Kino05 will be screening The Forbidden Zone, a video produced by Harrell Fletcher through a collaborative project with Chris Johanson, David Jarvey, Elizabeth Meyer and Alexis Van Hurkman.
David Jarvey, who has Downs Syndrome, identifies with a Captain Christopher Pike, a character from a Star Trek episode. Pike has been disabled and wants to go to the forbidden planet, Talos 4, where he can live with the illusion of being "normal" once again. As part of the installation Jarvey and Johanson were shot on a blue screen and imposed onto footage from the actual Star Trek episode.
Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown internationally including at the 2004 Whitney Biennial. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon. In partnership with I.D.E.A Space at Colorado College, the Art Gallery of Mississauga has commissioned Harrell Fletcher to produce work for an exhibition in Mississauga in November 2009 and in Colorado Springs in 2010.
To see this work come to our screening at Camera Bar on August 26, 2008. Doors open at 7:30, screening starts at 8:00pm.
We will also be accepting submissions from directors and videomakers at this screening. If you would like to show work at the August 26th Kino05 screening, please arrive at Camera Bar at 7:00pm to test your disc and to sign up on on screening list. For more information please visit our website: www.kino05.com.
April 17, 2008
Art Crush
Did you come to the Kino05 re launch?
If you did, maybe you have a crush on Emily too.
Someone should make a film for Cooper, he's pretty great as well.
If you did, maybe you have a crush on Emily too.
Someone should make a film for Cooper, he's pretty great as well.
March 22, 2008
&FMT=18
Hate watching pixillated videos on YouTube? Wanna be able to watch your JonBenet Ramsey and Chris Benoit tributes in a higher quality? Just ad "&FMT=18" to the end of the video address.... and away you go.
March 17, 2008
Kino05 Relaunch Program
Dorothea Braemer
10 short documentaries of my childhood home, 2008
10 minutes
Ann Steuernagal
Outlaw, 2008
5 minutes
Dave Kemp
Track, 2007
5:35 minutes
Ryan Patterson
Trahison, 2008
2:20 minutes
Irene Cortes
Break-up Investigation #5, 2008
3:30 minutes
I N T E R M I S S I O N
Cherie O’Connor
The Segmentation of Blood, 2008
5 minutes
Su-Ying Lee
Re reading Fairy Tales, 2008
2 minutes
Emily Vey Duke & Cooper Battersby
Songs of Praise for the Heart Beyond Cure, 2006
14 minutes
March 13, 2008
Kino05 Relaunch on March 18th!
Kino05 is finally relaunching!
Come out to Camera Bar at 7:30 on Tuesday, March 18th and check out our inaugural program, featuring great work from both local and international artists-- including this month's featured artists Emily Vey Duke and Cooper Battersby. While you're at it, have a few drinks and meet some fellow Kinoites.
See you there!
Come out to Camera Bar at 7:30 on Tuesday, March 18th and check out our inaugural program, featuring great work from both local and international artists-- including this month's featured artists Emily Vey Duke and Cooper Battersby. While you're at it, have a few drinks and meet some fellow Kinoites.
See you there!
March 10, 2008
Submit your videos!
Submit to our next screening!
For screening at Camera Bar, Toronto, Canada April 29, 2008Submissions guidelines:
-Length: 1-10 minutes maximum; there is no restriction on theme or genre
Please label your submission with title, artist, date of production, length
-Preferred format .mov file
-Submit your video for consideration to :
13 Tyndall Avenue, Unit 1, Toronto, ON Canada M6K 2E8
or drop off to the same address, bottom mail box
include your full name, telephone, mailing address, email contact information and the title of your work
* To have your work returned to you, please include a postage-paid envelope with your address
*If you wish to send your work digitally, please contact info@kino05.com for instructions
-deadline April 15th
If selected
-you will be contacted via email-Kino is an international community of artists brought together to share their work, ideas and inspirations-where possible, you or your representative are asked to be present at the screening to take part in the Kino community
-the Kino05 logo or a listing in your acknowledgements must appear on the screening copy of your work
About Kino05:
Inspired by the Kino motto: "Do well with nothing, do better with little and do it now!" the femmes of Kino05 have decided to do better for videomakers-and to do it right now, by relaunching the Toronto cell of the international Kino movement.
