants d'école d'art pour la réalisation des projets regroupés ici s'impose comme un moyen privilégié : transfert de communication, transfert de culture. Chaque artiste offre une interaction avec la pièce originellement conçue. Il ouvre différentes latitudes aux étudiants. Les réalisations constitueront une exposition mouvante dans l'espace et dans le temps, qui s'adaptera à tous les lieux et offrira un support à l'organisation d'événements, de rencontres, d'ateliers et de conférences. À rebours, c'est sous la forme d'un catalogue que se présente d'abord WA. Tout en offrant un panorama de la jeune scène française, des travaux et du parcours de chacun, le présent ouvrage est le premier vecteur de l'exposition. Il regroupe les instructions permettant la réalisation des ouvres. Avec ses fichiers informatiques, ses rhodoïds, ses diapositives et ses patrons, la boîte envoyée aux partenaires de l'exposition est le seul compagnon matériel de l'expérience. Boîte en valise, camouflée en carton à pizza, elle est un outil de transmission. Modulable, WA se déploie à partir d'une ou de plusieurs interventions dans un espace unique ou morcelé. Modulable, WA est à chaque fois différente, nourrie de ses précédents et déjà changée par ses futures apparitions dans un cadre aux frontières sans cesse repoussées. Toutes ces ouvres existent à l'état de projet, pour les réactiver, la métaphore musicale s'applique, il s'agit d'ouvres à partition. Les instructions de l'artiste, ses consignes écrites, ses schémas permettent de jouer et de rejouer chaque projet en fonction des caractéristiques des lieux d'exposition. L'artiste peut en être l'interprète, mais la matérialisation de son projet peut aussi être déléguée. À l'occasion de chaque exposition, il s'agit nécessairement de rejouer la pièce, de réinterpréter la partition tout en respectant les instructions plus ou moins strictes laissées par les artistes. À côté de l'espace de liberté laissé dans l'adaptation de chaque ouvre aux lieux d'exposition, un ensemble de règles du jeu a été établi pour que l'intégrité de l'ouvre soit respectée. TOURNÉE INTERNATIONALE Palais
de Tokyo, Paris BIOGRAPHIES DES ARTISTES Les distinctions constituent un fondement décisif des déclarations picturales d'Ivan Fayard. Dans des séries distinctes, il poursuit des stratégies aux frontières de la peinture en dépouillant le contexte pictural de toute marque de l'artiste, en faisant la démonstration d'une composition négligeant le sujet. Ivan Fayard multiplie les procédures et les recherches simultanément à des investigations portant sur l'image et la représentation. Les hiérarchies sont mises en cause lorsqu'il flâne en périphérie de la peinture. Lui-même se reflète dans les facettes les plus diverses de ce médium lorsqu'il se révèle dans la mise à l'épreuve de ses différentes stratégies. L'ouvre d'Olivier Millagou se pose depuis son origine comme une vaste entreprise de relecture du réel et de falsification des codes et des images qu'on y rattache. Faisant siennes des séries de motifs issues de la culture populaire la plus vulgaire (personnages de BD ou de dessins animés, imagerie liée au surf ou à la musique rock, cartes postales touristiques...), il s'empare des mythologies personnelles et de leurs réminiscences pour en proposer, sous des formes variées (dessins, cartes postales, « drawing pins »...), des visions à la fois lisses et saturées où le naturel immédiatement identifiable ne peut manquer de soulever la question du souvenir et de son devenir. Ainsi de ses « drawing pins » - vastes compositions murales effectuées avec des punaises dorées - avec lesquels Olivier Millagou réécrit des épisodes de fiction en inscrivant avec cette technique leur caractère évanescent dans notre réalité. Les protagonistes sont souvent connus (Goldorak ou Kelly Slater, Captain America ou ZZ Top), mais l'artiste devient scénariste d'une histoire existante à laquelle il donne un autre point de vue, rajoute un épisode, tout en s'autorisant des clins d'oil délicieusement grinçants comme lorsque des noms de groupe de rock dégoulinent sur le mur. L'usage des punaises brillantes, qui accrochent la lumière comme elles pourraient accrocher des souvenirs, lui permet de jouer des contrastes qu'il affectionne : « un univers sombre dans le monde clinquant du business et du show-biz ». Bruno Peinado puise dans un vaste répertoire de formes, symboles et autres slogans pour se défaire de toutes logiques de pureté. Ses ouvres sont des fragments d'un paysage fait d'emmêlements et de glissements. S'il peut de prime abord rappeler l'esthétique et le projet « pop » des années 1960, par la confusion qu'il propose entre haute et basse culture dans le cadre des arts plastiques, le travail de Bruno Peinado s'inscrit dans un horizon tout autre. Reproduire, déconstruire, remanier, partir du détail, les gestes pratiqués par Bruno Peinado sont ceux d'un « baroque mondialisé » (Édouard Glissant), à comprendre comme une expérience simultanément intime et collective. Il ne rejoue pas le jeu connu d'un contraste et d'une confrontation, mais reflète avant tout une culture du métissage qui sait manier différentes sources dans une pratique proche du remix musical. Ici l'image d'une mire vidéo, passée par le spectre du minimalisme, est donnée à peindre à même le mur. Moment de pause dans le flux des images et étalon test des récepteurs, le motif prend par sa matérialisation et son agrandissement une valeur de manifeste. ________________________________________________________________________
