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• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Nisha Platzer and Malin Schmid’s Seed (2018) is an example of hand processing used in this way. The rough, mottled, hand-processed textures complement the close-up images of plants, water,...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  In Michael Lyons’ Porto Landscape (2018), a “city symphony” film set in Porto, Portugal, various temporal devices are used to complementary effects. Lyons plays with mixing different “speeds” of...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  For years, Ryan and I had been on the peripheral of one another’s social and professional lives (we both attended the Alberta College of Art and Design and...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Two months later Ryan’s Nike-checked sneakers squeaked on Calgary’s Theatre Junction GRAND’s black-painted floor as they slid, twirled, and shimmied within a round pool of rosy spotlight in their...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Ryan performed Love Me Like There’s No Tomorrow for the M:ST (Mountain Standard Time) Performative Art Festival, a biennial event that coordinates collaborations between numerous art and performance organizations...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Los-Angeles based artist and film director William E. Jones used this 1962 Mansfield footage for his video works Mansfield (2006) and Tearoom (2007). Jones created Mansfield after finding a...

• The Sounds and Sights of Dance: Rosanna Terracciano's A QUIET FLAMENCO

  a quiet flamenco offers the audience an opportunity to reacquaint themselves with flamenco by presenting a different relationship between sound and dance. While flamenco is traditionally a cacophonous dance,...

• The Sounds and Sights of Dance: Rosanna Terracciano's A QUIET FLAMENCO

  The films are beautiful and moving while mysterious. Each film focuses on an individual dancer and begins with their name spoken. This acts as a relational moment: the...

• The Sounds and Sights of Dance: Rosanna Terracciano's A QUIET FLAMENCO

  In a quiet flamenco, Terracciano seems less concerned with the character and movement of flamenco and more so with the personalities - the very personhood - of the...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  I would say 23 days in Vancouver is equal to 40 days in Mexico. In Mexico, things move slower. For example, you might start shooting two hours after...