Video Pool Programming 2012

LITE NITE: Art's Birthday 2012

ArtsBday11X17_WEB

Art is 1,000 049 years old!

Video Pool Media Arts Center, in collaboration with Ace Art Inc and Platform Centre for Photographic + Digital Arts invite you to celebrate LITE NITE: ART’S BIRTHDAY 2012: an evening of light inspired installations, workshops, performances, si...lent auction and cake!

LITE NITE: Art’s Birthday 2012 is on Tuesday, January 17th 2012 from 6pm to midnight at Ace Art Inc: 290 McDermot Avenue, 2nd floor. Cover is by donation ($5.00 is recommended).

Since 1963, emerging out of the Fluxus art movement, Art’s Birthday has been celebrated on a global level by a circuit of artists to acknowledge the presence of art in our daily lives.

2012 Artists:
JAYMEZ
DENISE PREFONTAINE
FLETCHER PRATT
AARON ZEGHERS
ERIKA MACPHERSON
ANDREW CORTNAGE (AKA SMOKEY TIGER)
DJ HUNNICUT
KEN GREGORY
SCOTT FITZPATRICK
WFG

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Perry Bard "Man With a Movie Camera: The Global Remake"

Scene 36.Group Baza.Novi Sad.Yugoslavia
Video Pool Media Arts Centre, in collaboration with Ace Art Inc. presents:

Perry Bard
"Man with a Movie Camera: The Global Remake"
Workshop with Perry Bard: February 01, 2012
Exhibition Dates: February 02-23, 2012

"Man with a Movie Camera: The Global Remake" is a participatory web and public video installation re-interpreting the original 1929 avant-guard documentary “Man With a Movie Camera” by Dziga Vertov. “The Global Remake” illuminates the capabilities of the internet to achieve global collaboration by encouraging culturally diverse participation. The piece includes footage shot by people around the world creating infinite possible versions of the film. As new videos stream online (dziga.perrybard.net) each contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

Workshop with New York Based artist Perry Bard: Feburary 01, 2012
(to sign up contact Lindsey @ vpprogramming@videopool.org or 204.949.9134)
Join Perry Bard to learn about and discuss “Man with a Movie Camera: The Global Remake”, influenced and inspired by Dziga Vertov’s remarkable documentary “Man with a Movie Camera” from 1929. Bard will lead a two hour workshop touching upon Dziga Vertov’s documentary practice and Vertov in the age of YouTube.

Participants will record their own video footage interpreting the original script of Vertov’s Man With A Movie Camera, and upload them to http://dziga.perrybard.net/ where software developed specifically for this project archives, sequences and streams the submissions as a film. The submissions uploaded will contribute a Winnipeg chapter to the world wide project. The screening of the uploaded work and full project will commence on Thursday. February 02 at the Opening Reception, 6pm at Ace Art Inc.


Biography

Perry Bard grew up in Quebec City and lives in New York. She works individually and collaboratively on interdisciplinary projects for public space. She has worked with community groups to address issues of media representation engineering site specific public video installations for the Staten Island Ferry Terminal Building in New York and for Market Square in Middlesbrough UK. Public interventions about the war in Iraq include a mobile truckside billboard traveling the streets of New York, magazine ads and coffee cup sleeves featuring artifacts missing from the Baghdad Museum. Her web and public space project Man With A Movie Camera: The Global Remake dziga.perrybard.net invites participation in a mashup of a 1929 film belonging to world cultural history. The award winning work has been has been named by Google one of the 106 most creative uses of the internet, is on Guggenheim Museum’s Youtube Play Biennials’ Top 25, won Honorary Mentions at Ars Electronica ’08, Liedts-Meesen Technological Award 2010, Transitio_MX 2011, was nominated at Transmediale 2009 and Share Festival 2010,has been installed in over 50 venues to date including the Montreal Biennial 2009, Toronto Film Festival 2010, Moscow International Film Festival 2009, IDFA 2009, File 2009 and has screened on public LED displays in Manchester, Leeds, Norwich and Sheffield UK, Federation Square Melbourne Australia, e4c Seattle U.S.A. She has given workshops and lectured about the project worldwide; her article When Film and Database Collide is published in the Video Vortex Reader II: Moving Images Beyond Youtube.
www.perrybard.net

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Chico MacMurtrie "Inflatable Robotic Arts in Canada" March 30- April 27, 2012

InnerspaceChico MacMurtrie 
"Inflatable Robotic Arts in Canada"
Univerity of Manitoba Gallery
March 30-April 27 2012
Workshop Dates: March 20-30, 2012
Opening Reception: March 30, 2012 8:00pm


10-15 Canadian artists + students will take part in Chico Macmurtrie's  ten day Workshop "How To Make Robotic Performing Machines and Robotic Environments" to create the Inflatable robots, which will allow participants to get involved in all of the aspects of completing this complex installation titled Inflatable Robots in Canada, including: designing new inflatables, sewing new inflatables, gluing new inflatables, installing feedback sensors, programming max, and other midi software, hooking up pneumatic systems, wiring, modeling components on the computer, using rhino, lamina design and solid works, welding aluminum parts. Artists of all types and technicians interested in art can come together each bringing their talent and hopefully walking away with new incite and skill to contribute to there own work. After the installation opens at Uof M Art School, the Workshop will continue to introduce new elements to the installation each day. Chico Macmurtie is one of the worlds leading artists using robotic technologies.

