Feb 28 2019

6PM 8PM 10PM

March 1 2019


Feb 28 2019 10PM



Lovemoon Battlefield

Lovemoon Battlefield

RT: 15:00 Alex Cunningham

An interactive re-sequencing and improvisational visualizing of Frank Stanford’s unpunctuated epic 1977 poem, “The Battlefield Where The Moon Says I Love You”. Stanford’s poem operates with a sort of dream logic, if any. In this performance film, we operate with liveness, randomness, and instinct to determine the order of things. Together, we’ll randomly select and sequence a sample of just some of the 15,283 lines from the poem and let a slide projector narrate them. Meanwhile, a live montage in response to the shuffled text is performed with 15 1-minute films between two 16mm projectors. Will a narrative emerge? Will text and light and rhythm collaborate to create a new logic? Or will chaos reign? Either way, it seems somewhat out of our control. “I’m going to do a few things can’t nobody follow we could always go back to biting the heads off fish and chickens"


RT: 10:00 Tom Whiteside

"Cobra Woman" (d. Robert Siodmak, Universal, 1944) is a twin-sisters-separated-at-birth Technicolor feature set in an exotic location with a volcano and lots of fighting, with music by Edward Ward. CWR2 is a two projector treatment that uses parts of Reel 2 in black and white positive and black and white negative, plus filters. Artist's statement: "I am just a monkey threading a needle."
The Sick Sense

The Sick Sense

RT: 20:00 Brent Coughenour

Building on research by Diana Deutsch, Alfred Bregman, Maryanne Amacher and others, The Sick Sense is an ongoing project exploring the limits of the perceptual system. These projects stimulate otoacoustic and flicker phenomena, auditory and visual hallucinations, and other effects while searching for stimulus patterns that turn off the brain’s default mode network and other rational systems, switching the brain into the role of pure ecstatic perceiver.


Sylvain Chaussée and Adrian Gordon Cook 50:00

Since coming on the scene in 2013, the collaborative project between filmmaker Sylvain Chaussée and composer Adrian Gordon Cook, otherwise known as Zephyr, has been mesmerizing audiences across Toronto, New York, and Montreal with immersive audiovisual performances. The project is centralized around the use of 16mm film loops and sequential musical patterns in an attempt to expand cinema's potential to influence audience expectations. Drawing upon the historical connection between image and sound, Zephyr reflects on the emotionally charged relationships created when both mediums are combined. In the live performance, a dialogue exists between projectionist and musician, allowing them to progress in synchrony, mirroring each other through the building and deconstructing of the cinematic experience.

Sylvain Chaussée is a filmmaker and photographer born in France and based in Toronto. He studied film at Concordia University with experimental filmmakers Richard Kerr and Francois Miron. Chaussée's work focuses on the materiality of his medium, which is realized through extensive processing and printing techniques. As a film technician at Niagara Custom Lab he strives for an alternative approach towards filmmaking. In performance, loops provide the basis for his imagery, through which the repetition of movement, colour, and texture are integral to the experience of the work. Chaussée is inspired by the physical nature of film, which permits limitless opportunities for manipulation and transformation. 

Adrian Gordon Cook is a composer, performer and multi-instrumentalist based in Toronto. He studied music at York University, where he focused on composition, electronic media and music history. Largely inspired by the early minimalist composers of the 1960's, Cook's work takes shape within large temporal boundaries, utilizing drones, repetition, prolonged chordal movements and static harmony. Often contemplative and understated, his music shifts subtly between sonic texture and colours. He has a keen interest in multi-disciplinary work, influenced by the new relationships formed when sound is not the sole aspect of a piece.