I too am not a bit tamed, I too am untranslatable.
I sound my barbaric YAWP over the roofs of the world.(1)

And what I assume you shall assume.(2)

At his accompanying talk to his sculptural / video installation at paved titled Good Dog Bad Dog, Ed Janzen cited a number of very graphic and telling historical depictions of “dog”. There’s Otto Dix’s The Match Seller, with its Weimar Republic Post WW I despair and disgust, where the dog gleefully urinates on the quadriplegic veteran. This can’t help but be greeted with our contemporary eyes as an indictment more of that period, than the dog (and perhaps evil spawning later evil…). Goya’s The Dog was presented, from his equally (and literally) black period that also spawned The Disasters of War (I might add that the dogs seems far more civilized than the ravenously cannibalistic god, Saturn, in these paintings…) Only one painting of the Mexican artist Roffino Tamaya was presented, but dog is a motif that appeared in many of his works, often feral and fierce.

Ed’s research was augmented by The Dog in Art: From Rococo to Post-Modernism, by Robert Rosenblum. The words from his artist statement are as follows: “the dog is a diverse being- at one time exemplifying all the best of human traits, such as loyalty, dedication, unconditional love, obedience; at another, the most deplorable ones, such as viciousness, filth, disgust. Cross-cultural opinions of dogs vary from “man’s best friend” to pariah. By extension, in human encounters, the “other” is often judged in terms of good or evil, trusted or feared. Through video, installation, and the hybridization of familiar dog/human artifacts, these works are intended to occupy the space between two opposing poles.”

As you enter paved, you “interrupt” the dialogue between the newest work, appropriating the rabid dog scene from To Kill a Mockingbird: Atticus Finch, the civilized voice in depression era Alabama now demonstrates a more traditional performative masculinity. To his daughter / narrative’s initial horror and then typical amazement that her father might be anything more than she expects, he quickly slays the dog. I’m unsure if I agree with the common reading – one Ed referenced – of the dog as the racism of the town of Maycomb. Perhaps I feel the dog is being maligned, as so often happens to the “other”, as though our sins can be placed upon it, expunging us. The two projections are arranged so that the gun, when wielded by Finch in one, is aimed at the jumping, jarring dog in the opposite. This works seems to sit behind you, as you walk the gallery, and you need to break their relationship as you leave, walking between them through the door.

The massive glowing MILKBONE cross hangs high enough to invite worship or at least deference: this rules the room. The video work directly before it, on a white clothed “altar”, is just as religious, if more nuanced. An arm is outstretched, Jesus – like, offering a treat, almost glowing against a dark background. Various dogs enter the frame, approaching and taking the proffered treat (though one, at least to my knowledge, seems less than impressed, but others respond with an eagerness more expected of their species). The old adage that man is a dog’s idea of what a god should be comes to mind: but that’s what a human said, not a dog, so I’m neutral on that assumption.

There’s a large doghouse, a found object that incorporates an image of a man (the artist, but easily a metaphor of everyman) in its door. A bit decrepit, a bit askew, it sits in the corner, looking as forlorn or as sad as any of the dogs from Georges Seurat or Alberto Giacometti that inspired Janzen.

Other works play more specifically – sometimes heavily, sometimes lightly – on Biblical quotes about dogs (I’m pleased that Janzen used the King James Version, not just for the poetics of its language, but also because many of its idioms have become part of our larger dialect).

A large white MILKBONE (half eaten, starkly spot lit), hangs at the opposite end of the gallery. Text is projected onto it, flowing off to the side rapidly. Like most KJV Bible text, it’s poetic. Even Deuteronomy, the “rule book” of the Old Testament, has an erudite phrase: Thou shalt not bring the hire of a whore, or the price of a dog, into the house of the Lord they God for any vow: for even both these are abomination unto the Lord thy God. Or Isaiah: Yea, they are greedy dogs who can never have enough.

I might inject two things here, external to the gallery: the “Christian” usage of dog to degrade an enemy is like the usage of the term “Satan”, which Elaine Pagels explored in her research(3), and is more about social groupings and clearly labeling “others” as unclean or foul than any theological distinction. The other is that this is still going on, with recent racial strife often denigrating into “assertions” of the “animal” nature of the “other.”