Chico MacMurtrie + Anamorphic Robot Works

Chico MacMurtrie is the founder and Artistic Director of Amorphic Robot Works. Chico MacMurtrie formed Amorphic Robot Works in 1992, as a collaborative group of artists, hardware software engineers, designers and technitions to develop Robotic Performance work. This work spanning over 20 years has been an ongoing endeavour to uncover the primacy of movement and sound. Each machine is inspired or influenced, both, by modern society, and by what the artists physically experience and sense. Since inception ARW have travelled to 17 countries finding new inspiring aspects of the human condition and bringing this evolving art form to places that have never experienced it before. 6 years ago, in response to both the logistic and artistic limitations inherent in the use of heavy, rigid materials in sculptural robotics, MacMurtrie has created a new generation of interactive, robotic work entitled The Inflatable Bodies. In place of the cumbersome metal found in standard robotics, these robotic performers arise from high- tensile, inflatable, fabric "skeletons" which are shapeless until inflated with air. The possibilities for range and kind of movement are as broad as that for muscle and bone, but with little of the mass, and even fewer mechanical constraints. The unusual mechanical ability to relax the “bone” of the Inflatable Bodies creates movements that conventional robotics cannot, and results in an unprecedented range of purposeful, flexible motion. The machines are capable of an astonishing natural elegance: moving and interacting with live performers and audience with a nearly proprioceptive self-awareness in an uncanny portrayal of some of the qualities of a living system. Employing pioneering robotic and construction techniques, the 'inflatable body' sculpture explores the parallels that exist between humans and machines, and the fascination with a machine's ability to depict the most primal aspects of the human condition.

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"Vilém Flusser’s and Marshall McLuhan’s Theories of Communication Revisited"

"Vilém Flusser’s and Marshall McLuhan’s Theories of Communication Revisited" International Conference
May 30- June 01, 2011
Cinematheque, Winnipeg, MB
www.vpmediaconf.com

 V+FVideo Pool Media Arts Centre in collaboration with the University of Manitoba, Department of English, Theatre and Film, organizes: "Vilém Flusser’s and Marshall McLuhan’s Theories of Communication Revisited". This three-day, International Conference and Exhibition juxtaposes the unique legacies of the phenomenologically-based communication theorist Vilém Flusser, and the media prophet Marshal McLuhan whose play on language and media shaped today's networked society by coining expressions such as “the medium is the message” and “the global village”. This project also builds off of a past conference ‘Marshall McLuhan Revisited’ organized by Video Pool twenty years ago (see documentation about the project from 1992). The 2012 project incorporates: a major international Conference (with a comprehensive publication), Exhibitions, Screenings and Performance. During this interdisciplinary conference, we will discuss Flusser’s and McLuhan’s ideas from different perspectives and traditions, with an emphasis on the philosophy of media to shed light on the dynamics of new-media today.

Speakers include:

Richard Cavell (Vancouver), Janine Marchessault (Toronto), Philip Pocock (Ottawa), Simone Mahrenholz (Winnipeg),  Arthur I. Miller (London), Darren Wershler (Toronto) Michael Darroch (Windsor), Jonah Corne (Winnipeg), Derrick de Kerckhove (Toronto) , Paul Majkut (California), Mark Dery (Boston), Sean Cubitt (England(UK), Alberto José Luis Carrillo Canán (Puebla, Mexico), Steffi Winkler (Germany), Claudia Becker(Germany), Timothy Druckrey (New York City), Roy Ascott (UK), Andreas Strohl, (Prague) Eugene Thacker (New York City), Dieter Daniels (Leipzig), Paul Levinson (New York City), Peter-Paul Verbeek (Netherlands).


Exhibitions by: Lei Cox "Twenty Six Years Later (a journey to fiction and back again) – Lei Cox" by Lei Cox (UK);
"Dispergere Maiz
" by Manuel Chantre (Quebec); manuelchantre.com
Performance: "Ellice Message" by Richard Altman (Manitoba).

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Lei Cox "Twenty Six Years Later (a journey to fiction and back again)" May 4-June 02 2012

Lcox-smLei Cox " Twenty Six Years Later (a journey to fiction and back again)" 
May 04-June 02 2012
Gurevich Fine Art Gallery
Winnipeg, MB

Lei Cox is a Scottish multimedia Artist and professor who - in addition to creating video installations - involves photography and music composition for documentaries and TV shows. Cox's videos deal with issues such as “teleportation”, “Reconstructing of the flight path of the famous Wright brothers”, and a “rethinking of the 1st Moon Landing.”  Cox often combines footage of the artist himself with simple digitally animated settings to create short works, which are usually dominated by the progressive elaboration of a single movement or action. The pieces are frequently surreal, and slightly humorous. On the whole, Cox attempts to engage with how technology and science shape human society and how individuals respond to those impacts.

