Podcast appearances and mentions of Stan Douglas

Pedro Lapa é professor da Faculdade de Letras da Universidade de Lisboa. Foi diretor artístico do Museu Coleção Berardo entre 2011 e 2017 e diretor do Museu Nacional de Arte Contemporânea - Museu do Chiado, entre 1998 e 2009. Foi também curador da Ellipse Foundation entre 2004 e 2009. É doutorado em História da Arte pela Faculdade de Letras da Universidade de Lisboa. É autor de muitas publicações no domínio da arte moderna e contemporânea, de entre as quais se destacam André Romão. Fauna (2019); Joaquim Rodrigo, a contínua reinvenção da pintura (2016); História e Interregnum. Três obras de Stan Douglas (2015); Arte Portuguesa do Século XX (1910-1960), James Coleman. Mediaespectrologias (2005).Comissariou muitas exposições, das quais se destacam Amadeo de Souza-Cardoso (Museu Pushkin, Moscovo), James Coleman (MNAC-MC), Stan Douglas, Interregnum (Museu Coleção Berardo, Lisboa), Alexandre Estrela. Star Gate (MNAC-MC) ou as coletivas More Works About Buildings and Food (Hangar K7, Oeiras), João Maria Gusmão e Pedro Paiva. Intrusão: The Red Square (MNAC-MC), Disseminações (Culturgest, Lisboa), Ângela Ferreira. Em sítio algum (MNAC-MC) Cinco Pintores da Modernidade Portuguesa (Fundació Caixa Catalunya, Barcelona; Museu de Arte Moderna, São Paulo). Em 2001 foi o curador da representação portuguesa à 49ª Bienal de Veneza com o artista João Penalva. Foi co-autor, em 1999, do primeiro catálogo raisonné realizado em Portugal, dedicado à obra de Joaquim Rodrigo. O Grémio Literário atribuiu-lhe o Grande Prémio de 2008 pelo seu ensaio Columbano Bordalo Pinheiro, uma arqueologia da modernidade. Em 2010 o Ministro da Cultura de França, Frédéric Mitterrand, concedeu-lhe a distinção de Cavaleiro da Ordem das Artes e das Letras.Os projetos atuais em realização consistem num livro sobre arte moderna em Portugal, bem como um livro sobre Alexandre Estrela, um artista cujo trabalho acompanha desde os primeiros anos de emergência da sua obra. Links: https://arquivos.rtp.pt/conteudos/pedro-lapa-2/ https://www.youtube.com/watch?v=-HJgEnCUWeQ https://www.artecapital.net/entrevista-143-pedro-lapa http://www.museuartecontemporanea.gov.pt/pt/museu/historia https://arquivos.rtp.pt/conteudos/pedro-lapa/ https://www.rtp.pt/noticias/cultura/pedro-lapa-e-o-novo-diretor-artistico_n427481 https://sicnoticias.pt/cultura/2011-03-25-pedro-lapa-e-o-novo-director-artistico-do-museu-berardo3 https://www.publico.pt/2017/04/06/culturaipsilon/noticia/pedro-lapa-saiu-da-direccao-artistica-do-museu-coleccao-berardo-1767946 https://www.publico.pt/2022/06/21/culturaipsilon/opiniao/bem-desde-coleccao-ellipse-futuro-2010661 https://www.dn.pt/arquivo/diario-de-noticias/colecoes-de-arte-ellipse-e-do-bpp-passam-para-a-tutela-do-estado-15355564.html https://www.publico.pt/2015/03/23/culturaipsilon/noticia/stan-douglas-expoe-em-outubro-no-museu-berardo-1690029 Episódio gravado a 18.03.2025 Créditos introdução: David Maranha - Flauta e percussão Créditos música final: Steve Reich, Music for a Large Ensemble http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes © Appleton, todos os direitos reservados

The second episode of Season 3 features Barbara London in conversation with Stan Douglas, the acclaimed Canadian artist who reimagines the mediums of photography, film and video while looking at technology's role in image making and collective memory. Stan's work often pulls from his interests in music, movies, television and theater, aiming at what he sees as the small moments that are a local symptom of a global condition.

This episode features Jay Wolke and Eli Giclas in conversation with MoCP Curator of Academic Programs and Collections, Kristin Taylor. Jay and Eli discuss their photographic approaches to depict the built environment as a reflection of patterns of human consumption and an imbalanced relationship with nature. They also discuss their appreciation of works by Stan Douglas and Dawn Kim in the MoCP permanent collection. Jay Wolke is an artist and educator based in Chicago, who is known for his decades-long practice of photographing people and architectural spaces. His work often explores the disparities between human ambition and its manifestation in the built environment. Through images made along highways, high rises, underpasses, over passes, rock quarries, casinos, parks, and more, he shows, in his words “perpetual re-imaginings, capricious assemblies, ominous entanglements, and repeatedly regrettable consequences of human industry and hubris.” He has several monographs, including Along the Divide: Photographs of the Dan Ryan Expressway, 2004; and Same Dream Another Time, 2017. His works have been exhibited internationally and are in the permanent print collections of the Whitney Museum of American Art, New York MOMA, the Art Institute of Chicago, and San Francisco MOMA, the MoCP, among others. He is currently a Professor of Photography at Columbia College Chicago, where he was Chair of the Art and Design Department from 2000-2005 and again from 2008-2013. Eli Giclas is a Chicago-based photographer and designer whose projects in rich blacks, whites, and greys speak to an in-between-ness of action for the climate, and the consequences from broken relationships to nature. In his project Counting After Lightning (2021-2024), he makes large-scale images of industrial sites in the Midwest, representing patterns of consumption driven by extractive industries that we use for power. In contrast, another series, On Wing, 2022-2023, he shows volunteers and locations within an urban bird sanctuary, offering one story as a symbol of larger collective acts in healing. He states: “I consider our relationship to our planet and what must change to make a better, more thoughtful future possible…underscoring their collective reverence and the significance of their efforts.” Eli recently completed his MFA in Photography at Columbia College Chicago, under the instruction of Jay Wolke, and he also completed his BFA in Graphic Design from the University of Arizona in 2018.