Anyone, no matter their experience level, can submit work to any of our screenings. Submissions are divided into two sections: a fierce and focused grouping of work and the thrillingly risky free-screen where anything—well, almost anything—goes. On our free-screen we're looking to open up a space for strange and sublime experiments, accidents and work-in-progress.
http://www.kino00.com/
http://www.facebook.com/group.php?gid=21112034416
http://www.kino05.com/
The principal members of Kino05 are:
Irene Cortes
Lauren Di Monte
Michelle Edmunds
Su-Ying Lee
Cherie O’Connor
For screening at Camera Bar, Toronto, Canada April 29, 2008Submissions guidelines:
-Length: 1-10 minutes maximum; there is no restriction on theme or genre
Please label your submission with title, artist, date of production, length
-Preferred format .mov file
-Submit your video for consideration to :
13 Tyndall Avenue, Unit 1, Toronto, ON Canada M6K 2E8
or drop off to the same address, bottom mail box
include your full name, telephone, mailing address, email contact information and the title of your work
* To have your work returned to you, please include a postage-paid envelope with your address
*If you wish to send your work digitally, please contact info@kino05.com for instructions
-deadline April 15th
If selected
-you will be contacted via email-Kino is an international community of artists brought together to share their work, ideas and inspirations-where possible, you or your representative are asked to be present at the screening to take part in the Kino community
-the Kino05 logo or a listing in your acknowledgements must appear on the screening copy of your work
About Kino05:
Inspired by the Kino motto: "Do well with nothing, do better with little and do it now!" the femmes of Kino05 have decided to do better for videomakers-and to do it right now, by relaunching the Toronto cell of the international Kino movement.
Anyone, no matter their experience level, can submit work to any of our screenings. Submissions are divided into two sections: a fierce and focused grouping of work and the thrillingly risky free-screen where anything—well, almost anything—goes. On our free-screen we're looking to open up a space for strange and sublime experiments, accidents and work-in-progress.
http://www.kino00.com/
http://www.facebook.com/group.php?gid=21112034416
http://www.kino05.com/
The principal members of Kino05 are:
Irene Cortes
Lauren Di Monte
Michelle Edmunds
Su-Ying Lee
Cherie O’Connor
February 23, 2008
Friend or Foe?
This has absolutely nothing to do with Kino05 or video in any way-- but when I saw it I laughed out loud:
You can see more here.
You can see more here.
February 22, 2008
15 Glorious Seconds
For a little while now I've been working on a series of videos starring, CockNose, a character I created based on a fucked up halloween costume I got from a 7-11. These videos have been pretty campy, sometimes a little gory and always feature the lowest production quality ever. I've never been sure where to locate the aesthetics of these little videos. I always hoped they at least nodded (admittedly, from far far away) to Colin Campbell and Jack Smith--but, recently I think I finally came across a more likely influence: The Great Kat!
For example, let's look at The Great Kat's "Paganini's Caprice #24" and the beginning of "Nobody Nose the Trouble I've Seen":
See what I mean?
But the Great Kat is not only about fire, blood and monster shredding-- she's also got some political opinions (many of which may be quite suspect...). Despite this, I've really been inspired by this work, and I think that I'd like to steer the CockNose series in this direction.
I'm still working on my latest Great Kat inspired video, so I'll leave you with 15 glorious seconds of her 'political' work. Enjoy!
For example, let's look at The Great Kat's "Paganini's Caprice #24" and the beginning of "Nobody Nose the Trouble I've Seen":
See what I mean?
But the Great Kat is not only about fire, blood and monster shredding-- she's also got some political opinions (many of which may be quite suspect...). Despite this, I've really been inspired by this work, and I think that I'd like to steer the CockNose series in this direction.
I'm still working on my latest Great Kat inspired video, so I'll leave you with 15 glorious seconds of her 'political' work. Enjoy!