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Manuel Chantre "Dispergere Maiz" May 2012

IMG_1680-1024x682Manuel Chantre ""Dispergere Maiz" May 2012
Manuel Chantre’s work focuses on the construction and deconstruction of cultural symbols. Designed as an immersive and interactive installation, Dispergere Maiz, explores the various representations and symbols associated with corn- a plant that has been cultivated and consumed by human kind for the last five thousand years. The project consists of twenty-four transparent projection screens, four video projectors and four loudspeakers. The unique interpretation of each spectator and the manipulation of spatial perception are the primary axis guiding the environment. In the dark gallery space, various screens flicker and engage the public in a narrative composed of familiar places and symbols. In this installation spectators explore a universe woven of memories and recollections.

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Myriam Bessette & Robin Dupuis “Conciliabule” July 2012

VISARTS_Conciliabule_t_w190Conciliabule is an audio installation that explores the nature of the acoustic object and the transmission of complex voice messages through an electric signal. Starting with voice samples, the artists have filtered out all references except for very low inaudible frequencies. The almost silent audio installation creates its own materiality in the form of vibrations that become visible in the speakers. The sound heard by the viewer is not that of the recorded voice but it is actually the quivering of the speaker that animates the piece. This multi track work invites visitors to walk through an auditory visual architecture and to enter into a Conciliabule (an informal gathering) with the materiality of the sound.

This exhibition will be presented in the Art Space Lobby as a means of making video pool and its programming more visible to non-members and the general public.

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David Rokeby " Dark Matter" September 2012

Picture 2David Rokeby "Dark Matter" September 2012

Dark Matter: The darkened gallery space is dominated by an invisible sculpture of silent sound. Your body probes the space listening for the sculpture's spatial form to be expressed though the sounds of your contact with its immaterial presence.
Infrared sensitive video cameras survey the darkened gallery from 4 angles. These cameras carve up the space into thousands of 3 dimensional zones. A selection of these zones have been attributed sound behaviours. Together, these interactive zones define a complex physical but invisible form in the gallery space. A computer cross-references the data from the cameras to work out which zones are experiencing the greatest physical activity at any given moment and plays the sounds linked to those zones through an 8-channel sound system, distributing the sounds through the space in relation to the locations of the physical stimuli.  The sounds are all very physical: breaking ice and breaking glass, creaking metal, falling rocks, bursts of flame. They were "painted" into the space by hand. Starting with an empty space, the artist placed the sounds in the space by selecting a sound then waving his hand in a particular area to locate the sound in a particular cubic foot of space; the interactive sculpture of sound was defined in space by hand. David Rokeby is an installation artist based in Toronto, Canada. He has been creating and exhibiting since 1982. For the first part of his career he focused on interactive pieces that directly engage the human body, or that involve artificial perception systems. In the last decade, his practice has expanded to included video, kinetic and static sculpture. His work has been performed / exhibited in shows across Canada, the United States, Europe and Asia,

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"Relocated" curated by Melentie Pandilovski & Paul Dignan October 2012

The artists participating in this multidisciplinary, international exhibition have one thing in common. They have all, as young adults or adults, been through the experience of immigration and now call home a country other than that of their birth. The remit for RELOCATED is simple....the artists were asked to make work that was a purely personal reaction to the experience of living and working within this new environment. How the artists choose to react to this was left completely open to individual interpretation and therefore in keeping with the multifaceted, diverse nature of the project.

Reason for relocation...social, political, economic etc.+hopes/stereotypes/preconceived expectations +New World/ Old World+ The Familiar/The Unfamiliar + Rose tinted Glasses syndrome/....how the immigrant perception of their home culture changes the longer they are away from it.+The Mutation of the old, familiar culture within a new culture.....eg. fake Celtic/Scottishness within Canada, the romanticisation of the Old country/the stereotype  + Memory/ Everyday/Family/Homesickness + Friends/Customs/Culture/Society + Location/Sound/DemographLanguage/accent/dialect.

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Bill Vorn "Hysterical Machine" November 2012

Megahysterical01Bill Vorn "Hysterical Machine" November 2012

This project is part of a larger research program on the Aesthetics of Artificial Behaviors and is very much inspired of a previous work based on the Misery of the Machines (Bill Vorn, LP Demers, La Cour des Miracles, 1997). It is conceived on the principle of deconstruction, suggesting dysfunctional, absurd and deviant behaviors through a functional machine. It operates on a dual-level process expressing the paradoxal nature of Artificial Life. The aim of this project is to induce empathy of the viewer towards characters which are nothing more than articulated metal structures. Born and living in Montreal, Bill Vorn is active in the field of Robotic Art since 1992. His installation and performance projects involve robotics and motion control, sound, lighting, video and cybernetic processes. He pursues research and creation on Artificial Life and Agent Technologies through artistic work based on the Aesthetics of Artificial Behaviors.

He holds a Ph.D. degree in Communication Studies from UQAM (Montreal) for his thesis on Artificial Life as a Media.

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