Biennale for Visual and sonic media. düsseldorfphoto+ Andy Scholz präsentiert in dieser Episode Ton-Mitschnitte aus vier Vorträgen vom Symposium »ON REALITY« am 18. Mai 2024 im Rahmen der Biennale for visual and sonic media - düsseldorfphotoplus. Kleiner Hinweis: Es ist nicht möglich, die gesamten Vorträge und ihren detaillierten Inhalt hier im Podcast wiederzugeben, ohne die Bilder – ohne die Vortragsfolien – zu zeigen. Darum sind hier lediglich kurze Ton-Mitschnitte präsentiert. Mehr infos zur Biennale for Visual and sonic media düsseldorfphotoplus unter: https://www.duesseldorfphotoplus.de https://www.instagram.com/duesseldorfphotoplus/ Konzipiert haben das Symposium Pola Sieverding und Asya Yaghmurian https://www.instagram.com/polasieverding/ https://artmap.com/polasieverding https://www.instagram.com/asya_yaghmurian/ Folgende Gäste des ersten Symposiumstages sind in dieser Episode vorgekommen: Gabrielle Moser, Sim Chi Yin, Hannah Darabi, Federico Campagna und Stan Douglas https://www.instagram.com/hannahdarabi/ https://www.instagram.com/chiyin_sim/ https://www.instagram.com/gabbymoser/ https://www.davidzwirner.com/artists/stan-douglas https://en.wikipedia.org/wiki/Federico_Campagna ​- - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: düsseldorfphotoplus Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2024. Andy Scholz wurde 1971 in Varel. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie seit 2016 künstlerischer Leiter und Kurator vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ https://deutscherfotobuchpreis.de/ https://www.instagram.com/deutscher_fotobuchpreis/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

Zum dritten Mal findet die «Biennale for Visual and Sonic Media. düsseldorf photo+« vom 17. Mai bis 14. Juli 2024 in Düsseldorf statt. Insgesamt präsentiert das Festival etwa 300 Künstler*innen und Beitragende in über 50 Ausstellungen und Veranstaltungen – in Museen, Sammlungen, Galerien, freien Ausstellungsräumen und Hochschulen. Das Symposium unter dem Festival-Leittitel »ON REALITY« findet am 18. und 19. Mai 2024 jeweils von 11 bis 17 Uhr im K21 statt. Künstler­ *innen, Wissenschaftler*innen, Philosoph*innen und Medientheoretiker*innen sind eingeladen zu unter­suchen, auf welche Weise visuelle Medien an unserem Wirklichkeitsverständnis mitwirken. Konzipiert haben das Symposium: Pola Sieverding und Asya Yaghmurian Folgende Gäste werden beim Symposium erwartet: Federico Campagna, Hannah Darabi, Stan Douglas, Elena Esposito, Julie Favreau, Elaine G. Goldberg, Gabrielle Moser, Marie-France Rafael, Jon Rafman, Sim Chi Yin, Ana Teixeira Pinto https://www.duesseldorfphotoplus.de Anmeldung zum Symposium: rsvp@dpplus.de ​- - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Details vom Katalogtitel ON REALITY © 2024 düsseldorf photo+ Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2024. Andy Scholz wurde 1971 in Varel. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie seit 2016 künstlerischer Leiter und Kurator vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ https://deutscherfotobuchpreis.de/ https://www.instagram.com/deutscher_fotobuchpreis/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

Ook deze zaterdag deelt presentator Teddy Tops cultuurtips met je, vandaag hoor je meer over deze juweeltjes: Column: Schrijver Annemarie de Gee (https://www.annemariedegee.nl/?doing_wp_cron=1694769193.5113339424133300781250) leest een column voor vanuit Brussel Kunst: Thomas Schütte (https://depont.nl/tentoonstellingen/nu-en-later/thomas-schuette-16-september-2023-28-januari-2024) en Stan Douglas in De Pont, met directeur Martijn van Nieuwenhuyzen Serie: Volendam, een dorp in de Eredivisie (https://www.2doc.nl/documentaires/2023/09/volendam-een-dorp-in-de-Eredivisie.html), met journalist Maartje Willems Benefiet: Marwan Magroun (https://www.marwanmagroun.nl/print-for-morocco) en Sarah Ben Messaoud (https://www.instagram.com/sarahben.svg/) veilen hun werk voor Marokko Muziek: Arlo Parks (https://open.spotify.com/track/4zBJrqrXvoi1Z2kIzwatgF?si=22fbedc60749428c&nd=1), Wende (https://open.spotify.com/track/2de9hFWcbbWM8AiDwg3wvd?si=9e0a8efdaed14d40&nd=1), Roufaida (https://open.spotify.com/track/7q3sOqPCazOyO6Ud2nE9D9?si=e909044d1eca4ecb&nd=1) en Feist (https://open.spotify.com/track/71pLAOb9hGDPnDuGse80fV?si=a4cf918f059245d8&nd=1) Jouw cultuurtips horen we heel graag via de mail: eenuurcultuur@vpro.nl

Since its inception in 1977, Public Art Fund has presented more than 500 artists' exhibitions and projects at sites throughout New York City.  In this episode, Susan K. Freedman, the president of Public Art Fund, presents current exhibitions including Nicholas Galanin's impressive new sculpture “In Every Language There Is Land/En cada lengua hay una Tierra” at Brooklyn Bridge Park, art installations at La Guardia Airport Terminal B by Jeppe Hein. Sabine Hornig, Laura Owens and Sarah Sze, at Newark Liberty International Airport Terminal A by Karyn Oliver and Layqa Nuna Yawar, as well as art installations at the Moynihan Train Hall by Stan Douglas, Elmgreen & Dragset, and Kehinde Wiley. Public Art Fund is also behind the late Phyllida Barlow's final series of large-scale sculptures, PRANK, in City Hall Park, that opened in the beginning of June. Public Art Fund believes in free access to great contemporary art for all, that artists are an essential part of our civic dialogue, and that art has the power to ignite conversation among different people, to open hearts and minds, and to help shape our collective future.   Freedman currently serves on the board of the Municipal Art Society, and as vice chair of the board for the City Parks Foundation. She is a recipient of the 1999 Associates of the Art Commission Annual Award and was honored with the 2005 Municipal Art Society's Evangeline Blashfield Award for her contributions to New York City's urban landscape. Photo by Kelly Taub  

