Programmed by Amy Kazymerchyk

The emergence of Chris Welsby’s landscape and weather films in the late 1960’s coincides with the emergence of Systems theory, a science that looks at process and change in response to input from the environment and sees living systems and social systems in terms of the dynamic relation between the parts and the whole, the publication of Rachel Carson’s Silent Spring, and UK structural filmmakers rejection of the expressionistic or transcendental elements still evident in the films of their American colleagues, in favor of a more politicized model rooted in the Kino Eye Manifesto of the early Soviet filmmakers. In this climate, ¬Welsby’s films developed a deep concern for the interconnectedness of these systems, where landscape was not secondary to filmmaking process or filmmaking process to landscape, but process and structure, as revealed in both, could carry information and communicate ideas. In all his films and installations he uses the simple structuring capabilities of moving image technologies, such as variable-frame rate, in-camera editing and multiple projection, in combination with natural phenomena such as wind and tides and the rotation of the planet, to produce works in which mind, technology, time, and nature are not seen as separate things divided along Cartesian lines, but as interconnected parts of one larger dynamic system.

A pioneer of moving images in the gallery, Welsby’s expanded cinema works and installations from the 70’s and 80’s are now gaining renewed attention. Since 1993, Welsby has been making digital media installations, collections of which were featured in his 2005 solo exhibition Liquid Light at the Plug In ICA, Canada, and his 2007 solo exhibition at the Letherby Gallery, UK. His recent new media collaborations with Brady Marks have been well received in Toronto, at the 2006 Images Festival, and in South Korea at the 2006 Gwangju Biennial. Welsby was a founding member of the London Filmmakers Co-op and co-founder of the New Media Department at the Slade School of Fine Art, University of London. Currently, he is a professor of Film and Video at Simon Fraser University, Vancouver and participates in the University of British Columbia’s Institute for Computing, Information, and Cognitive Systems (ICICS), an interdisciplinary research institute fostering a human-centered paradigm shift in emerging information technologies. 

For A Systems View of Nature Welsby will reflect on excerpts and documentation from his films, expanded cinema works, and digital media installations within a discussion of his philosophical, technical, and critical framework. The following works will be referenced and represented in excerpt or still image.

Seven Days, 1974, 16mm, colour sound, 20mins (dv 2min clip), UK.
Colour Separation, 1974-76, 16mm, colour silent, 2:30mins, (dv 2:30mins) UK.
Shore Line I, 1975, 16mm, colour silent, six projector installation, (still), UK.
Shore Line II, 1979, 16mm, colour silent, six projector installation, (dv clip 2min), UK.
Sky Light, 1986, 16mm, colour silent, six projector installation, 26mins (dv clip 2min), UK.
Lost Lake, 1998, colour sound, video wall installation, (still), CAN.
At Sea, 2003, 4 screen digital video installation sound, (still), CAN.
Waterfall, 2004, colour sound, single channel dv installation, (still), CAN.
Lost Lake II, 2005, color sound, interactive digital media installation, (dv clip 2min), CAN.
Trees in Winter, 2006, colour sound, weather driven digital media installation, (5min clip), CAN.
Tree Studies, 2006, colour sound, global weather driven digital media Installation, (10min documentary), CAN.
Taking Time, 2008, colour silent, new media web based/photographic sculpture public artwork, (still), CAN.
Heavens Breath, 2009, colour sound, weather driven digital media installation, (5min clip), CAN.

Images: (top) Seven Days, 1974, 16mm, colour sound, 20mins (dv 2min clip), UK (bottom) Shore Line I, 1975, 16mm, colour silent, six projector installation, (still), UK

Programmed by Amy Kazymerchyk and Gabriel Saloman

Following the screening of Hope and Prey, their 3 channel video projection and live sound performance project at VIVO Media Arts Centre and the Signal + Noise Festival, Portland artists Vanessa Renwick and Daniel Menche present an intimate artist talk and screening of works that contextualize their collaboration. Vanessa’s interest in place, relationships between bodies and landscapes, and all sorts of borders collides with Daniel’s dedication to music that expresses the undisciplined purity of emotion that strives for one goal: vehement beauty.