Artists:
Ivan Fayard (Paris), Olivier Millagou (Bandol) + Bruno Peinado (Douarnenez) Locations: Galerie SAW Gallery + Club SAW (67 Nicholas Street, Ottawa) Dates : March 13 - 29, 2008 (two murals will be permanent) Opening Party: Thursday, March 13, 8PM - 2AM. With artists Ivan Fayard and Olivier Millagou in attendance. Pay What You Can. Music with DJ BEARwitness (Ottawa). Wine provided by the Embassy of France. Exhibition organized and circulated by CULTURESFRANCE and presented by Galerie SAWGallery with the support of the Embassy of France in Canada Galerie
SAW Gallery Director:
Tam-Ca Vo-Van, sawgallery@artengine.ca WA, Temporary Autonomy Surface by Anne Roussel and Pascale Samuel No paper, no canvas! In recent years painting and drawing have been freed from picture frames to cover wider working surfaces. Working directly on floors, walls or ceilings, artists are exploring a new use of space. They vary scales and formats, and compositions switch back and forth from detail to the monumental. This art form is developing at the crossroads of several different fields, including traditional mural painting and urban expression, and even borrows from the heritage of conceptual procedures. Borrowings from decorative arts, from design, references to pop art, op art, cinema and literature mix in these decompartmentalized works in a symbolic expression of the ferment of the young French scene. Recently several exhibitions have illustrated this development. Thus in France one may mention Urgent Painting in 2002 at the Paris museum of modern art, Lee 3 Tau Central Armory Show at the Villa Arson in Nice in 2003, and in the same year Mursollaici at the Swiss cultural centre in Paris. WA is an exhibition of contemporary mural painting, but not only that. Each of sixteen artists-Virginie Barr, Simon Bernheim, Stéphane Calais, Stéphane Dafflon, Philippe Decrauzat, Pauline Fondevila, Ivan fayard, Édouard Levé, Philippe Mayaux, Mathieu Mercier, Olivier Millagou, Petra Mrzyk and Jean-François Moriceau, Bruno Peinado, Guillaume Pinard, Lili Reynaud Dewar-propose a work that might be carried out by them or by a third party. WA experiments with the idea of the exhibition as a means of dissemination, thereby expanding an experiment begun in 1995 in Do It by Hans Ulrich Obrist. The WA exhibition takes the idea of occupation and ramifications of the work in contemporary mural painting a step further by providing the artists invited with a playground exploded to all four points of the compass. As each of its projects takes form on various sites, WA will give birth to a network. WA does not transport, but rather transfers itself. Delegating the task of carrying out the projects gathered here to a group of art school students is seen as the best way of transferring communication and culture. Each artist provides interaction with the work as it was originally designed, opening a wide scope of choices to the students. The work will form an exhibition that moves in space and in time, adapting itself to the settings, and will provide a support for organizing events, meetings, workshops and talks. Seen the other way round, WA appears first in the form of a catalogue. While providing a broad view of the young French scene, of the works and progress of each individual, this work is the primary vector of the exhibition. It lists the instructions needed for carrying out the work. With its computerised data files, rhodoids, slides and patterns, the box sent out to those taking part in the exhibition is the only material companion in the experiment. This box, in the form of hand luggage or disguised as a pizza box, is a transmission tool. As WA is flexible, it takes the form of one or several events at a time in a single or a fragmented space. Since it is flexible, WA is different every time, feeding on precedents and already changed by its forthcoming appearances in an ever expanding framework. All these works already exist in the form of projects. To reactivate them, one may use a musical metaphor: these are scored works. The artist's instruments, his written instructions, his outlines, enable each project to be replayed according to the characteristics of the venue. The artist can be the performer, but the actual carrying out of his project can also be delegated to others. At each exhibition, the piece must of necessity be replayed, reinterpreting the score while following the more or less strict instructions left by the artists. Alongside the area of freedom left in adapting each work to the exhibition venue, a set of rules has been laid down to ensure that the original intent of the work remain intact. INTERNATIONAL TOUR Palais
