Monday, June 16, 2014 - 8:30 pm
Programmed by Amy Kazymerchyk
Further unfolding the cinematic grammar of her films Gonda (2012) and Medea (2013), which are exhibited in Not a curse, nor a bargain, but a hymn at Audain Gallery, this program presents five of Ursula Mayer's films produced between 2005-2010. Like a house of mirrors, Mayer’s films employ cyclical pictorial structures. Within these fractured, looping, reflected circuits, she transposes figures, architectures, and aesthetic eras over each other. Influenced by the work of Alain Robbe-Grillet, Maya Deren, and Andrei Tarkovsky, Mayer composes multifaceted images that refract temporalities and subjectivities. From within their house of mirrors, the figures in Mayer’s films gaze outward from the corridors of history.
Trilogy: Portland Place 33 (2005), Keeling House (2006), Villa Mairea (2006), SD Digital File, 18:40min, BW/Colour
Interiors, 2006, 16mm, 4min, BW/Colour/Sound
The Crystal Gaze, 2007, 16mm, 8min, BW/Colour/Sound
The Lunch in Fur/ Le Dejeuner en Fourrure, 2008, 16mm, 8min, Colour/Sound
Last Hours of Ancient Sunlight, 2010, SD Digital File (dual image), 7min, Colour/Sound
Christine Evans will introduce the House of Mirrors screening. Evans is a sessional instructor in Film Studies at the University of British Columbia. Her research focuses on the intersections between love, universality, Lacanian psychoanalysis and film theory.
Programmed parallel to Ursula Mayer’s solo exhibition, Not a curse, nor a bargain, but a hymn, at Audain Gallery June 12 – August 2, 2014, and co-presented with Audain Gallery, part of SFU Galleries. Courtesy of Ursula Mayer and LUX, London.
Image: The Crystal Gaze (2007)