February 19, 2008
i just ate an entire package of bacon
so i saw this new video by mgmt and i thought that it was visually neat. kinda like this neo-pagan trip. i'm totally all for it! and i wish that i could afford to live such a fabulously derelict lifestyle but i'm not an american university student with hundreds of thousands to blow on models, travel, blow and bernhard wilhelm outfits! oh, the dream .... instead i wait. i'm waiting for this stripper to get to my house already. i wait for emails to be replied so i can feel like i've done something with my seemingly useless day. i wait for my arteries to congeal cause i know deep down in my clogged heart that consuming a whole package of bacon along with the rice that i fried in it's drippins, is not good for my health.
waiting isn't either!
it's like 'trapped in the closet' ... you wait and wait
like some sufferable longing, pulling at your short hairs.
it's so ridiculous and necessary
February 10, 2008
Why does John Greyson want to sing about AIDS?
On Februay 4th John Greyson chaired a discussion at The Powerplant on video art and AIDS activism. I missed this talk. But, this week I was granted a second chance and had the unique opportunity to attend a colloquium on Greyson’s research for his MA thesis. This thesis consists of a 90 minute video-opera, entitled “The Queen’s Sore Throat or Why do we sing about AIDS?,” accompanied by a framing text. This work engages and extends many of the themes Greyson is best known for, including issues such as the social perception of AIDS, gay rights, and how to be an activist.
Greyson introduces polyphony in a number of ways. This piece is structured around the dialogic possibilities of an operatic voice encountering a documentary voice encountering various biographies of figures within AIDS activism. All while referencing Four Saints in Three Acts—and, I can imagine, much more that this when the video-opera takes its final form. In addition, this is an opera that moves away from solos and arias and instead looks to choral forms to convey its libretto. Multiple voices abound.
Grayson then uses opera’s morbidity (think of any of Maria Callas’ heroines) to critique the unstable position of the martyr within AIDS discourse. He argues that his video-opera is a transgressive subversion of both the operatic and documentary forms, put in service of a political and aesthetic refusal of martyrdom.
While Greyson was only able to show a few work-in-progress clips that speak to this position, it was the “Motet For Four Voices” that seemed to best articulate his multiple concerns—and therefore offer a good sense of direction for the finial piece.
Visually, this section is quite stunning. The screen is divided into four sections, with actors portraying the four activists seen from the neck up. These heads are positioned above record players and they spin around like records as each actor sings. On each actors neck is a tattooed musical staff showing the notation for the motet. Below the record players words selected from each biography appear, punctuating the libretto. In this brief section Greyson is able pack in references to the classical notion of the martyr as one who witnesses or give testimony, to the importance of registering/recording polyphonous history to any activist work and to the need to reject the sentimentality that characterizes some popular notions of living with AIDS (think Tom Hanks in Philadelphia)—just to name a few.
Greyson says that his aim with is piece is to turn both operatic and documentary forms inside out. If the final form of “The Queen’s Sore Throat” can achieve even half of what the Motet does, Greyson will certainly reach this aim. I look forward to one day seeing the final version of this piece.
“The Queen’s Sore throat” is part opera and part documentary—it sings the life stories of AIDS activists Zackie Achmat and Tim McCaskell—but its main interest lies in exploring polyphony, collectivity and resistance. These issues are addressed through an exploration of the operatic form, particularly through playing with opera’s usual insistence on the soloist and its reputation as “la forme fatale.”
Greyson introduces polyphony in a number of ways. This piece is structured around the dialogic possibilities of an operatic voice encountering a documentary voice encountering various biographies of figures within AIDS activism. All while referencing Four Saints in Three Acts—and, I can imagine, much more that this when the video-opera takes its final form. In addition, this is an opera that moves away from solos and arias and instead looks to choral forms to convey its libretto. Multiple voices abound.
Grayson then uses opera’s morbidity (think of any of Maria Callas’ heroines) to critique the unstable position of the martyr within AIDS discourse. He argues that his video-opera is a transgressive subversion of both the operatic and documentary forms, put in service of a political and aesthetic refusal of martyrdom.