I have often described the Canadian art world (whether the institutionalized spaces of academia or other equally inertia laden sites) by citing Proverbs 26: 11: As a dog returneth to his vomit, so a fool returneth to his folly. Perhaps this is unfair – to dogs, that is, as they’ve been often exploited and used as tools and metaphors that seem to project our own failings and follies upon them. After all, their mouths are cleaner than ours, and I may be speaking allegorically.
Ed Janzen in Good Dog / Bad Dog explores this ongoing trope in a variety of ways that alternately can amuse and horrify, and perhaps forces us to think more of ourselves than about dogs.

(1) Walt Whitman, from Leaves of Grass, http://www.bartleby.com/142/14.html
(2) Walt Whitman, from Leaves of Grass, http://www.bartleby.com/142/14.html
(3) I suggest Pagels’ The Origin of Satan, where she talks about the usage of the term moreso in the split in the early Church between Jews and Gentiles.

~Text written by Bart Gazzola

PAVED Arts acknowledges the support of our members, volunteers and partners, and of our principal funders: Canada Council for the Arts, Saskatchewan Arts Board, SaskCulture, SaskLotteries, the City of Saskatoon and the National Film Board of Canada.

For media inquiries or more information, contact: David LaRiviere, Artistic Director

tel. (306) 652-5502 ext.1
artistic@pavedarts.ca

PAVED Arts: 424 20th Street West Saskatoon SK. S7M 0X4 www.pavedarts.ca

Free admission to the public with barrier-free accessibility.

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Prairie Tales is an annual touring collection of short films and videos made by Albertan artists.

Prairie Tales offers a selection of some of the year’s best short films and videos made by Albertan media artists in a feature-length compilation. This anthology showcasing work from the shining lights of the Alberta media arts scene is distributed and screened across Alberta (and beyond) until the end of August the following year.

This screening coincides with the latest edition of Toon’s Kitchen, John Morgan’s “Reflecting on Quietude”

This years films include
1. The Post (dir. Kyle Thomas)
2. Terry Taerum and the Dam Busters (dir. Andrew Ferns)
3. The Woman Who Came Back (dir. Adolfo Ruiz)
4. A Deadman’s Holiday (dir. Don Best)
5. Step Lightly – The Edmonton Waste Management Centre (dir. Joanne Levenick)
6. Friendship (dir. Ocean Demut, Zaiyah Dennie)
7. Teenage Dance (dir. Adam Bentley)
8. Bresil 2014 (dir. Carlo Ghioni)
9. Liebe (Love) (dir. Cameron McGowan)
10. Falling (dir. Zoe Slusar)
11. The Wet Secrets’ Nightlife (dir. Trevor Anderson)

The post Prairie Tales first appeared on PAVED Arts.

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We apologize for any inconvenience and wish you a happy winter season.

– PAVED Staff

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PAVED Arts in collaboration with the Sounds Like Audio Art Festival is proud to support and promote this special new media presentation and performance by the Polaris Prize winning Inuk singer Tanya Tagaq

In 1922, filmmaker Robert J. Flaherty paved the way for the modern documentary with his contentious but momentous chronicle of a year in the life of Inuit Nanook and his family near the Arctic Circle, Nanook of the North. Now innovative throat singer Tanya Tagaq, known for her work with Bjork and the Kronos Quintet, draws upon her family’s history in far northern Quebec and her own Nunavut childhood to reclaim Flaherty’s masterpiece. With music composed by Derek Charke, Tagaq unites with two equally celebrated musicians – violinist Jesse Zubot and percussionist Jean Martin – to reactualize the film’s silent images with emotive soundscapes.

purchase tickets here

check out a video on the Nanook of The North Show

http://tanyatagaq.com/

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Toon’s Kitchen celebrates Saskatoon-based artists who have made a significant contribution to Video Art practices on both a local and national scale. This screening series is designed to compliment Toon’s Kitchen: New Voices, a mentorship program that opens March 13th.

The post Toon’s Kitchen XVI “Compound Theory 2a” first appeared on PAVED Arts.

The list is our thank you to the arts community of Saskatoon who continually amaze us with the work they create and their tremendous support of our organization. PAVED Arts aspires to reflect the incredible people that live in our own backyard and provide an opportunity to showcase the media arts to a larger community.

