The MIRL is pleased to present Rhythm of Video Feedback, a video installation, live performance, and talk taking place on Monday, February 29th, 2015. Performance and talk/Q&A takes place from 4:30-6:30, with the installation open from 1-7pm. Masayuki Kawai builds a video feedback system composed of dozens of analog audio-visual devices. He shows the machine on site as an installation and operates it as live performance as well.
Kawai’s “Video Feedback” works are made with an analog video feedback from a closed circuit system with free-flowing electronic data. No outer video/sound source is used; the video machines and circuits contain subtle noises that are amplified in the loop to generate infinite data flows. When these are put into the video input, they display various figure and colour mutations. When these are channeled into the audio input, they make sounds that are synchronized with the image. It is impossible to make these images and sounds by computer programming-simulation because the digital process eliminates the noise and gives privilege to the signals. Thus, through these works, we directly experience an organic creation of singularity with analog electronic video. Daisuke Harashima extracts from the installation and performance a concept of glitch as a rhythm of recursive generation of a pattern which is simultaneously singular and multiple. With the paradoxical concept of glitch, he explores the real and virtual power of a non-digital and in-formal logic as the potential of the technological environment.
Masayuki Kawai was born in 1972. He creates video works in a unique style that takes radical visions of philosophy and politics from the standpoint of the consideration and criticism of informational society and the essence of media. He explores his broad styles and activities unconstrained by existing genres such as films, contemporary arts, and media arts. His works have been shown in over 30 countries and has received numerous awards in media art festivals and exhibitions around the world. A collection of his works can be seen at the Queens Museum of Art in New York (U.S.) and at the National Museum of Art in Osaka (Japan). He was invited to as an artist in residence from the Jerusalem Center for Visual Arts, ISCP in NY, and Le Cube and Cite International des arts in Paris with support from the Jerusalem Foundation, Agency for Cultural Affairs of Japanese Government, POLA Art Foundation, Tokyo Wonder Site, City Government of Paris and Culturesfrance. To establish a critical role for video art in the society of spectacle, Kawai as a video artist, curator, and writer, directed a number of enlightening and challenging exhibitions and festivals and published an insightful book under the concept of “visual philosophy”. He holds a B.A. in aesthetics and M.A. in representation and culture from University of Tokyo. Website: http://masayukikawai.com/
Daisuke Harashima is a PhD student in Arts and Sciences at University of Tokyo. His research interests are information theories (from cybernetics and a mathematical theory or formal logic of communication, to second-order cybernetics, autopoiesis, transcendental empiricism, radical constructivism, fundamental informatics, neocybernetics, etc.) and media arts (focusing on the way they work out paradoxical ambiguities of freedoms and constraints, and self-producing sensors for singularities in present technological environment; collective activities; glitches and vibrations as sensuous continuums; verbal and virtual communications; ethico-aesthetic ecologies; improvisational morals of artificial and embodied intelligences; informal informations of insufficient reason and included middle). Among his publications are “Prediction and Production: Technological Singularity and Living Singularity.” in Gendai-Shiso (The Contemporary Thought)[Japanese] and “Close-and-Open: A Neocybernetic Approach to the Living System Condition in the Information Technological Environment.” Journal of Information and Media Studies [Japanese]. He also plays as a dj, vj or programmer/operator for media live performances. His recent work includes a video projection for a reenaction of Bernd Alois Zimmermann’s “Requiem für einen jungen Dichter” at Suntory Hall (Tokyo), and video projections and stage settings for live performances of scscs (Nagoya and Tokyo) and number0 (Tokyo, Kyoto, and Nagoya). Website: http://digital-narcis.org/Daisuke-HARASHIMA/
This a satellite performance of ACTE: Volumes, taking place at La Vitriola on Friday, February 26th at 8pm. For more information, please see the Facebook event page: https://www.facebook.com/events/1057265577629183/ or Resident Advisor listing: http://www.residentadvisor.net/event.aspx?803770
On Friday, January 29th 2016, the MIRL will be hosting a screening of Kamal Aljafari’s Recollection (2015). The Isreali and American features shot in the town of Jaffa from the 1960s to the 1990s are the basis for the story of a dream. All protagonists are removed from the original footage, leaving an empty settlement formed by the town. Thus, the impossible is made from the “I” perspective, namely filming the past and compiling a picture album made of memories.
