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Join us for snacks and screenings of works from Video Out’s distribution in celebration of Chinese New Year.
“For the challenges that it encodes, the hyphen offers a suggestive metaphor for the Asian Canadian screen” – Reel Asian: Asian Canada on Screen
According to literary critic David Leiwei Lin, the hyphenated “Asian-American” is employed by dominant, often white culture, while the non/un-hyphenated is the way Asian Americans describe themselves. While Trinh T. Minh-Ha locates the potentially hyphenated zone as a critical site of struggle to form our identities — “The predicament of crossing boundaries cannot be merely rejected or accepted. It has to be confronted in its controversies.”
This selection of video and documentary features that space as it has been addressed by artists in our distribution who look at local histories portraying social life, and cultural iconography in a North American context as always potentially proximatated to, or hyphenated with, dominant cultures.
Hyphenated Cinema presents a celebration of people and media that have excavated that space and advanced the role and capacity of film, video, media and documentary in shaping present social realities.
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INTRODUCTION
Composing You Chinatown
2017
Judy Cheung
~ 10 min
The Yellow Pages
1994
Ho Tam
7 m 43 s
Shattered
2007
Karin Lee
22 m 7 s
INTERMISSION
Chinese Noodle Making Backwards and Forwards
1990
Skip Blumberg
5 m 30 s
Out For Bubble Tea
2003
Desiree Lim, Winston Xin
16 m 4 s
Chinese Cafés in Rural Saskatchewan
1985
Anthony Chan
26 m 12 s
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Stacey Ho lives on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. Their practice considers intersections of culture, history, and embodiment from a feminist perspective while incorporating language, sound, and gesture. Their work has been presented at Art Metropole, Justina M. Barnicke Gallery (Toronto), Galerie oqbo (Berlin), Artcite (Windsor), RAM Galleri (Oslo), Or Gallery and the Vancouver Art Gallery. They organize Slow Wave Small Projects, a one-week Gulf Island retreat that re-imagines approaches to learning and art-making from feminist, activist, and land-based perspectives.
Casey Wei is an interdisciplinary artist, filmmaker, and musician based in Vancouver. She graduated with an MFA from SFU in 2012. Her practice has evolved from filmmaking (Murky Colors in 2012, Vater und Sohn / Father and Son / 父与子 in 2013), into works that cross over between art, music, and the community at large (Kingsgate Mall Happenings in 2014, Chinatown Happenings in 2015, and the art rock? series that began in 2015). In 2016, she began Agony Klub, a music and printed matter label that releases material under the framework of the “popularesoteric.” She also plays in the musical projects Late Spring and hazy.