As you follow our Top Ten, please feel free to share our list to let others know about our activities. And if you, or your friends and family, are interested in donating this holiday season to help us continue to provide and expand our services to the cultural sector of Saskatoon we encourage you to check out our “donate” page on our website or visit us in person. As a charitable non-profit we gladly provide tax receipts on all donations.

Have a great winter season and look forward to more great events in 2015.

– PAVED Arts board and staff

The Top 10

PAVED Arts values the support from the City of Saskatoon, Saskatchewan Arts Board, and Canada Council for the Arts.

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PAVED Arts & AKA Artist-Run hosted a reception for Stronger Than Stone in conjunction with joint openings for Testimony, Transformation & Warrior Woman: Stop the Silence. 

Testimony is a powerful way in which Indigenous groups can speak to difficult knowledge, taboo or subverted topics, exposing them to air.

When engaging difficult knowledge in curatorial praxis, such as Canada’s missing and murdered Aboriginal women, a topic in which PM Harper has publicly stated- is not high on Canada’s priority list; the primary goal is to allow space for visual testimony and within that, a voice.  As an Aboriginal woman I wanted to speak to this topic in a multi-faceted way. Missing and murdered Aboriginal women and girls, goes beyond a societal issue, it is not a civic or provincial issue; it is entrenched in all facets and inner workings of our country and needs to be addressed in unique and powerful ways.

Testimony featured artists K.C Adams and Terrance Houle; their work marked a declarative visual statement concerning difficult knowledge, the focus primarily on the testimonies of Indigenous women. Both artists through the mediums of video and photography narrate experiences, worldview and the reality of how violence against Indigenous women come to be-borne from acts of subtle silences, murmuring and whispering of who Indian women are in Canada, and who defines who they are and what they represent.

K.C skillfully, with the use of her Cyborg series, speaks to current and historical labelling that contributes to the marginalization of Indigenous women. Her Cyborg units wear and name on their T-shirts stereotypes which are lateral types of violent naming that Indigenous women face on a day to day basis. The Cyborgs are not a reality; the “half human and half machine” represent the disconnected reality of Indigenous representation in Canada.  The glamour shots of the Indigenous cyborgs reflect the glamorization of the woman as image and not as an actual person. She is far from reality, beautifully labelled and ready to use. The Canadian government has a long and sordid history rendering Aboriginal people as both a commodity (land and resources) and a strain. No matter how long and hard the media pegs Aboriginal people as a fantastical race, the fact remains that there is always resistance from those who require change to survive. The women who modelled for K.C are primarily highly respected women involved in the arts community or cultural workers. When they don t-shirts with stereotypes beaded on, with sayings like ‘welfare mom,’ ‘F.A.S,’ or ‘dirty little Indian,’ it shows the viewer that no matter who the woman is in her community, or in society, when she wears the label she is not real, she is fantasy. The disconnect between label/stereotype and reality contributes to how Indigenous women are treated by those in power and how they are treated by the West as a whole. It is why for many generations women have disappeared from society, often forever lost, and why there is, more often than not, little justice for women murdered by predators.

Within this exhibition I wanted to have a male perspective in relation to testimony and women. Terrance Houle is a talented artist who works through many mediums, but this particular work went beyond humour or colonial naming via visual testimony. Terrance looks to testimony through a Blackfoot worldview and represents it through the medium of video. For me personally, the work reveals a gentle reverence and respect that Houle has for his matrilineal past and for those females in his clan that come after him. The video performance, Aakaisttsiiksiinaakii Many Snake Woman “The Daughters after me” (40 min) touches on many topics and begins with his Grandmother May Weaselfat who was painted and interpreted in the romantic European style by Reinhold Reiss. From that portrait Terrance begins to ‘talk back’ through the use of performance and video. In Linda Smith’s, Decolonizing Methodologies she says, Testimony is a form in which the voice of a ‘witness’ is accorded space and protection (144). In the gallery space all who enter become witnesses to their testimony, and in doing so there comes an opportunity for change. Along with Houle’s grandmother, his mother Maxine Weaselfat-Sacred Soaring Woman, sister Jolane Houle-Three Suns Woman and daughter Neko-Peace Keeping Woman are all situated to sit as if for a portrait; just as Terrance’s grandmother would have been asked to sit for Reiss. The politics behind creating Indian Portraits in the States and Canada during May Weaselfat’s youth becomes necessarily associated with the colonial trope of the ‘vanishing Indian.’ Many Indian portraits and souvenirs were collected in order to preserve the memory of the “noble savage.”