How do we look at, and respond to, work by Black contemporary artists? In this episode, we sat down with Tina Campt, Visiting Professor in Art & Archaeology and the Lewis Center for the Arts at Princeton. We trace the arc of Prof. Campt's career, from her earlier research on family photography in the African diaspora and how one can “listen to images,” all the way to her current writing and recent trip to this year's Venice Biennale. Along the way, we discuss concepts that elucidate the aesthetic, political, and experiential dynamics of work by artists like Jennifer Packer, Cameron Rowland, Stan Douglas, and Simone Leigh. Deep Dive: How to “listen” to a photograph Tina M. Campt, Listening to Images (Duke University Press, 2017). Tina M. Campt, A Black Gaze: Artists Changing How We See (MIT Press, 2021). The Breakdown - Guest Info (Photo credit: barnard.edu) Tina M. Campt (https://artandarchaeology.princeton.edu/people/tina-m-campt)  Professor Campt taught a multidisciplinary seminar called “Radical Composition” as a Visiting Professor at Princeton for the Spring 2022 semester. She is the Owen F. Walker Professor of Humanities and Modern Culture and Media at Brown University, and heads the Black Visualities Initiative at Brown's Cogut Institute for Humanities. In addition to the five books she has authored and edited, such as Listening to Images and A Black Gaze, Professor Campt is the lead convener of the Practicing Refusal Collective and the Sojourner Project.  See, Hear, Do “Radical Composition” course materials: Saidiya Hartman, "Venus in Two Acts." Small Axe 12, no. 2 (2008): 1-14.  Flying Lotus, “Until the Quiet Comes,” dir. Kahlil Joseph (2012).  Carrie Mae Weems, “People of a Darker Hue” (2016). Jay-Z, “4:44,” dir.  Arthur Jafa (2017).  Roy DeCarava and Langston Hughes, The Sweet Flypaper of Life (First Print Press, 2018). Practicing Refusal Collective, The Sojourner Project (ongoing). Whitney Museum of American Art, “Ask a Curator: Jennifer Packer: The Eye Is Not Satisfied With Seeing” (2022). Taylor DaFoe, “How Curators David Breslin and Adrienne Edwards Tackled the 2022 Whitney Biennial to Show ‘What America Really Looks Like',” artnet news (March 29, 2022). Simone Leigh, Sovereignty, Official U.S. Presentation, 59th International Art Exhibition, La Biennale di Venezia, April 23–November 27, 2022. National Gallery of Art, Afro-Atlantic Histories, April 10–July 17, 2022. Tina M. Campt, fourth lecture in the series Image Complex: Art, Visuality & Power, University of Sydney (online lecture, October 19th, 2022, register here).

Ben Luke talks to Stan Douglas about his influences—including writers, film-makers, musicians, and, of course, other artists—and the cultural experiences that have shaped his life and work. Douglas is a video artist and photographer—one of the leading pioneers of video installation and large-scale photography. He scrutinises these different media and explores how they shape our understanding of reality, through often unexpected connections between contemporary and historical events, and rich references to music and literature. Douglas discusses his early interest in Marcel Duchamp, the enduring power of artists as diverse as Francisco de Goya and Agnes Martin, his endless fascination with Samuel Beckett, and how his love of Miles Davis's underrated album On the Corner prompted one of his best works, Luanda-Kinshasa (2013).Stan Douglas's project for the 59th Venice Biennale, 2011 ≠ 1848, is in the Canadian Pavilion in the Giardini and the Magazzini del Sale, Venice, until 27 November. See acast.com/privacy for privacy and opt-out information.

Author David A. Robertson talks about his graphic novel trilogy, The Reckoner Rises, and why he wanted to create a teen superhero with anxiety. Artist Stan Douglas reflects on his 40-year career and how he feels about being chosen to represent Canada at the 59th Venice Biennale. Drummer and producer James Krivchenia of Big Thief introduces us to a song off the band's new album, Dragon New Warm Mountain I Believe in You. Entertainment reporter Teri Hart shares her take on the reasons for Netflix's falling subscriber count and suffering stock price.

The world's most prestigious art event is back in full force. Monocle's Chiara Rimella and Alexis Self chat about their week in Venice, and how the Biennale has responded in times of conflict. Plus: we hear from some of the most talked-about artists at this year's event, including Stan Douglas and Golden Lion winner Sonia Boyce.See omnystudio.com/listener for privacy information.

The world's most prestigious art event is back in full force. Monocle's Chiara Rimella and Alexis Self chat about their week in Venice, and how the Biennale has responded in times of conflict. Plus: we hear from some of the most talked-about artists at this year's event, including Stan Douglas and Golden Lion winner Sonia Boyce.

La bande des 4 fait la critique de la série Aller simple et de l'exposition Stan Douglas : dévoilements narratifs, présentée à la Fondation Phi, ainsi que des films Cyrano, de Joe Wright, et Illusions perdues, de Xavier Giannoli; le comédien Aliocha Schneider et la comédienne Rose-Marie Perreault parlent de la mini série Germinal; Bis Petitpas, à Sept-Îles, Jhade Montpetit, à Ottawa, et Louis-Philippe Leblanc, à Moncton, font le tour des actualités au pays; et Fred Bastien, Sonya Bacon et Julie Buchinger présentent la revue des tendances.

Inland Empire + Family: Visions of a Shared Humanity To belatedly celebrate the release of another exciting book by our heroes at Fireflies press we are reviewing one of our all time favourite films David Lynch and Laura Dern's Inland Empire and Melissa Anderson's monograph about the film. We also spotlight the generous video art curation on offer at AGNSW Family: Visions of a Shared Humanity featuring work by John Akomfrah, Garrett Bradley, Stan Douglas, Theaster Gates, Arthur Jafa, Kahlil Joseph, Isaac Julien, Steve McQueen and Carrie Mae Weems. It's so fun being back in the studio getting corrected on our botched (Łódź) Polish pronunciation by Maia. Do widzenia i dziękuję! See omnystudio.com/listener for privacy information.

Isaac Julien talks to Ben Luke about his influences, from art to literature, music and film, and the cultural experiences that have shaped his life and work.Julien's films and video installations are often swooningly beautiful, and always deeply engaged in diverse cultural histories, reflecting on, among other things, diaspora and Blackness, queer identity and the movement of people. His work actively involves other art forms, and is often produced from collaborations with choreographers and actors. He responds repeatedly to the art, literature and cinema of the past, but is also pushing video installation into new territory, using multiple screens—sometimes as many as ten—to create fractured narratives which envelop the viewer, encouraging distinctive readings of the complex stories he tells, and constantly expanding the frames through which we see his subject matter.He discusses the epiphany of seeing Max Beckmann at the Whitechapel Gallery, his admiration for Peter Doig, Stan Douglas and Glenn Ligon, the influence of poets including Aimé Césaire and Derek Walcott, the architect Lina Bo Bardi, the cultural scene in London when he began his film-making journey in the 1980s, and discovering, in his archive, his student photographs of early 1980s protests against police brutality—images that he had forgotten he had even taken. Plus, he answers our familiar questions, including the ultimate one: what is art for? This episode is sponsored by Bloomberg Connects. See acast.com/privacy for privacy and opt-out information.

