\nWinnipeg Handshake<\/strong> <\/span>
\nShort films, video, and performance from Winnipeg <\/span>
\ncurated by Aaron Zeghers<\/span><\/p>\n
Works by Ed Ackerman & Gregory Zbitnew, Karen Asmundson, Alyssa Bornn, Michael Buttersworth & Cameron Cummings, Clint Enns, Scott Fitzpatrick, Walter Forsberg, Guy Maddin, Mike Maryniuk, Milos Mitrovic, Jaz Papadopolous, Heidi Phillips, Matthew Rankin, Colby Richardson, Leslie Supnet, Aaron Zeghers \u00a0<\/span><\/em><\/p>\n We are pleased to welcome Canadian artist and curator Aaron Zeghers to present\u00a0Winnipeg Handshake<\/em>, an evening of works in film, video and live performance that although spanning time and mediums, come from the city of Winnipeg, Manitoba. Many are being presented for the first time in New York.<\/span><\/p>\n <\/strong><\/p>\n From the curator Aaron Zeghers:<\/span><\/p>\n “This collection of short films presents an overview of contemporary experimental filmmaking in Winnipeg, as well as a brief history of experimental cinema in this isolated Canadian city.\u00a0The work – while varied – is indoctrinated with the sentiments of the city itself, often referred to by it’s practitioners as\u00a0fun formalism.<\/span><\/p>\n Matthew Rankin’s\u00a0Mynarski Death Plummet\u00a0and Guy Maddin’s hyper-kinetic short\u00a0The Heart of the World\u00a0stand side-by-side to begin the program.\u00a0Rankin and Maddin – two of the most heralded Winnipeg filmmakers, years apart – both adopt rigorous experimental and avant-garde techniques (direct animation, stop-motion, light painting and flicker-cuts) within the greater framework of their narrative films.<\/span><\/p>\n 5 Cents a Copy\u00a0(1980) by Ed Ackerman and Gregory Zbitnew stands as an early cornerstone of Winnipeg experimentation, both as a sendoff for Winnipeg’s brand of “fun formalism” but also as a propagator of mythology within Winnipeg’s cinematic history (of which there is a bold tradition).\u00a0So the legend goes, Zbitnew and Ackerman were outraged at the Winnipeg Film Group’s decision to purchase a new $20,000 photocopier instead of filmmaking gear. So the duo would break into the organization’s office each night, determined to use the state-of-the-art copier for artistic purposes.\u00a0The result was one of the earliest photo copy animations ever made, and one of the first clear-cut examples of Winnipeg’s “fun formalism”.<\/span><\/p>\n Roughly 25 years later, Mike Maryniuk would appear on Winnipeg’s filmmaking scene, as part of Matthew Rankin and Walter Forsberg’s\u00a0Atelier national du Manitoba.\u00a0Maryniuk’s 2011 film\u00a0Tattoo Step\u00a0would continue Ackerman and Zbitnew’s exploration of surface through experimental animation. Maryniuk was inspired by way of Stan Brakhage’s\u00a0Mothlight\u00a0to apply temporary tattoos directly to 35mm, creating both image and “tickling the ivories” of the projector via the sound strip, as Maryniuk is remembered to say.<\/span><\/p>\n These experiments with the film surface would be continued in the camera-less animated works by Scott Fitzpatrick, who first developed and then perfected the art of laser printing directly onto the film strip.<\/span><\/p>\n As a community, Winnipeg’s size and isolation from other major centers make it optimal for young artists to cut their teeth in a low-pressure environment.\u00a0You can see this in Walter Forsberg’s early lo-fi doc\u00a0Thunder on the Track\u00a0and in the One Take Super 8 event hosted annually by\u00a0WNDX festival of moving image.\u00a0This singular event presents Winnipeg filmmakers with one roll of Super 8, which is shot, developed and then shown to a sold-out, exuberant audience during WNDX.\u00a0This is a nerve-wracking experience to be sure, with high-stakes and bragging rights as supreme prize. It has created countless new small-gauge works and is one of the reasons Winnipeg stands alone on the Canadian prairies in it’s celluloid output.\u00a0Four films from last year’s One Take Super 8 event are included in this program, by Karen Asmundson, Milos Mitrovic, Alyssa Bornn and Michael Buttersworth & Cameron Cummings.<\/span><\/p>\n Winnipeg – like most small cities – often sees many of it’s most talented denizens move away, and the filmmaking scene is no different.\u00a0 While their physical presence is gone, the spirits of ex-pat Winnipeggers linger in this program. Matt Rankin, Leslie Supnet, Clint Enns, Walter Forsberg continue to haunt the contemporary work being made here to this day.\u00a0You would have to be blind (and perhaps deaf) to miss elements of Supnet’s existential ponderings and geometric animations in Aaron Zeghers’ recent expanded cinema performance\u00a0Everything Turns\u2026” <\/span><\/p>\n Artist and curator Aaron Zeghers will be in attendance and available for a Q&A following the screening.