Viewing Houle’s video brought to mind the artist Edward Curtis, and his famous black and white portraits of Indigenous North Americans. What is not widely known about him is that he had with him a wide array of costumes and props to which he had Indians model for his photographs. During the time period he was creating his work, many Indigenous people adopted westernized clothing and did not wear the traditional type of clothing he had them dress up in. The video alludes to someone faceless directing and propping the women who all model the same blanket. A blanket is a popular signifier of Indian culture and can also allude to other meanings which I will not go into. Each woman represents a different generation in Houle’s family and in video positioned and dressed the same for their portrait. Each woman is representative of a particular generation and time but always depicted in the same costume. They are relegated to a particular point in time from someone in a position of power. The same can be said for Indigenous people as a whole within the media. Once a people are deemed static they cannot exist in the present time. When a society carries the mentality that Indian people are fantasy, they are erased from the present and do not exist. This mentality bodes ill for Indigenous women who need voice in the face of systematic violence. The video testifies to this fact. Their presence in video testifies to their place in reality and becomes witness in a protected space.

~Curatorial Statement by Felicia Gay

Gallery Hours: Tuesday – Friday, Noon – 6 pm; Saturdays Noon – 4pm
PAVED Arts acknowledges the support of our members, volunteers and partners, and of our principal funders: Canada Council for the Arts, Saskatchewan Arts Board, SaskCulture, SaskLotteries, the City of Saskatoon and the National Film Board of Canada.

For more information, contact: David LaRiviere, Artistic Director tel. (306) 652-5502 ext.1 or artistic@pavedarts.ca

Free admission to the public with barrier-free accessibility.

The post Testimony first appeared on PAVED Arts.

PAVED is excited to host an exciting night of local short film content curated by Paul Crepeau and Michael Hosaluk.  Featuring work from both Paul and Michael as well as Chrystene Ells, Jason Rister, Jordan MacKenzie, Matt Yim, Colten Yuzicappi, Derek Novosad, and Matthew Holland.

The post Crepeau/Hosaluk/Collaborators: A Night of Short Films first appeared on PAVED Arts.

2 for 1 tickets for PAVED members ($10 get 2 people in)

JINGLE BELL ROCKS! is a trippy, cinematic sleighride into the strange and sublime universe of alternative and underground Christmas music, featuring The Flaming Lips, Run-DMC, The Free Design, Low, Miles Davis & Bob Dorough, Clarence Carter, John Waters, Akim & The Teddy Vann Prod. Co., The Mighty Sparrow, A Girl Called Eddy, El Vez and many more

Check out the website for the film here

Watch the Trailer

This special presentation is generously sponsored by.

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AKA & PAVED are pleased to host a reception for Stronger Than Stone on Saturday, November 22 at 8pm in conjunction with joint openings for Testimony (at PAVED Arts) Transformation,  & Warrior Woman: Stop the Silence (at AKA Artist-Run). Both exhibition are curated by Felicia Gay.

Join the FaceBook event here.

The post Stronger Than Stone – Opening Reception first appeared on PAVED Arts.

An evening of contemporary sound and video work featuring the SSO Chamber Players and works by: Ellen Moffat & Lia Pas, Colleen Ostoforoff, Kelly Marie Murphy, Dominique Skoltz, Izabella Pruska-Oldenhof, Violet Archer, Hildegard Westerkamp, Christina Battle and Lindsay McIntyre.

Tickets available for Friday’s performance here

Tickets available for Saturday’s performance here

The post Core Series V – In Transformation first appeared on PAVED Arts.

Going Off-Route

What does it mean for a film to reveal its apparatus and betray the constructedness of the illusions that it projects? What’s at stake in moments like the one you see in the image above, a shot from Amanda Dawn Christie’s film installation Off-Route 2?

What kind of pressure does such an incursion of the technological put on the frame? Indeed, on the very concept of the cinematic?