Crystal Balint has taken us to some fascinating places, eras, and moments in time and space on both screen and stage. On screen, she took us to 1950s San Francisco as the lead in BritBox's The Bletchley Circle: San Francisco, and into the heart and life of Iris Bearden, a former cryptographer turned brilliant sleuth. As Grace on Disney XD's Mech X4, she made us laugh and feel big feelings as she struggled to accept the fact that her sons were the pilots of a giant monster-fighting robot. Crystal has taken us along with her to a lot of universes and genres, from Arrow to Rachel Talalay's A Babysitter's Guide to Monster Hunting, from The 100 to Prison Break to The Good Doctor. In theatre, Crystal has taken us to emotional states where stage and screen collide: like in Helen Lawrence, the phenomenal collaboration between artist Stan Douglas and television screenwriter Chris Haddock that set a film noir story in post-World War Two Vancouver; and in the musical City of Angels, about a writer trying to adapt his novel into a screenplay, and the world of the film he is writing. And Crystal took us to the mountaintop as Camae in Katori Hall's The Mountaintop, a two-hander that imagines Dr. Martin Luther King's last night on Earth.It's still unclear where Crystal will take us in Midnight Mass. The highly anticipated supernatural horror series – from the team that brought us The Haunting of Hill House and The Haunting of Bly Manor – hits Netflix on September 24. Much about Midnight Mass is still shrouded in mystery, but here's what's been released so far: “An isolated island community experiences miraculous events – and frightening omens – after the arrival of a charismatic, mysterious young priest.” In this riveting episode of the #YVRScreenScenePodcast, Crystal previews Midnight Mass and shares how she started on her path in the first place – and also where, among the multitude of characters and projects and genres she's inhabited or visited, she feels most at home. Episode sponsor: UBCP/ACTRA

In Episode Four, we talk about the algorithmic potential of storytelling. Artists Stephanie Dinkins and Stan Douglas discuss how they use the language of photography, surveillance, and AI to narrate different pasts and imagine different futures. Dinkins draws upon her own life experience, while Douglas incorporates moments from British history.

A Balaclava Noir nasceu para trabalhar com a arte e com os artistas.A partir de uma fusão entre o bazar do Vídeo, fundado em 1985 e dedicado ao comércio de material audiovisual e a OPTEC (Sociedade Optica Técnica), nasce para expandir o ramo de actuação para a produção cinematográfica, aluguer de equipamento, formação, produção de eventos.A Balaclava Noir conta com uma equipa especializada, dinâmica e sensível às necessidades do artista e aos requisitos técnicos de uma peça ou instalação, liderada por um director técnico extremamente dedicado, com formação técnica e artística.Tem desenvolvido trabalho com artistas nacionais quer na montagem das suas peças, bem como no desenvolvimento dos seus projectos expositivos, tais como Pedro Costa, Vasco Araújo, Julião Sarmento, Musa Paradisiaca, Pedro Barateiro, Ângela Ferreira ou Filipa César, bem como artistas internacionais como Stan Douglas, Gary Hill, John Akomfrah, Bill Fontana, Chantal Akerman, Nan Goldin, Hito Steyerl, Nam June Paik, Apichatpong Weerasethakul entre outros.A Balaclava Noir trabalha frequentemente com instituições de referência nacionais e internacionais como o Museu Coleção Berardo, MAAT, Fundação Calouste Gulbenkian ou a Fundação Serralves, MNAC, Bienal de Arquitetura de Veneza, Bienal de Arte Contemporânea de Veneza, Bienal de Arte de São Paulo e MUDAM do Luxemburgo, tal como projectos independentes com a Dig Dig, Plataforma Revolver ou os Pogo.A Balaclava Noir procura que o seu trabalho seja cada dia mais multidisciplinar e multifacetado de forma a que possa estar presente e acompanhar todas as fases de cada projecto.Linkshttp://www.balaclavanoir.pt/https://christiedigitallatam.com/pt/projetores-a-laser-christie-no-museu-de-arte-popular-em-lisboa/Episódio gravado dia 09.10.2020http://www.appleton.ptMecenas Appleton: HCI / ColecçãoMaria e Armando CabralCom o apoio da Câmara Municipal deLisboa - Fundo de Emergência Nacional - Cultura