de Tokyo, Paris ARTISTS' BIOGRAPHIES Distinctions are a decisive foundation in Ivan Fayard's pictorial work. In distinct series, he carries out a strategy at the limits of painting by stripping the pictorial context of any imprint by the artist, by displaying a composition in which the subject is ignored. Ivan Fayard repeats his procedures and research while at the same time continuing his investigations of image and representation. Hierarchies are challenged when he wanders at the periphery of painting. He himself is reflected in the most diverse facets of this medium when he reveals himself in the testing of his various strategies. Right from the beginning Olivier Millagou's work has set out to be a vast enterprise in re-reading reality and falsifying the codes and images we associated with it. Using series of motifs drawn from the commonest level of popular culture (cartoon strip and film characters, images linked to surfers or to rock music, picture postcards, etc.), he takes legendary figures of this culture and their memories and turns them, in various forms (drawings, postcards, "drawing pin pictures," etc.), into images that are both smooth and saturated, in which their immediately identifiable naturalness cannot fail to raise the question of memory and its future. This is so of his "drawing pins," vast mural compositions done with golden drawing pins, in which Olivier Millagou rewrites episodes from fiction, using this technique to emphasize their evanescent nature in our reality. The protagonists are often well-known (e.g. Goldorak, Kelly Slater, Captain America and ZZ top), but the artist rewrites the script of an existing story, looking at it from another point of view, or adds a new tale, all the while allowing himself flashes of delightfully dark humour, as for instance when he has the letters in the name of a rock group dribbling down the wall. The use of shiny drawing pins, which catch the light as they might capture memories, allows him to play with the contrasts he likes so much: "that dark universe beneath the brash worlds of business and showbiz." Bruno Peinado draws from a vast repertoire of forms, symbols and other icons to free himself of all principles of purity. His works are fragments of landscapes that tangle and slide. If at first sight they might remind one of the aesthetics and intent of pop art of the 1960s, through their confusion of high and low culture in the context of visual arts, Bruno Peinado's work is set in quite a different scene. Reproducing, deconstructing, reworking, starting with details, Bruno Peinado's method of working are those of a "globalized baroque" (in the words of Édouard Glissant), to be understood as an experiment that is at the same time personal and collective. He does not play the old game of contrasts and clashes, but above all mirrors a culture of blending that handles various sources in a manner similar to musical remixes. Here the image of a video test card, reduced in the mill of minimalism, is to be painted straight onto a wall. A moment frozen from amongst the flow of pictures, and a yardstick test in reception, the pattern, by being materialised and enlarged, takes on the value of a statement.
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GALLERY
101 PROUDLY PRESENTS: ARTIST
TALK: Friday, March 7 at 7:30pm Christopher Flower draws on popular culture to create multi-media works that question perception by challenging the physical laws that govern everyday objects. The uneasy juxtaposing with movement and object(s) allows the viewer to question their own expectations and the precarious hold on what is perceived as reality. The works are at once playful and disturbing. BIOGRAPHY Gallery
101 is located at 301 ½ Bank Street, 2nd Floor. Opening hours
are Tuesday to Saturday, 10am-5pm Gallery 101 gratefully acknowledges the support of the City of Ottawa, the Ontario Arts Council, the Canada Council for the Arts, our patrons, members and volunteers.
CONFÉRENCE
D’ARTISTE, le verdredi 7 mars à 19h30 L’exposition est ouverte au grand public et l’entrée est gratuite Christopher Flower s’inspire de la culture populaire pour créer des œuvres multimédias qui remettent en question la façon de voir le monde en défiant les lois de la physique qui régissent la fonction des objets de tous les jours. Une juxtaposition étrange de mouvement et d’objets donne la chance au spectateur de revoir ses propres attentes et la fragile idée qu’il se fait de la réalité. Les œuvres sont en même temps amusantes et troublantes. BIOGRAPHIE La
Galerie 101 est située au 301 1/2 rue Bank. La galerie est
ouverte dumardi au samedi de 10 h à 17 h La Galerie 101 tient à souligner l’appui de la ville d’Ottawa, du Conseil des Arts de l’Ontario et du Conseil des Arts du Canada; de ses mécènes, de ses membres et de ses bénévoles.
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The REEL FOOD FILM FESTIVAL
March
6th, 13th and 27th Admission
is Free See
below for descriptions of the film screenings. Wednesday
March 12th – Matinee Thursday
March 13th Thursday
March 27th _____________________________________ The REEL FOOD FILM FESTIVAL Presenting Partners: World Inter-Action Mondiale (WIAM), Just Food, USC Canada, The Good Food Box and Canadian Organic Growers- Ottawa Chapter. SAW Video, the Ottawa Public Library and St. Paul's University. Jolynn
Sommervill |
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Saturday Night Sinema continues the last Saturday of every month with classic grindhouse movies from around the world! $5.00 at the door!
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IMAA
CONTESTS BILL C-10
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The
IMAA is concerned that this proposed process will adversely affect
the ability of media artists to access funding to create artistic
work. For more information, please contact: Jennifer
Dorner, National Director | |||||