Exhibited at Paved between 12 September—17 October, 2014, Off-Route 2 refers implicitly to a history of filmmaking that wonders if self-revelation might be integral to cinema as a media and form. Yet while the installation invites being situated on a lineage of films that reveal themselves, it also occupies a contemporary moment in which cinema’s past is being resuscitated through new media. The evolution of cinema, its increasing translations from celluloid material to digital immateriality, hasn’t necessarily shifted the ground beneath what qualifies as cinema qua cinema. When we encounter Christie’s installation, we’re confronted with a harbinger of cinema’s future and a disclosure of its earliest iterations.

When cinema reveals its technological underpinnings, it does more than remind the viewer that the world depicted onscreen has been mediated by equipment, including the camera. As well as locating the film object as a product of human labour, cinematic self-revelations have tended, historically, to underscore the stillness at the heart of motion pictures by foregrounding the photograph as a precondition of cinema. In Dziga Vertov’s agit-propaganda film Man With a Movie Camera (1929), for example, the editing room, where the director’s wife stitches together still images before running them through the projector, occupies pride of place. Here, relationships between stillness and motion, between human effort and industrial technology, define the cinematic apparatus. A similar dynamic prevails in Albert and David Maysles’ documentary Gimme Shelter (1970), when the filmmakers disrupt the conventions of American direct cinema and take the viewer behind the scenes to view the death of Meredith Hunter—first in slow-motion, then in freeze-frame. In the editing room, Mick Jagger has Albert Maysles hit the pause button at the precise moment at which the knife of a Hells Angel enters Hunter’s ribcage. The move literalises the metaphorical alignment between death and the stillness of the photographic image. According to Mary Ann Doane, “photography is inevitably in the past tense, evoking the recognition of a ‘having-been-there,’” while “the cinema makes an inexorable appeal to the present tense” (143). If this is the case, then the cinematic image frozen onscreen occupies a temporality poised uncertainly between the irrecoverable past and its filmic enlivening.

Cinema’s tendency to reveal itself—its foundations in technology; its embeddedness in networks of labour; its dialectics of stillness and motion; its obsession with death and the body as a site of duress—gets articulated in Off Route 2 in ways that reiterate and complicate extant notions of what constitutes the cinematic. For although it situates itself as part of a tradition of films that disclose the apparatus behind their various fabrications, it does so in the context of an art gallery, not a movie theatre. A semiotics of exhibition displaces attention from the individual screen as the sole object of spectatorial regard, while the loop mitigates the kind of surprise that typically accompanies revelations of the machinery of filmmaking in linear narratives. Shot in 35mm before being transferred into digital, the installation belongs to both an old and new media world.  Despite not calling attention to its celluloid composition and photographic pre-history, it uses contemporary technologies to re-invoke cinema’s past: the viewer who enters the loop mid-way through, even past the moment of the climactic reveal, participates in the kind of spectatorship that prevailed in movie theatres until Alfred Hitchcock insisted that audiences show up “on time” for Psycho (1960).

If the automobile occupies a special place in cinema because, like movies, it enables a specifically modern (not to mention mechanical) contraction of time and space, the image of an inert vehicle, flipped upside-down in the aftermath of a crash, represents a challenge to the fetishising of movement that provides motion pictures with their raison d’être. In contrast with the pan that begins the loop on a note of boundless mobility through uninhabited space, the car that greets the viewer raises the spectre not only of human encroachment, but of a stillness that carries with it connotations of death. Motionless, the body inside the car invites the kind of concentrated attention to which Maysles and Jagger pay the body of Meredith Hunter when they freeze the frame at the moment of his death. In this instance, the camera frustrates the viewer’s desire to prolong the look by scanning past the body, as though it were merely one object among many in a dense visual field. The return to the body comes in the form of an extreme close-up of the woman’s eye, which indicates micro-movements that reveal she’s still hanging on to life. A biological double of the mechanical lens, the eye addresses the viewer in the act of viewing and reminds him that looking sometimes entails being looked at.