“La Photographie à l'épreuve de l'abstraction” au Centre Photographique d'Île-de-France, Pontault-Combaultau Frac Normandie Rouen, Sotteville-lès-Rouenet Micro Onde, Centre d'art de l'Onde, Vélizy-Villacoublaydu 26 septembre au 13 décembre 2020Extrait du communiqué de presse :Commissariat : Nathalie Giraudeau Directrice du CPIF Audrey Illouz Responsable de Micro Onde – Centre d'art de l'Onde Véronique Souben Directrice du Frac Normandie RouenUne exposition trois lieuxFrac Normandie Rouen : 12 sept / 06 décMicro Onde – centre d'art de l'onde : 19 sept / 21 novCentre photographique d'Ile-de-France : 26 sept /13 décRéalisée conjointement par le Centre Photographique d'Île-de-France, le Frac Normandie Rouen et Micro Onde – Centre d'art de l'Onde, l'exposition La Photographie à l'épreuve de l'abstraction dresse un panorama des relations entre photographie et abstraction dans la création contemporaine. Elle est conçue en trois volets simultanés dans chacun des trois lieux. Cet enjeu majeur et actuel dans le domaine de la photographie n'avait jusqu'à présent bénéficié d'aucune exposition d'importance en France. Liée à l'évolution du statut de l'image comme à l'essor des nouvelles technologies depuis les années 1980, une véritable tendance à l'abstraction parcourt aujourd'hui une pluralité de démarches évoquées en quatre volets au sein de trois expositions complémentaires. Ce projet d'envergure constitue une opportunité de s'interroger sur la possibilité d'une photographie contemporaine abstraite.C'est une approche formaliste qui est proposée au CPIF et fait entrer le spectateur dans l'exposition par la couleur. Ainsi, l'accrochage prend notamment comme matrice la décomposition chromatique du spectre lumineux, qui aura animé les chantres de l'Abstraction picturale au début du XXe siècle, pour aborder les stratégies formelles des artistes qui, fascinés par la lumière, renouvellent le rapport au visible. Les artistes mobilisent tout autant les techniques issues de l'ère numérique que les manipulations argentiques plus anciennes. Des piezographies de David Coste aux gommes bichromatées de Mustapha Azeroual (Monades), des photogrammes de James Welling aux expérimentations chromogéniques de Philippe Durand et Laure Tiberghien, des empreintes cyanotypes de Megahnn Riepenhoff aux impressions sur latex d'images issues d'Internet d'Anouk Kruithof, les artistes rivalisent d'inventivité protocolaire pour développer un nouveau vocabulaire.Bien que certaines images renvoient encore au documentaire avec Karim Kal (Entourage 1) ou Broomberg & Chanarin (NBC, CBS, UPN, ABC, FOX, HBO, série American Landscapes), et restent descriptives avec Isabelle Le Minh (série Digitométrie) et Jesús Alberto Benítez (3280), surfaces, volumes, espaces et couleurs captés deviennent les sujets, souvent ambigus, de compositions aux rendus abstraits. D'autres oeuvres, restituent le seul jeu de la lumière, de la chimie et de la matière du support, et prennent des formes sculpturales ou installatives comme avec Anne-Camille Allueva et Sébastien Reuzé. Si dès l'origine de la photographie, le motif non figuratif, l'objet méconnaissable, les espaces dépourvus de tout repère sont présents dans la production d'image, les propositions artistiques actuelles manifestent un regain d'intérêt pour ces esthétiques abstraites, mais ambivalentes, ouvrant des perspectives susceptibles de renouveler le genre. À travers tout un vocabulaire de formes, mis ici en valeur par une présentation reprenant le ruban chromatique, les artistes développent une réflexion autant sur la notion de réel que sur les mécanismes de production d'image, voire sur sa potentielle « sortie ».Au Frac Normandie Rouen, deux axes bien distincts sont privilégiés. Un premier temps amorce l'apparition d'une sorte d'archéologie de la photographie, d'une quête de l'image originelle, de ses épreuves scientifiques jusqu'à l'apparition d'une iconographie propre à la photographie argentique que ce soit à travers les First Successfull Permanent Photographs de Pauline Beaudemont ou les plaques Daguerréotypes réutilisées par Hanako Murakami. Cette recherche se prolonge au travers de développements purement formels (les papiers froissés de Walead Beshty, les plaques translucides de Barbara Kasten) qui trouvent leur pleine expression dans les espaces du CPIF.Par opposition, un deuxième mouvement rassemble – toujours au Frac – des artistes dont la quête d'abstraction passe par des approches avant tout liées aux procédés technologiques. Si, dans la lignée du photographe américain Alfred Stieglitz et des peintres impressionnistes, une référence à la nature et au paysage abstrait se fait encore sentir chez Shannon Guerrico et Taysir Batniji, une nouvelle esthétique voit le jour davantage motivée par les plus récentes possibilités technologiques que donnent à voir les pixels d'Adrian Sauer (Schwarze Quadrate) ou les diagrammes algorithmiques de Thomas Ruff (Zycles). Les techniques liées à l'impression chez Wade Guyton, Evariste Richer et Pierre-Olivier Arnaud comme la création de programmes informatiques des plus performants et détournés pour Stan Douglas et Xavier Antin permettent aux photographes de développer un nouveau langage, sans plus de référent apparent au monde matériel. La photographie semble alors avoir acté son basculement définitif dans le « purement abstrait ».Enfin à Micro Onde – Centre d'art de l'Onde, l'axe développé relève d'une approche résolument expérimentale et matériologique de la photographie. L'exposition prend pour ancrage l'activité photographique du célèbre dramaturge suédois August Strindberg – qui s'est livré dès la fin du XIXe siècle à l'étude de cristaux et de ciels nocturnes donnant lieu à ses célèbres Cristallographies et Celestographies ou photogrammes de cristaux et de ciels. Il s'agit, à l'appui de ces premières expériences historiques, de sonder des pratiques artistiques contemporaines qui investiguent la matérialité de l'image, l'imagerie scientifique tout autant qu'un autre rapport au paysage.Plus les artistes scrutent le monde physique, plus la représentation s'efface et cède la place à l'abstraction: des photographies de stalagmites de Dove Allouche (Pétrographies) aux photographies sous-marines de Nicolas Floc'h (Paysages Productifs) en passant par la recréation de phénomènes physiques en laboratoire de Marina Gadonneix (Phénomènes) ou optiques de Sarah Ritter (L'Ombre de la Terre). À l'inverse, plus les artistes scrutent les propriétés physiques de l'image, plus des formes abstraites mais connotées renvoient au paysage : peinture sur diapositive dans l'installation sérigraphique de Francisco Tropa (Puit), photographie produite uniquement par le jeu de la lumière et de la chimie alors que l'on croirait un fluide chez Wolfgang Tillmans (Urgency VI).Une dernière image clôt l'exposition à Micro Onde : la vidéo Film Proyección d'Ignasi Aballí. Elle renvoie à l'expérience sensorielle et visuelle de l'éblouissement, dans le sillage des expérimentations sensorielles particulièrement fécondes pour dépasser la vision classique du monde aux origines de l'abstraction picturale. Ce motif, quasi « fondamental », se retrouve d'ailleurs dans les Sun photographs de Zoe Leonard exposées au Frac ainsi que dans le Soleil#04-28-F08 de Sébastien Reuzé présenté au CPIF, tel un trait d'union entre les trois expositions.Exposition collective avec les oeuvres de : Anne-Camille Allueva, Driss Aroussi, Mustapha Azeroual, Eric Baudart, Camille Benarab-Lopez, Jesús Alberto Benítez, Walead Beshty, Juliana Borinski, Broomberg & Chanarin, Michel Campeau, David Coste, Philippe Durand, Nicolas Floc'h, Marina Gadonneix, Jean-Louis Garnell, Isabelle Giovacchini, Lukas Hoffmann, Karim Kal, Anouk Kruithof, Isabelle Le Minh, Chris McCaw, Constance Nouvel, Aurélie Pétrel, Diogo Pimentão, Sébastien Reuzé, Evariste Richer, Meghann Riepenhoff, Alison Rossiter, Doriane Souilhol, Thu-Van Tran, Laure Tiberghien, Wolfgang Tillmans et James Welling.Un ouvrage bilingue français/anglais aux éditions Hatje Cantz prolongera cette exposition et réunira réflexions et essais originaux de spécialistes.CATALOGUE « La photographie à l'épreuve de l'abstraction » – Sortie prévue en novembre 2020.En corrélation avec les trois expositions et en partenariat avec le festival Normandie Impressionniste, le Frac Normandie Rouen, Micro Onde – Centre d'art de l'Onde et le Centre Photographique d'Île-de-France publient un catalogue.Cet ouvrage d'envergure est l'un des premiers entièrement consacré à la question de l'abstraction dans la photographie contemporaine avec des perspectives originales sur l'émergence de nouvelles esthétiques liées à l'apparition des nouvelles technologies.Avec les textes de : Nathalie Giraudeau, Directrice du Centre Photographique d'Île-de-FranceAudrey Illouz, Responsable de Micro Onde – Centre d'art de l'OndeKathrin Schönegg, historienne de la photographieVéronique Souben, Directrice du Frac Normandie RouenÉrik Verhagen, professeur en histoire de l'art contemporain, critique d'art et commissaire d'exposition Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