Kamal Aljafari is a Palestinian filmmaker based in Berlin. His films include The Roof (2006), Port of Memory (2009) and Recollection (2015). Aljafari was featured artist at the Robert Flaherty Film Seminar in 2009 in New York, as well as Benjamin White Whitney Fellow at the Radcliffe Institute for Advanced Studies and Center for Film Studies at Harvard University in 2009 and 2010. He taught film at the New School and, between 2011 and 2013, acted as the head of the film directing program at the DFFB Berlin.
Screening takes place from 4-6pm with a Q & A session led by anthropologist and filmmaker Diana Allan, from McGill University’s Department of Anthropology. Seating is limited. Please email Carolyn Bailey at firstname.lastname@example.org to reserve a seat.
For more information on the film: http://kamalaljafari.com/recollection/
For the 26th annual Day With(out) Art, a looping video presentation of RADIANT PRESENCE will be screened at the Moving Image Research Laboratory (Room B46 Leacock, McGill University) between 2 pm-4 pm on Tuesday, December 1st. This event is free and welcome to the public!
RADIANT PRESENCE is a digital slideshow with images from the Visual AIDS’ Artist+ Registry, the largest database of works by artists with HIV/AIDS. RADIANT PRESENCE features artwork by artists living with HIV/AIDS and those who are no longer with us. The artwork is interspersed with current statistics and information about HIV/AIDS today. It showcases the resilience and vitality of Visual AIDS’ Artist Members and their artwork, preserving the radiance of those who have passed while provoking dialogue about the needs and experiences of people living with HIV. The presentation provokes conversations about HIV criminalization and stigma, access to treatment, the shifting demographics of people living with HIV and the disproportionate effect of the epidemic on communities of color and transwomen.
Stay updated on the Facebook event: https://www.facebook.com/events/528927783949775/
More information about Day With(out) Art, Radiant Presence, and the artists featured: https://www.visualaids.org/projects/detail/radiant-presence
Accessibility info: Leacock Building is wheelchair accessible at the entrance facing lower campus or via the Arts Building (map follows). The MIRL is located in the basement and may be reached by elevator. There is also a wheelchair accessible bathroom on the basement level. A gender neutral washroom is located on the fifth floor, left of the elevators.
Looking Through Time: Temporality and Presence Effects in Recent Moving Image Arts
Moving Image Research Lab, McGill University
Looking through time is a one-day event designed to foster a focused investigation of how moving image technologies alter the subjective experience of time. Graduate students from three Montreal Universities will deliver papers and workshop research projects. Topics include the viewing subject’s temporal orientation in relation to the unfolding of television narratives, imbrications of memory, cinematic materiality, and embodied experience in contemporary art, and the mnemonics and circulation of repertoires of violence in digital games and documentary film. Alexandre Larose will also present his 35mm experimental film Brouillard (c. 2011-2012), a work exploring the sedimentation of movement in celluloid.
The Moving Image Research Lab will host the event on Friday November 30th from 12:30pm to 5:30pm, with a 5 à 7 to follow. Registration for the event is free and will include coffee, mid-afternoon snacks, and a catered reception. Please email email@example.com in order to reserve your place. Participants are welcome to gather for coffee at 12:00pm in room B55F (basement) of McGill’s Arts Building. The presentations begin at 12:30pm in room B46D (basement) McGill’s Leacock Building. Attendees are also encouraged to attend Data:Salon II at Eastern Bloc (November 28th at 7pm, with a performance at 8pm) for a presentation and discussion of works by the artists involved in “Looking through time”.
Full program details are available at here.
Data:Salon II with Alexandre Larose / Paul Raphaël & Félix Lajeunesse
Eastern Bloc Center for New Media and Interdisciplinary Art
In conjunction with “Looking through time”, Eastern Bloc will be hosting a Data:Salon with filmmakers Alexandre Larose and the duo Paul Raphaël & Félix Lajeunesse. The Data:Salon series is designed to provide emerging artists with a venue through which to present recent projects, or work-in-progress, and to gain immediate feed back from the interested public. Alexandre Larose will be presenting and performing a four-channel 16mm experimental film installation titled Aller/Retour. Larose performs the installation by running a single loop of film through all four projectors. Constantly monitoring the tension in the loop, Larose lets the film cascade across four frames, each image lagging slightly behind the other. Paul Raphaël & Félix Lajeunesse will be presenting a 3D video titled Kobe shot in Igloolik, Nunavut. A contemplative portrait of daily life, Kobe uses stereoscopic 3D to create moving image tableau with depths and volumes that fluctuate and emerge as the eye wanders through fixed long shots.
Data: Salon II will be opening on November 28th at 7pm with presentations and a performance at 8pm. The works will be installed on both the 29th and 30th from 12pm to 5pm in order to coincide with “Looking through time”.