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SEPTEMBER 2010 
BLOODSTORM In celebration of the 11th Anniversary of SWARM, PAARC’s annual festival of Artist Run Culture, VIVO Media Arts Centre presents a new nine-channel video installation by Vancouver video artist of Chilcotin/French and Shuswap/Welsh ancestry, Terry Haines. BLOODSTORM materialized during a 2009 residency at VIVO where Haines’ has been producing, exhibiting and distributing his videos since 2002. BLOODSTORM is constructed in homage to the + positive sign, the squares of the AIDS Memorial quilt, the four directions, four winds and four human races. In Haines’ words BLOODSTORM, “sifts through notions of beauty, strength and hope in a visual metaphor for the force of a storm. It is unpredictable and undeniable, much like HIV/ AIDS. Blood and storm combine to reveal the inner turmoil and fear of living with a disease, which has no cure, in an intimate testament of survival.” BLOODSTORM complicates the rhetoric of identity politics and activist video aesthetics with mystical introspection and poetic humility. Haines’ frees BLOODSTORM from the narrative constraints of first-person biopics by eliciting his corporeal form to speak for its own experience with a storm of blood. http://www.vimeo.com/vivomediaarts +Thursday September 16, 8pm Friday, September 24, 4pm Saturday, September 25, 2pm A pioneer of video art in Canada, Paul Wong’s command of the medium has influenced generations of artists. As one of the first in Canada to use video to examine his own identity, he uses the camera to explore performance, conceptual video, experimental narrative and documentary. Wong has had major solo exhibitions such as On Becoming A Man at the National Gallery (1995) and at the Musee d’Art Moderne in Paris (1996). He produced his new site-specific installation opus “5” - a City of Vancouver commission for the 2010 Olympic Games. He was awarded The Bell Canada Award in Video Art in 1992 and The Governor General's Award in Visual and Media Arts in 2005. 
So Warm SWARM After Party + FRONT Magazine Launch Main St./ Granville Island SWARM After Party and launch of FRONT Magazine’s Fall 2010 issue, Micro-Celebrity. Installation and Performance by Patrick and Francis Cruz. DJ’s Natalie Purschwitz, Ian Wyatt and Jesse Birch. Wine from Summerhill Pyramid Winery, Beer from R&B Brewery and food from Beerbrats handcrafted sausages. Front Magazine – Fall 2010 In this issue: Also in the issue, a special section on feline performance artists, including Maru & the FASTWÜRMS’ cats, and a Vancouver art celebrity crossword. Front Magazine's calendar will help you keep track of the rainstorm of fall arts events. Front Magazine is Vancouver's favourite 20-year-long cultural exploration. It is published quarterly by the Western Front Society in Vancouver. 
The Extreme Animals Sit Down: Music is a Question with No Answer Jacob Ciocci and David Wightman (Extreme Animals, Paper Rad, You Can't Do That on Television) present a mash-up of live music, video, staged theatrics, and global meltdowns. They choreograph a disjunctive array of live shredding, extreme feedback, YouTube bombardment, ecstatic dance moves, and Sunday morning cartoons. Their newest performance delves into the world of tween culture and the current obsession with the infinite hall of mirrors known as "forever young". Performers sell their soul Paganini-style to become vampires cursed to bleed all over their instruments for all time. Jacob Ciocci is an artist and current eyebeam fellow notably regarded as one third of the American art collective Paper Rad: prolific producers of music, installations, websites, and animations. David Wightman is completing a PHD in music composition at UCSD where he is a lecturer of pop music studies. Some of his many music projects include Fortress of Amplitude, Powdered Wigs, and Chariots of Fire. Together Jacob and David form like Voltron in the high-NRG electronic music band Extreme Animals and have toured the country every summer for the past eight years presenting their music, videos, and art. http://www.myspace.com/extremeanimals 
The Cutting: Short videos on Sacrificial Masculinity In this challenging ustopic era of androgyny and sexual ambiguity Brian Gotro and Frederick Cummings present The Cutting, a collection of videos that illicit an emotional response and point the fence sitters to a designated resting area. This cultural manscape that plagues us with the metrosexual sensitive bi-curious straight male (gay acting but hetero in bed), verses the butch top hyper masculine gay male, diverts masculinity into two roles: the passive feminine straight male and the aggressive pimped out muscled up gay “alternative” male. The Cutting presents a context in which to ask questions about personal and political aspects of masculinity. Is masculinity linked to sexuality? Is masculinity defined by what is perceived as manly? Does sexually overt art point the ‘fence-sitter’ toward a specific sexual or gender extreme? Does any of this matter? These are just a few questions The Cutting aims to engage through the presentation of videos by James Diamond, Paul Wong, Attila Richard Lukacs, Erik Rzepka, Matian Fritsch and James Masz, Christian Nicolay, Terry Haines, Bruce La Bruce and Stefan St. Laurent. 