A conversation about collaboration and the obsessive power of good music—touching on Netflix, Kendrick Lamar, and what it’s like to play with Miles Davis.  In the third episode of Dialogues: The David Zwirner Podcast, photographer and multimedia artist Stan Douglas speaks with MacArthur Award–winning pianist and composer Jason Moran—currently Artistic Director for Jazz at the Kennedy Center—about making and experiencing art. These longtime friends and collaborators discuss what it means to awaken ideas through the language of improvisation and exceed viewer expectations. See Douglas’s work in Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London, and I Was Raised on the Internet at the Museum of Contemporary Art Chicago, both on view through October 14, 2018. Watch Jason Moran perform with saxophonist Charles Lloyd on August 4 and 5 at the Newport Jazz Festival in Rhode Island. For tickets and more information visit newportjazz.org. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation about collaboration and the obsessive power of good music—touching on Netflix, Kendrick Lamar, and what it’s like to play with Miles Davis.  In the third episode of Dialogues: The David Zwirner Podcast, photographer and multimedia artist Stan Douglas speaks with MacArthur Award–winning pianist and composer Jason Moran—currently Artistic Director for Jazz at the Kennedy Center—about making and experiencing art. These longtime friends and collaborators discuss what it means to awaken ideas through the language of improvisation and exceed viewer expectations. See Douglas’s work in Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London, and I Was Raised on the Internet at the Museum of Contemporary Art Chicago, both on view through October 14, 2018. Watch Jason Moran perform with saxophonist Charles Lloyd on August 4 and 5 at the Newport Jazz Festival in Rhode Island. For tickets and more information visit newportjazz.org.

Gillian McIver‘s Art History for Filmmakers: The Art of Visual Storytelling (Bloomsbury, 2016) is a ground-breaking book that illustrates the relationships among the histories of painting and cinema. Of interest to established filmmakers, students of film, and those engaged with the history of art and visual storytelling overall, Art History for Filmmakers is a comprehensive study of the ways in which painting and film influence one another in terms of light, composition, subject matter, theme and style. McIver presents examples of the impact of painting from the antique to the modern upon the work of filmmakers Peter Greenaway, Martin Scorcese, Peter Webber, Stan Douglas, Guillermo de Toro, John Ford and others. Through an array of color images, McIver demonstrates how Dutch Baroque, Realism, Surrealism, Expressionism, Minimalism and other art historical movements shape story and appearance in film. Art History for Filmmakers also provokes consideration of the ways the language of film brings idea and form to painting. Chapters are followed by creative exercises and discussion questions that further understanding of the material. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gillian McIver‘s Art History for Filmmakers: The Art of Visual Storytelling (Bloomsbury, 2016) is a ground-breaking book that illustrates the relationships among the histories of painting and cinema. Of interest to established filmmakers, students of film, and those engaged with the history of art and visual storytelling overall, Art History for Filmmakers is a comprehensive study of the ways in which painting and film influence one another in terms of light, composition, subject matter, theme and style. McIver presents examples of the impact of painting from the antique to the modern upon the work of filmmakers Peter Greenaway, Martin Scorcese, Peter Webber, Stan Douglas, Guillermo de Toro, John Ford and others. Through an array of color images, McIver demonstrates how Dutch Baroque, Realism, Surrealism, Expressionism, Minimalism and other art historical movements shape story and appearance in film. Art History for Filmmakers also provokes consideration of the ways the language of film brings idea and form to painting. Chapters are followed by creative exercises and discussion questions that further understanding of the material. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gillian McIver‘s Art History for Filmmakers: The Art of Visual Storytelling (Bloomsbury, 2016) is a ground-breaking book that illustrates the relationships among the histories of painting and cinema. Of interest to established filmmakers, students of film, and those engaged with the history of art and visual storytelling overall, Art History for Filmmakers is a comprehensive study of the ways in which painting and film influence one another in terms of light, composition, subject matter, theme and style. McIver presents examples of the impact of painting from the antique to the modern upon the work of filmmakers Peter Greenaway, Martin Scorcese, Peter Webber, Stan Douglas, Guillermo de Toro, John Ford and others. Through an array of color images, McIver demonstrates how Dutch Baroque, Realism, Surrealism, Expressionism, Minimalism and other art historical movements shape story and appearance in film. Art History for Filmmakers also provokes consideration of the ways the language of film brings idea and form to painting. Chapters are followed by creative exercises and discussion questions that further understanding of the material. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gillian McIver‘s Art History for Filmmakers: The Art of Visual Storytelling (Bloomsbury, 2016) is a ground-breaking book that illustrates the relationships among the histories of painting and cinema. Of interest to established filmmakers, students of film, and those engaged with the history of art and visual storytelling overall, Art History for Filmmakers is a comprehensive study of the ways in which painting and film influence one another in terms of light, composition, subject matter, theme and style. McIver presents examples of the impact of painting from the antique to the modern upon the work of filmmakers Peter Greenaway, Martin Scorcese, Peter Webber, Stan Douglas, Guillermo de Toro, John Ford and others. Through an array of color images, McIver demonstrates how Dutch Baroque, Realism, Surrealism, Expressionism, Minimalism and other art historical movements shape story and appearance in film. Art History for Filmmakers also provokes consideration of the ways the language of film brings idea and form to painting. Chapters are followed by creative exercises and discussion questions that further understanding of the material. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mark did some computer programming and he liked that, it's a creative program solving that he likes. Stan Douglas of Vancouver brings us inside the old neighbourhood he grew up in. He did a show called "Les détroits" of photography and prints of Detroit. He is focussed on Urban Decay.  Diana Thater produces installations that are movie based, or influenced by film. Abstraction in film for her is abstraction of time. Diana Thater builds a maquette, she photographs the animals that she displays.As viewers of videos on the Art21 website, we are really fascinated with the process of art making. As viewers we are seeing the complete arc of artmaking from the development of ideas in the studio to the actual installation of the pieces, to interviews with the artists during the exhibition. Immersive installations because they involve all the senses and the space require so much knowledge and also so much money to get the right kind of equipment, they might not be the easiest thing to get into. However... it can be done!Opening song: Ratatat Loud PipesPhoto : Diana Thater, Knots and Surfaces (2001)For more information on all these awesome videos we are talking about:  www.art21.org 