While Greyson was only able to show a few work-in-progress clips that speak to this position, it was the “Motet For Four Voices” that seemed to best articulate his multiple concerns—and therefore offer a good sense of direction for the finial piece.
In this piece the lives and stories of Nkosi Johnson, Gugu Dlamini, Simon Nkoli and Christopher Moraka are staged as a coda to the lives of Achmat and McKaskell. In this brief section Grayson is able to communicate each activists’ “principaled refusal to be a martyr” while making an argument for collectivity and resistance.
Visually, this section is quite stunning. The screen is divided into four sections, with actors portraying the four activists seen from the neck up. These heads are positioned above record players and they spin around like records as each actor sings. On each actors neck is a tattooed musical staff showing the notation for the motet. Below the record players words selected from each biography appear, punctuating the libretto. In this brief section Greyson is able pack in references to the classical notion of the martyr as one who witnesses or give testimony, to the importance of registering/recording polyphonous history to any activist work and to the need to reject the sentimentality that characterizes some popular notions of living with AIDS (think Tom Hanks in Philadelphia)—just to name a few.
Greyson says that his aim with is piece is to turn both operatic and documentary forms inside out. If the final form of “The Queen’s Sore Throat” can achieve even half of what the Motet does, Greyson will certainly reach this aim. I look forward to one day seeing the final version of this piece.
February 02, 2008
I Remember Things By Yelling Them
I love watching people die horrible deaths on tape. I love seeing fake blood pour out of an open wound. I love seeing unidentified viscera, concocted from mashed up toilet paper and ketchup, pulled from unintelligible parts of the human body. I love oozing pus. I love picked over scabs. I love Robert Rodriguez’s special effects. I love sores and abrasions of all kinds. I want to see skin ripping, eyes bulging, bile spewing—and I want it to look (simultaneously) as real and as fake as possible.
For a long time I thought that my love of guts and gore began and ended with B-movie-style horror. I couldn’t move beyond gunshots, stabbings, stigmata, etc., when imagining and representing death. Then I found YouTube.
I ‘m a late-comer to YouTube. It was only about a week ago that I really began to understand what an excellent resource it can be. After a little poking around, I finally discovered that YouTube is not only a place for me to watch Chris Benoit and JonBenet Ramsey tributes, nor is it a place where people only post shitty videos of their dog, their baby, or their band , etc.—it is also a place for teenage boys to post DIY weapons videos!
This discovery has radically altered my video making. On YouTube it is possible to get instructions on how to make a whole range of weapons (click, here, here and here)—including my all time favourite: DIY tasers.
These videos not only offer timely information on how to arm yourself, should you, for example, have the misfortune of ending up in a Vancouver airport, but they also offer a plethora of new and creative ways to kill someone off—on tape.
Using everyday materials, such as pens, paper, elastics, batteries and tape, bored teen and tweenagers have found ways to create cheap, accessible and (most importantly) functioning weapons that can be easily brought into any film or video production no matter the budget.
For a long time I thought that my love of guts and gore began and ended with B-movie-style horror. I couldn’t move beyond gunshots, stabbings, stigmata, etc., when imagining and representing death. Then I found YouTube.
I ‘m a late-comer to YouTube. It was only about a week ago that I really began to understand what an excellent resource it can be. After a little poking around, I finally discovered that YouTube is not only a place for me to watch Chris Benoit and JonBenet Ramsey tributes, nor is it a place where people only post shitty videos of their dog, their baby, or their band , etc.—it is also a place for teenage boys to post DIY weapons videos!
This discovery has radically altered my video making. On YouTube it is possible to get instructions on how to make a whole range of weapons (click, here, here and here)—including my all time favourite: DIY tasers.
These videos not only offer timely information on how to arm yourself, should you, for example, have the misfortune of ending up in a Vancouver airport, but they also offer a plethora of new and creative ways to kill someone off—on tape.
Using everyday materials, such as pens, paper, elastics, batteries and tape, bored teen and tweenagers have found ways to create cheap, accessible and (most importantly) functioning weapons that can be easily brought into any film or video production no matter the budget.
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