No Reading After the Internet No Reading After the Internet is a monthly opportunity to gather and read a text aloud in hopes that it might provoke theoretical illumination on particular art works, or the broader scape within which such work exists. This program departs from Cineworks' Thought on Film series, conceived by Cheyanne Turions. Whilst still very interested in cinema, the focus of this incarnation is softened to accommodate the more broad (and ever expanding) scope of media art. The idea of a reading group isn't new. No Reading nonetheless poses itself as an experimental learning and discussion space. Simply put, we are suspicious of our own reading abilities, and the extent to which our readings are conversant with one another. No Reading means to offer a slow space within which to retrace our steps in the hopes of discovering individual and collective ways through the realms of language and interpretation. The strategies we have at our disposal are twofold: through the yoking of our discussion to a text; and inducing conversation, where possible, between text and specific, local, contemporaneous art discussions and happenings. Participation in No Reading After the Internet is free and open to everyone, regardless of his or her familiarity with a text or its author. Texts will be handed out at the gathering. No pre-reading or research is required. If you are interested in previewing a text, please contact events@vivomediaarts.com for a digital copy. September’s Reading
SLAB 4: SOUND & NOISE
Hold Still Wild Youth: The GINA Show Archive | Off- GINA Screenings Two evenings of screenings co-presented by VIVO Media Arts Centre and the Or Gallery in conjunction with the exhibition Hold Still Wild Youth: The GINA Show Archive. WEDNESDAY JUNE 16 | 7pm | $5 7:00PM 8:30PM A selection of full works once screened in excerpted or edited forms on the GINA Show. This program brings together a wide variety of works- Wong's volatile faux cinema vérité, Tomczak's mediated meditations and human relations, Vander Zaag's formalist but female digital experiments, Randy and Berenicci's other worldly expedition into deserted suburbia, and Gina's wedding, a rompy community celebration produced (and performed) by Hank Bull as Relican. WEDNESDAY JUNE 23 | 7pm | $5 7:00PM 9:00PM This series of episodes from early art television programs starts with an episode about the Image Bank's Colour Bar Research, produced for the early Vancouver program "Images From Infinity", possibly the first North American weekly visual arts showcase. Both Watt and Sherman's works are episodes from the Toronto-based program Television By Artists, produced by Watt in association with A Space and cable access in Toronto. The works address television as an apparatus, and as a narrative decide. The final screening will be a short assemblage early and inspiring public access cable and community TV in the USA, mostly taken from early 1970s open reels and portapak. ________________________________________ EXHIBITION Hold Still Wild Youth: The GINA Show Archive An exhibition about The GINA Show, John Anderson's television art project, will be shown nearly thirty years after its initial broadcast in 1978 on Vancouver Cable 10, at the height of the punk and media DIY movement in Vancouver. Ninety-some episodes were made from 1978-1981, in close association with the artist-run centre, PUMPS, and with the active involvement of a large community of performance and media artists and musicians. A place to screen experimental media art, performance, punk and new wave the show formed among a sea of undefined local public programming, and then disappeared from public view. After surviving a fire that damaged the original video cassettes, 63 episodes have been transferred from fragile 3/4-inch tapes into archival and digital formats. This installation brings together this vast record of video, performance documentation, interviews, promotional spots, music, and digital art with related materials and documents from PUMPS, for a close look at the local art scene circa 1980. Included are works by John Anderson, Byron Black, Taki Bluesinger, Gary Bourgeois, The Braineaters, Susan Britton, Hank Bull, Donna Chisholm, Elizabeth Chitty, Kate Craig, Jim Cummins, Gina Daniels, Maddalena Di Gregorio, Keith Donovan, Stan Douglas, David Enblom, The