Vanessa Renwick, Food is a Weapon. 1998, 4:00mins, Super8/DV, USA.
Vanessa Renwick, Olympia. 1984/1998,  11:00mins, Super8/DV, USA.
Vanessa Renwick, 9 is a Secret. 2002, 6:00mins, film/video, USA.
Vanessa Renwick, Portrait #1: Cascadia Terminal. 2005, 6:00mins, 16mm, USA.
Vanessa Renwick, Portrait#2: Trojan. 2006, 5:00mins, 35mm/DV, USA.
Vanessa Renwick, Portrait #3: House of Sound. 2008,  9:00mins,| 35mm/DV, USA.                                                                                  
Vanessa Renwick and Daniel Menche, Heavy Weight Boxing Championship of the Year 1940. 2003, Nitrate 35mm/DV with live sound performance, USA. 
Vanessa Renwick and Daniel Menche, Rub a Dub Dub. 2004, 16mm, 8:00mins, dual DV and live sound performance (documentation), USA.         
Daniel Menche, Fulmination. 2008, 20:00mins, Digital Images and Live Sound Performance, USA.


Thursday April 23 | 6:30-8:00pm | VIVO Media Arts Centre
Animal Mirror
Shana Moulton, Whispering Pines #5. 2005, 6:32mins, DV, USA.        
Shana Moulton, Whispering Pines #4. 2007, 10:53mins, DV, USA.
Shana Moulton, Feeling Free with 3D Magic. 2004, 8:13mins, DV, USA.
Fastwurms, Telepathicats. 2003, 3:30mins, DV, Canada.
Takeshi Murata, Monster Movie. 2005, 3:55mins, BetaSP, USA.
Geoffrey Pugen, Utopics. 2008, 24:33mins, BetaSP, Canada.
Vanessa Renwick and Daniel Menche, Hope and Prey. 2006, 23:00mins, 3 channel video projection and live sound performance, USA.


Vanessa Renwick (born 1961 in Chicago, Illinois) is founder and janitor of the Oregon Department of Kick Ass. She is a film / video / installation artist and lives in Portland, Oregon. A filmmaker by nature, not by stress of research. She puts scholars to rout by solving through Nature's teaching problems that have fretted their trained minds. Her iconoclastic work reflects an interest in place, relationships between bodies and landscapes, and all sorts of borders. Working in experimental and poetic documentary forms, she produces films, videos and installations that explore the possibility of hope in contemporary society. She is a naturalist, born, not made: a true barefoot, cinematic rabblerouser, of grand physique, calm pulse and a magnetism that demands the most profound attention.

Daniel Menche (born 1969) is a proud native Oregonian. Since the late 80s he has established himself as a musician with a sense of focus and determination uncharacteristic in a genre known for its randomness and chaotic structure. Rather than creating "noise," he strives for order and cohesiveness. His presentation of sonic structures is similar to the way a writer depicts a story, an allegory seems to arise, which uses confusion as a symbol for the imaginative process of total sound purity; aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listeners imagination by generating intensely powerful sounds and music. 

Co-Sponsored by VIVO Media Arts Centre and Signal + Noise Media Art Festival |  


Programmed by Amy Kazymerchyk and Michael Lithgow

Decadent Resistance takes its name from an essay written by Michael Lithgow for Alex Mackenzie and Oliver Hockenhull’s publication DAMP: Contemporary Vancouver Media Arts. In his essay Michael explores a dynamic between aesthetics and activism evidenced in West Coast video practice, a tension that defines to some extent one of the compelling qualities of West Coast video art over the past four decades and why it has attracted national and international attention. Decadent Resistance is community-curated media art program that invites programmers and directors of historical and contemporary media arts centres, organizations, and projects to submit video works that exemplify a perspective- an approach- an aesthetic- a position that touches on the tension between aesthetics and politics. Video artwork will be introduced and contextualized by their curator. A panel discussion between all representative will follow the screening. 