<\/span><\/p>\n <\/strong><\/p>\n _<\/span> <\/p>\n General admission $8<\/em><\/span> <\/strong> Friday June 9, 7:30pm Winnipeg Handshake Short films, video, and performance from Winnipeg curated by Aaron Zeghers Works by Ed Ackerman & Gregory Zbitnew, Karen Asmundson, Alyssa Bornn, Michael Buttersworth & Cameron Cummings, Clint Enns, Scott Fitzpatrick, Walter Forsberg, Guy Maddin, Mike Maryniuk, Milos Mitrovic, Jaz Papadopolous, Heidi Phillips, Matthew Rankin, Colby Richardson, Leslie Supnet, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mc_calendar":[],"footnotes":""},"class_list":["post-19558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19558"}],"version-history":[{"count":8,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19558\/revisions"}],"predecessor-version":[{"id":19568,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19558\/revisions\/19568"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"mynarski](\"http:\/\/www.microscopegallery.com\/wp-content\/uploads\/2017\/06\/mynarski-death-plummet-still2.jpg\")
\nStill from “Mynarski Death Plummet” by Matthew Rankin (2015) – Image courtesy of the artist
\n<\/strong>
\n<\/strong>
\n<\/strong><\/p>\n
\nAaron Zeghers is a Canadian artist working in film, video and photography. Zeghers works primarily as an experimental filmmaker, utilizing analog formats, in-camera effects, various types of animation and other experimental techniques to create his films and expanded cinema performances. Zeghers\u2019 work has screened at festivals and venues around the world including\u00a0International Film Festival Rotterdam,\u00a0Festival du nouveau cin\u00e9ma,\u00a0DOXA Film Festival,\u00a0Ann Arbor Film Festival\u00a0and New York\u2019s\u00a0Mono No Aware. As a film programmer, Zeghers is the founder and co-director of the\u00a0Winnipeg Underground Film Festival\u00a0and the\u00a0Open City Cinema\u00a0on-going film screening collective. He is also the current Artistic Director for the\u00a0Gimli Film Festival, Manitoba\u2019s largest film festival. <\/span><\/p>\n
\nMembers and students w\/ ID $6<\/em><\/span><\/p>\n
\n<\/strong>
\nProgram:<\/strong><\/span>
\n<\/strong>
\nMynarski Death Plummet<\/strong><\/span>
\nby Matthew Rankin<\/span>
\nDigital \/ 7 minutes \/ 2015<\/span>
\n<\/strong>
\nThe Heart of the World<\/strong><\/span>
\nby Guy Maddin<\/span>
\n16mm \/ 6 minutes \/ 2000<\/span>
\n<\/strong>
\n5 Cents a Copy<\/strong><\/span>
\nby Ed Ackerman & Gregory Zbitnew<\/span>
\n16mm \/ 5 minutes \/ 1980<\/span>
\n<\/strong>
\nTattoo Step<\/strong><\/span>
\nby Mike Maryniuk<\/span>
\n35mm transfer to digital \/ 1 minute \/ 2013<\/span>
\n<\/strong>
\nThunderbolt<\/strong><\/span>
\nby Heidi Phillips<\/span>
\nDigital \/ 2 minutes \/ 2008<\/span>
\n<\/strong>
\nSecond Sun<\/strong><\/span>
\nby Leslie Supnet<\/span>
\nSuper 8mm \/ 3 minutes \/ 2015<\/span>
\n<\/strong>
\nThunder on the Track<\/strong><\/span>
\nby Walter Forsberg<\/span>
\nDigital \/ 5 minutes \/ 2011<\/span>
\n<\/strong>
\nself improvement<\/strong><\/span>
\nby Clint Enns<\/span>
\nDigtial \/ 3 minutes \/ 2012<\/span>
\n<\/strong>
\nTasman Hates the Beach<\/strong><\/span>
\nby Karen Asmundson\u00a0 \u00a0\u00a0 <\/span>
\nSuper 8mm \/ 3 minutes 30 seconds \/ 2016<\/span>
\n<\/strong>
\nA man swims across the red river, or is it the assiniboine?<\/strong> <\/span>
\nby Milos Mitrovic\u00a0 \u00a0<\/span>
\nSuper 8mm \/ 3 minutes \/ 2016<\/span>
\n<\/strong>
\nMaterial Test 01<\/strong><\/span>
\nby Alyssa Bornn\u00a0\u00a0\u00a0 \u00a0<\/span>
\nSuper 8 or Digital \/ 3 minutes 30 seconds \/ 2016<\/span>
\n<\/strong>
\nSad Club<\/strong><\/span>
\nby Michael Buttersworth & Cameron Cummings<\/span>
\nSuper 8mm \/ 3 minutes 30 seconds \/ 2016<\/span>
\n<\/strong>
\nConvolve<\/strong><\/span>
\nby Colby Richardson<\/span>
\nSuper 8mm \/ 3 minutes 30 seconds \/ 2016<\/span>
\n<\/strong>
\nThese Aren’t Our Things<\/strong><\/span>
\nby Jaz Papadopolous<\/span>
\nDigital \/ 1 minute 30 seconds \/ 2017<\/span>
\n<\/strong>
\nDingbat\u2019s Revenge<\/strong> <\/span>
\nby Scott Fitzpatrick\u00a0 \u00a0 \u00a0<\/span>
\n16mm \/ 7 minutes \/ 2015<\/span>
\n<\/strong>
\nEverything Turns…<\/strong><\/span>
\nby Aaron Zeghers\u00a0 \u00a0 \u00a0<\/span>
\nperformance \/ 3 x 16mm \/ 12 minutes \/ 2017<\/span>
\n<\/strong>
\n<\/strong>
\n![\"everything](\"http:\/\/www.microscopegallery.com\/wp-content\/uploads\/2017\/06\/everything-turns8.jpg\")
\nStill from “Everything Turns\u2026”, triple 16mm projection by Aaron Zeghers (2017) – Image courtesy of the artist
\n<\/strong>
\n–<\/span>
\nSpecial Thanks to\u00a0Negativland\u00a0Motion Picture Lab<\/a><\/u>, and Rachael Guma.<\/em><\/span>
\nWith the underwriting support of the Robert D. Bielecki Foundation.<\/em><\/span><\/h1>\n","protected":false},"excerpt":{"rendered":"