Ebony G Patterson is tearing apart our collective American contemporary art consciousness. She has recently closed a show at New York's Museum of Arts and Design and is rocking as exhibition at the Studio Museum in Harlem! We caught up with her at EXPO Chicago. Richard and Duncan announce a new Bad at Sports initiative.   Names Dropped: Bling Funerals, Trinidad Carnival, Monique Meloche, Krista Thompson, Claire Tancons, ICI (Independent Curators International), Michael Brown, Jacquard Loom, Prospect, Carpal Tunnel, Jamaica Biennial, Chincy, Skin Bleaching, Metrosexual, Man Bun, Kanye West, Jay Z, Kehendi Wiley, man liner, Cindy Sherman, the New York Times, Stan Douglas, Frank Stella, Jeffrey Gibson, Paul Anthony Smith, Dan Gunn, Sabina Ott  

  Photo credit: Véro Boncompagni   Check out the trailer of their new NFB film Ninth Floor making its world premiere at TIFF 2015.   Synopsis of Film It started quietly when a group of Caribbean students, strangers in a cold new land, began to suspect their professor of racism. It ended in the most explosive student uprising Canada had ever known. Over four decades later, Ninth Floor reopens the file on the Sir George Williams Riot – a watershed moment in Canadian race relations and one of the most contested episodes in the nation’s history. It was the late 60s, change was in the air, and a restless new generation was claiming its place– but nobody at Sir George Williams University would foresee the chaos to come. On February 11, 1969, riot police stormed the occupied floors of the main building, making multiple arrests. As fire consumed the 9th floor computer centre, a torrent of debris rained onto counter-protesters chanting racist slogans – and scores of young lives were thrown into turmoil. Making a sophisticated and audacious foray into meta-documentary, writer and director Mina Shum meets the original protagonists in clandestine locations throughout Trinidad and Montreal, the wintry city where it all went down. And she listens. Can we hope to make peace with such a painful past? What lessons have we learned? What really happened on the 9th floor? In a cinematic gesture of redemption and reckoning, Shum attends as her subjects set the record straight – and lay their burden down. Cinematography by John Price evokes a taut sense of subterfuge and paranoia, while a spacious soundscape by Miguel Nunes and Brent Belke echoes with the lonely sound of the coldest wind in the world.   Mina Shum: Biography Born in Hong Kong and raised in Canada, Mina Shum is an independent filmmaker and artist. “I’m the child of the Praxis Screenwriting Workshop, Cineworks Independent Film Co-op, the Canadian Film Centre and working class immigrant parents,” she says. With Ninth Floor, a production of the National Film Board of Canada, Shum has written and directed her fourth feature film and first feature documentary. Her first feature Double Happiness (1994) – developed while she was resident director at the Canadian Film Centre – premiered at the Toronto International Film Festival, where it won a Special Jury Citation for Best Canadian Feature Film and the Toronto Metro Media Prize. It went on to win Best First Feature at the Berlin Film Festival and the Audience Award at the Torino Film Festival. Following its American premiere at Sundance, it was released theatrically in the U.S. by Fine Line/New Line Features. It was nominated for multiple Genie Awards, Canada’s top film honour, winning Best Actress for Sandra Oh, and Best Editing for Alison Grace. Shum’s second and third features – Drive, She Said (1997) and Long Life, Happiness and Prosperity (2002) – also premiered at the Toronto Film Festival. Long Life, Happiness and Prosperity was subsequently invited to both Sundance and the Vancouver Film Festival, where it won a Special Citation for Best Screenplay (shared with co-writer Dennis Foon). It was released theatrically in Canada and the U.S. Shum’s short films include Shortchanged; Love In; Hunger; Thirsty; Me, Mom and Mona, which won a Special Jury Citation the 1993 Toronto Film Festival; Picture Perfect, nominated for Best Short Drama at the Yorkton Film Festival; and most recently I Saw Writer’s Guild Award. Her TV work ranges from Mob Princess, a TV movie produced for Brightlight Pictures/W Network, to episodic directing on About A Girl, Noah’s Arc, Exes and Oh’s, Bliss, The Shield Stories and Da Vinci’s Inquest. Shum’s interests extend beyond film and television. Her immersive video installation You Are What You Eat was held over at the Vancouver Centre for Contemporary Asian Art, Centre A, and her cinematic theatre piece All, created in collaboration with the Standing Wave Music Ensemble, was presented at the 2011 Push Festival. She has hosted sold-out events for the experimental Pecha Kucha program, and her Internet hit Hip Hop Mom was featured in Calgary’s official Canada Day celebrations. In 2004 she was invited to deliver the inaugural UBC/Laurier Institute Multicultural Lecture, entitled New Day Rising: Journey of a Hyphenated Girl, and in 2011 she was the recipient of the Sondra Kelly Writer’s Guild of Canada Award. She is currently preparing her next feature, Meditation Park.   Selwyn Jacob: Biography Selwyn Jacob was born in Trinidad and came to Canada in 1968 with the dream of becoming a filmmaker. It was a dream that wouldn’t die: he became a teacher and eventually a school principal but eventually chose to leave the security of that career to educate a wider audience through film. He has been a producer with the National Film Board of Canada since 1997. His early work as an independent director includes We Remember Amber Valley, a documentary about the black community that existed near Lac La Biche in Alberta. Prior to joining the NFB, he directed two award-winning NFB releases – Carol’s Mirror, and The Road Taken, which won the Canada Award at the 1998 Gemini Awards. In 1997 he joined the NFB’s Pacific & Yukon Studio in Vancouver, and has gone on to produce close to 50 NFB films. Among his many credits are Crazywater, directed by the Inuvialuit filmmaker Dennis Allen; Hue: A Matter of Colour, a co-production with Sepia Films, directed by Vic Sarin; Mighty Jerome, written and directed by Charles Officer; and the digital interactive project Circa 1948, by Vancouver artist Stan Douglas. Released in 2010, Mighty Jerome addresses issues of race and nationalism while paying tribute to Harry Jerome, one of the most remarkable athletes in Canadian history. The film went on to win multiple honours, including a Leo Award for Best Feature Length Documentary and the 2012 Regional Emmy Award for Best Historical Documentary.   See acast.com/privacy for privacy and opt-out information.