Introduction to SVES by Crista Dahl

Metro Media Introduction. 1973, 4mins, VHS, SVES.
Miles Mogulescu and the American Indian Movement, Why Wounded Knee?. 1974, 28mins (9min excerpt), Beta SP, USA, SVES.
Andy Harvey, Uranium Question. 1978, 45:00 (5min excerpt), Beta SP, SVES.
Introduction to Metro Media and Isis Women in Film by Moira Simpson
Moira Simpson and Elizabeth Walker, Can you hear me?. 1976, 1min, 16mm/BetaSP, Just a Minute Series NFB.
Moira Simpson, Elizabeth Walker, Emigrante. 1979, 13mins (7.5min excerpt), 16mm and VHS.
Introduction to Stan Douglas Television Spots and VIVO Media Arts by Crista Dahl
Stan Douglas, Television Spot 1. 1988, 30sec, VHS.
Paul Wong, Jeanette Reinhardt, Gina Daniels, Gary Bourgeoise, Confused Sexual Views (Compilation Edit). 1984, 29mins (8min excerpt), VHS, Video Out.
Stan Douglas, Television Spot 2. 1988, 30sec, VHS.
Lorna Boschman & Persimmon Blackridge, Doing Time. 1991, 26mins (4:30min excerpt), VHS, Video Out.
Stan Douglas, Television Spot 3. 1988, 30sec, VHS.
Introduction to Working TV, ICTV, and Fearless City TV by Sid Chow Tan
Episode 37 “Searching for Gordon”. March 07 1996, 1 hour TV Spot (4.5min excerpt), DV, Working TV.
EarthSeen: Trouble Makers??. Producer: Sid Chow Tan, 2000, 4:20mins, DV, ICTV.
Our Story: Chinese Head Tax Mash Up. Producer: Sid Chow Tan, 2008, 4:33mins, DV, ICTC.
Introduction to AMES and CITIZENShift by Moira Simpson
James Diamond, Man From Venus. 1999, 3:40mins, Super 8/VHS, AMES.
Aaron Chan and Lulu Gurney, Leaving My Mark. 2008, 5mins, Web Source, CITIZENShift/ Youth Co. Aids Society.
Moira Simpson and Carmen Pollard, With Love and Grief, 2005, 4:09mins, Web Source, CITIZENShift.
Introduction to desmedia by Ali Lohan
desmedia collective, desmedia 2. 2003, 57mins (8min excerpt), DV. 
Introduction to Projections by Justine Goulet and Alanna Maclennan
Projections Team, Wish List, 2005, 5:12mins, DVD.
Image: Moira Simpson and Elizabeth Walker travelling around with a video portapack in their little red wagon. Image from Michael Goldberg's - of Video Inn - Accessible Portapack guide. 1976

Cartune Xprez: 2008 AMRCAN FALL tour

Monday, December 15, 2008 - 7:30 pm

Programmed by Hooliganship: Peter Burr and Christopher Doulgeris (in Person)

The multimedia dance duo Hooliganship (Peter Burr and Christopher Doulgeris) have been touring the United States since September presenting the freshest incarnation of “Cartune Xprez”, a program of short animated videos that celebrates the wilderness of imagination through motion pictures.  Takeshi Murata, Adrian Freeman, Blu, Bruce Bickford, Martha Colburn, Paper Rad, Shana Moulton, Timo Katz, Emanuele Bortoluzi, Eric Dyer, Jeff Kricshun, E*Rock, Mumbleboy, Corey Lunn, Ola Vasiljeva, Jim Trainor, Josh Mannis, Lief Hall, Taras Hrabowsky, Shayne Ehman, and Seth Scriver! Alongside this cartoon theater Hooliganship will be performing their most recent piece entitled “Realer” in which audiences strap on a pair of 3D glasses to bear witness to a televised parade gone awry. Come down and party with the cartoon spirits.

Vancouver Program:  Adventure Land Fun Baaloon by Crystalbeard; Untitled (Pink Dot) by Takeshi Murata; Shame Fellow by Adrian Freeman; Muto by Blu; The Comic that Frenches your Mind by Bruce Bickford; Michael Jackson Teaches Birds to Sing by Ola Vasiljeva; Booty by Paper Rad; Heads Fall Silently by Emanuelle Kabu; Alien Ice Miami by Philippe Blanchard; Sing Song by Jeff Kricshun; Asphalt Watches by Shayne Ehman and Seth Scriver.