The conflation of subject and object of the gaze culminates in the moment at which the viewer understands that “Amanda,” the character within the fictional narrative, is also Christie, the director of the film. As the team of firefighters who’ve arrived on the scene work to extract her from the vehicle, the camera dollies out to reveal what we have, in fact, known all along: that behind the cinematic world must exist a technological apparatus and network of human labour that combine to make what we see and hear available. There’s no magic in cinema, no projection—however fantastic—that isn’t bound to the media and conditions through which it was produced. When Amanda exits the car and reclaims her real-life identity, she inverts the familiar trope of woman in trouble; she is, manifestly, woman in control. But in the same way that Laura Dern’s character Nikki Grace struggles to recover from the ordeal of portraying Sue Blue in the film within David Lynch’s Inland Empire (2006), Christie leaves Amanda behind with difficulty: visibly weakened by the physical exertion that her endurance performance required, she stumbles out of the vehicle with the assistance of the firefighters. One of them asks her: “You all right?” The question registers in the fictional and non-fictional narratives simultaneously. It’s a genuine expression of concern, predicated on Christie’s having adopted a role, yet motivated by a sense of the actual perils involved therein.

Immediately following Nikki’s scene on the Hollywood Walk of Fame, she enters a nearby theatre where she watches herself performing the role of Sue Blue. Like a traumatised patient, she seems compelled to return to the site of a traumatic occurrence and repeat the event in order to provide it with a meaning within narrative. For Nikki, as for many of Lynch’s female characters, there’s no getting outside the loop that connects real life with its various mediations and fictionalisations. In Off Route 2, Christie, after discussing the next shot with her assistant director, tells the camera operator: “Alright, you can cut. That’s good.” Instead of releasing her from the narrative in which she’s at once in trouble and in control, the loop begins again; through media, she’s doomed to live and relive the fictional car crash and her re-emergence into actuality over and over again.

According to Walter Benjamin, “the most important social function of film is to establish equilibrium between human beings and the apparatus. Film achieves this goal not only in terms of man’s presentation of himself to the camera but also in terms of his representation of his environment by means of this apparatus” (117). The radical political function that Benjamin assigns to motion pictures renders unimportant any question as to whether they record the world or create a multiplicity of worlds. For him, the crucial point is that all films occupy social, political, and economic contexts, and that to obscure this fact is to misunderstand the role cinema ought to play in culture. Any meaningful experience of cinema entails being aware of the technologies and networks of labour that tend to reside off-screen. Off-Route 2 suggests that what defines cinema—whether fictional, documentary, or some hybrid combination of both—is that it must reveal itself in the act of revealing us to ourselves.

~Text by Justin Pfefferle

Works Cited
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Walter
Benjamin Selected Writings, Volume 3: 1935-1938. Eds. Howard Eiland and
Michael W. Jennings. Cambridge: Harvard UP, 2002. 101-33.
Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard UP, 2002
Gimme Shelter. 1970 Dir. Albert and David Maysles. Criterion, 2000.
Inland Empire. 2006. Dir. David Lynch. Paradox, 2007.
Man With a Movie Camera. 1929. Dir. Dziga Vertov. Kino International, 1997.

Gallery Hours: Tuesday – Friday, Noon – 6 pm; Saturdays Noon – 4pm
PAVED Arts acknowledges the support of our members, volunteers and partners, and of our principal funders: Canada Council for the Arts, Saskatchewan Arts Board, SaskCulture, SaskLotteries, the City of Saskatoon and the National Film Board of Canada.

For more information, contact: David LaRiviere, Artistic Director tel. (306) 652-5502 ext.1 or artistic@pavedarts.ca

Free admission to the public with barrier-free accessibility.

The post Off Route 2 first appeared on PAVED Arts.

Bring your home movie reels for a free inspection and evaluation in celebration of
Home Movie Day. Learn how to properly transfer and store your 8mm, Super 8 and
16mm films. Archivists from the University of Saskatchewan will share home movies in
their collection. Films brought to these events will also be considered for the curated
Home Movie Day programme screening on Saturday, October 18, at PAVED Arts,
424-20th St W.

Film Rescue International as a sponsor of the event is contributing a prize of a free film transfer to a lucky participant in Home Movie Day (prize winner must be in attendance at the event on the 18th).