Government, Ken Lum, Eric Metcalfe, John Mitchell, Mark Oliver, Gerard Pas, Andrew James Paterson, The Pointed Sticks, Patrick Ready, Randy and Berenicci, Anne Rosenberg, TBA TV, Kim Tomczak, Vincent Trasov, Elizabeth Vander Zaag, Paul Wong, and many more. WEBSITE: The GINA Show is exhibited courtesy of the artists and the collection of the Morris and Helen Belkin Art Gallery, at The University of British Columbia. Archival materials and works are courtesy of the Morris and Helen Belkin Art Gallery and VIVO Media Arts Centre. This exhibition is curated by Allison Collins, a candidate to the Masters Degree in Critical Curatorial Studies at The University of British Columbia, with support from the Killy Foundation and the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at The University of British Columbia. VIVO Media Arts Centre, 1965 Main St., Vancouver, BC V5T 3C1 Or Gallery//555 Hamilton Street, Vancouver, BC V6B 2R1 Canada//www.orgallery.org
FAKE SLEEP 6
connect_icut
RUTH BEER VIVO Media Arts proudly presents Disrupting Currents: Catch + Release, an exhibition of new work by Ruth Beer. Her exhibition includes sculptures, a multi-channel video, and an interactive and immersive projection. Beer’s practice is grounded in sculptural considerations of form and its relationship to the body. Disrupting Currents marks her first instance of incorporating interactive digital technology. A series of geologically inspired sculptures, excerpts of interviews displayed on stacked video monitors, and an interactive component focus on the coastal salmon fishing industries as a means for considering the geocultural history and future of Canada’s West Coast region. The exhibition includes projected visual translations of real-time data from NEPTUNE, Canada’s underwater ocean observatory in the Strait of Georgia and the Pacific Ocean west of Vancouver Island. The visual patterns of the gallery transmission are disrupted by visitors’ presence, underscoring the relationship between our present ecological circumstance, our history and our impact on the future. The accumulated scientific data in the projection echoes the implied accretion of mineral material in the sculpture formations and the polyphony of voices in the multi-channel video, referring to both cultural and geological time. Beer works at the intersections of art and research. As a highly respected educator at Emily Carr University, she has mentored and supported a new generation of artists. This project is part of an SSHRC Research/Creation in the Fine Arts grant in collaboration with Kit Grauer and Jim Budd. Disrupting Currents is the first iteration of Catch + Release: Mapping Narratives of Cultural and Geographic Transition, which will continue to be developed over the next two years. It will be installed in the Gulf of Georgia Cannery National Historic Site of Canada in Steveston, BC and other coastal cities around the world.
RYAN TRECARTIN ARTIST TALK
APRIL 01 2010, 6PM Ryan Trecartin was recently named winner of the Jack Wolgin International Competition in the Fine Arts, and New Artist of the Year by the Guggenheim Museum’s First Annual Art Awards. Trecartin will screen his forty-minute video P.opular S.ky (section ish) (2009) which will be followed by a discussion with Amy Kazymerchyk and the audience. At once highly complex and fast-paced, Trecartin’s videos, which are usually exhibited within installations, place viewers inside exhilaratingly chaotic environments primed for post-racial, post-gender, and post-human encounters that collapse time, space, and identity into a layered and wholly unforgettable experience. Trecartin’s past work can be seen at Ryan Trecartin Vimeo
Lectures are free and open to the public.
We are performance artists that respond to the day to day tensions of the Olympics. Aware of our rights and freedom of speech, we respond with creativity and joint actions on public space. Understanding the difference of presence and absence in any environment, we create situations that encourage dialogue and reflection. Performing for an open public and transgressing the boundaries of public and private. We are non-violent, and our site specific performances are critical, and poetic.
VIVO 2010: Safe Assembly
PAST EVENTS
Primer Thursday, February 4th - 7:30PM
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