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• Concrete constructs of linearity

  On the morning following the performance, Kite and I sat together and shared familial anecdotes as a way of circumnavigating the work. We shared our childhood fantasies and mysticisms,...

• Punning Photography’s Legacy: His dreadful glance

  This is less an exhibition of photographs than an exploration of the scopic imperatives that underlay the history and practice of photography. While all representational art relies on mimesis,...

• Punning Photography’s Legacy: His dreadful glance

  This effort to make strange is heralded in the entrance to the exhibition, where the corkboards along the narrow entrance corridor have been ‘curated’ by the artist, who carefully...

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *KEVIN RICE: Based on your experience with Double Negative[http://doublenegativecollective.blogspot.ca/], what do you think is the most critical function that a film collective serves, both for the individual filmmaker as...

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *LM: With Process Reversal you’ve done a lot of touring, traveling, knowledge-sharing, and engagement, which is really quite different than the activities of Double Negative—would you say that those...

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *KR: Over the last few years, you’ve been conducting interviews and producing footage for your soon-to-be completed newest work, The Story of Film, about the state of analogue film....

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *KR: And, of course, there is no singular answer to the problem of inclusion in our community, but what would you say is the best step that organizations—including film collectives...

• Human Rights and Film at 150

   *ALANA CONWAY: Our Canada, My Story focuses on seven short films to explore the lived experience of Canadians from across the country. Why did you choose these individuals, and...

• Human Rights and Film at 150

  *AC: What were some of the technical challenges in developing this exhibit?* JP: The exhibition is comprised of seven intimate, circular spaces throughout the gallery, one for each film. Each...

• Kevin Rice

  *Kevin Rice* has been working with film since 2007. His practice is predominately based in the darkroom where he researches all aspects of photochemistry and performs in depth experiments on...