Photo credit: Véro BoncompagniListen in today as these filmmakers, Mina Shum and Selwyn Jacobs, talk about Canada’s hidden history, implicit and explicit racism, why we need to listen to others and why they’re confident we can overcome our fears.Check out the trailer of their new NFB film Ninth Floor making its world premiere at TIFF 2015.Synopsis of FilmIt started quietly when a group of Caribbean students, strangers in a cold new land, began to suspect their professor of racism. It ended in the most explosive student uprising Canada had ever known. Over four decades later, Ninth Floor reopens the file on the Sir George Williams Riot – a watershed moment in Canadian race relations and one of the most contested episodes in the nation’s history.It was the late 60s, change was in the air, and a restless new generation was claiming its place– but nobody at Sir George Williams University would foresee the chaos to come.On February 11, 1969, riot police stormed the occupied floors of the main building, making multiple arrests. As fire consumed the 9th floor computer centre, a torrent of debris rained onto counter-protesters chanting racist slogans – and scores of young lives were thrown into turmoil. Making a sophisticated and audacious foray into meta-documentary, writer and director Mina Shum meets the original protagonists in clandestine locations throughout Trinidad and Montreal, the wintry city where it all went down. And she listens. Can we hope to make peace with such a painful past? What lessons have we learned? What really happened on the 9th floor?In a cinematic gesture of redemption and reckoning, Shum attends as her subjects set the record straight – and lay their burden down. Cinematography by John Price evokes a taut sense of subterfuge and paranoia, while a spacious soundscape by Miguel Nunes and Brent Belke echoes with the lonely sound of the coldest wind in the world.Mina Shum: BiographyBorn in Hong Kong and raised in Canada, Mina Shum is an independent filmmaker and artist. “I’m the child of the Praxis Screenwriting Workshop, Cineworks Independent Film Co-op, the Canadian Film Centre and working class immigrant parents,” she says.With Ninth Floor, a production of the National Film Board of Canada, Shum has written and directed her fourth feature film and first feature documentary.Her first feature Double Happiness (1994) – developed while she was resident director at the Canadian Film Centre – premiered at the Toronto International Film Festival, where it won a Special Jury Citation for Best Canadian Feature Film and the Toronto Metro Media Prize. It went on to win Best First Feature at the Berlin Film Festival and the Audience Award at the Torino Film Festival. Following its American premiere at Sundance, it was released theatrically in the U.S. by Fine Line/New Line Features. It was nominated for multiple Genie Awards, Canada’s top film honour, winning Best Actress for Sandra Oh, and Best Editing for Alison Grace.Shum’s second and third features – Drive, She Said (1997) and Long Life, Happiness and Prosperity (2002) – also premiered at the Toronto Film Festival. Long Life, Happiness and Prosperity was subsequently invited to both Sundance and the Vancouver Film Festival, where it won a Special Citation for Best Screenplay (shared with co-writer Dennis Foon). It was released theatrically in Canada and the U.S.Shum’s short films include Shortchanged; Love In; Hunger; Thirsty; Me, Mom and Mona, which won a Special Jury Citation the 1993 Toronto Film Festival; Picture Perfect, nominated for Best Short Drama at the Yorkton Film Festival; and most recently I Saw Writer’s Guild Award.Her TV work ranges from Mob Princess, a TV movie produced for Brightlight Pictures/W Network, to episodic directing on About A Girl, Noah’s Arc, Exes and Oh’s, Bliss, The Shield Stories and Da Vinci’s Inquest.Shum’s interests extend beyond film and television. Her immersive video installation You Are What You Eat was held over at the Vancouver Centre for Contemporary Asian Art, Centre A, and her cinematic theatre piece All, created in collaboration with the Standing Wave Music Ensemble, was presented at the 2011 Push Festival. She has hosted sold-out events for the experimental Pecha Kucha program, and her Internet hit Hip Hop Mom was featured in Calgary’s official Canada Day celebrations.In 2004 she was invited to deliver the inaugural UBC/Laurier Institute Multicultural Lecture, entitled New Day Rising: Journey of a Hyphenated Girl, and in 2011 she was the recipient of the Sondra Kelly Writer’s Guild of Canada Award.She is currently preparing her next feature, Meditation Park.Selwyn Jacob: BiographySelwyn Jacob was born in Trinidad and came to Canada in 1968 with the dream of becoming a filmmaker. It was a dream that wouldn’t die: he became a teacher and eventually a school principal but eventually chose to leave the security of that career to educate a wider audience through film. He has been a producer with the National Film Board of Canada since 1997.His early work as an independent director includes We Remember Amber Valley, a documentary about the black community that existed near Lac La Biche in Alberta. Prior to joining the NFB, he directed two award-winning NFB releases – Carol’s Mirror, and The Road Taken, which won the Canada Award at the 1998 Gemini Awards.In 1997 he joined the NFB’s Pacific & Yukon Studio in Vancouver, and has gone on to produce close to 50 NFB films. Among his many credits are Crazywater, directed by the Inuvialuit filmmaker Dennis Allen; Hue: A Matter of Colour, a co-production with Sepia Films, directed by Vic Sarin; Mighty Jerome, written and directed by Charles Officer; and the digital interactive project Circa 1948, by Vancouver artist Stan Douglas.Released in 2010, Mighty Jerome addresses issues of race and nationalism while paying tribute to Harry Jerome, one of the most remarkable athletes in Canadian history. The film went on to win multiple honours, including a Leo Award for Best Feature Length Documentary and the 2012 Regional Emmy Award for Best Historical Documentary. See acast.com/privacy for privacy and opt-out information.

An interview with acclaimed Canadian artist Stan Douglas whose first exhibition in Ireland runs until September 2025 in IMMA. Also, Seamus Kealy, the show’s curator, talks about Douglas’s art.

This week, where do the lines of completionism, perfectionism and obsession intersect? Can you be one and not the other? Also, we talk about compromise—what can come out of it and how much is too much. Plus, we chime in on a couple entries from the Crit Wall. Stan Douglas is our Photographer of the Week.

This week, where do the lines of completionism, perfectionism and obsession intersect? Can you be one and not the other? Also, we talk about compromise—what can come out of it and how much is too much. Plus, we chime in on a couple entries from the Crit Wall. Stan Douglas is our Photographer of the Week.