There are also lead-up events at Public Library’s around Saskatoon

Saturday / Oct 11
2 – 3 p.m.
Mayfair Branch
Community Room
602-33rd St W, 306.975.7591

Tuesday / Oct 14
7 – 8 p.m.
Alice Turner Branch
Meeting Room
110 Nelson Rd, 306.975.8127

Thursday / Oct 16
2 – 3 p.m.
Frances Morrison
Central Library
Theatre
311-23rd St E, 306.975.7579

Home Movie Day is an annual worldwide celebration of amateur films and filmmaking. This programme offers an
intriguing selection of local home movies and the opportunity to meet with archivists
and learn about film preservation.

The post Home Movie Day October 18th first appeared on PAVED Arts.

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Ableton User Group w/Amanda Dawn Christie –
Date – Thursday Sept 11th 7-9 pm
Place – PAVED Arts Event Space

This workshop is open to non-members
At this meeting we will be welcoming visiting artist Amanda Dawn Christie (Moncton) to meet with the group.  Amanda Dawn Christie is an interdisciplinary artist working in experimental film, video installation, performance art, photography, and electroacoustic sound design.  This meeting will focus on her multi-media piece “Requiem for Radio: Pulse Decay”.   This will be a great opportunity to learn about her workflow and gain insight on some of the technical workarounds and strategies she has integrated into her practice.

If you are interested in joining the group we are on Facebook

Grant Writing Two Part Workshop – $20 fee to register
Host – Ellen Moffat
Date – Sunday, September 14th 1 – 4 and Sunday September 21st 1-4
Place – PAVED Arts Event Space
Description: Part one: will be an informal lecture-based discussion that focuses on preparing successful submissions for grants for visual and media arts (including research, production and presentation grants). The workshop will break down the process of grant-writing into component parts, discussing techniques and strategies for being successful.
Part two: will be a mock jury of submissions prepared by workshop participants. After having attended the previous session, participants will be asked to bring a submission in process, as well as audio or visual support media. Submissions will be presented to the group. This will be a valuable and constructive hands-on process for learning about grant criteria.
***Limited to 10 participants

About the instructor: Ellen Moffat is a media artist who has extensive experience as an artist, administrator, writer and educator.

Stop Motion Animation

Instructor – Michael Maryniuk
Date – Saturday September 20th 1-4 PM
Place – PAVED Arts Event Space
A “Garage Sale gander” into the artistic tool shed of one of the prairies most prolific, versatile and technically accomplished short filmmakers. Participants will receive a crash course in Pixallation, time-lapse, stop motion, light painting, discount 3D filmmaking tips, as well as several other of beat ways of creating moving images.

BIO
Mike Maryniuk was born in Winnipeg, but raised in the rural back country of Manitoba. A completely self-taught film virtuoso, Maryniuk’s film world is an inventive hybrid of Jim Henson, Norman McLaren and Stan Brakhage. Maryniuk’s films are a visual stew of hand-made ingredients and are full of home cooked wonderfulness.

Manifesto Workshop (In conjunction with Culture Days, the Saskatchewan Arts Alliance (SAA) and the Saskatchewan Writers’ Guild (SWG))
– Saturday September 27th 1-4 PM, PAVED Arts Event Space
Instructor: Wes Funk and Madeleine Blais-Dahlem

Join the manifesto movement by exploring, creating and talking about your declaration. A collective Manifesto anthology will be compiled and printed for distribution to each of the participants.
The SWG and the SAA will provide paper, pens, and markers; participants should bring any materials or media not provided that they might need to express their manifesto.
Please register by contacting Jessica at (306) 780-9820 or by email at info@artsalliance.sk.ca.
***Limited to 12 Participants
We are always looking to expand our workshop programming, so keep checking back for updates.

Have a great idea for workshop?  Email your suggestion here

The post Upcoming Workshops This Fall at PAVED Arts first appeared on PAVED Arts.

Saturday September 27th at 8pm in the 2nd floor Event Space
424 20th Street West

A response to Amanda Dawn Christie’s exhibition at PAVED Arts entitled Off Route 2, prepared by Justin Pfefferle (Visiting Fellow, Interdisciplinary Centre for Culture and Creativity, University of Saskatchewan). Pfefferle’s presentation will examine a certain tradition of cinema, one that breaks with illusion in order to reveal the underlying mechanisms and artifice of film making. With the current exhibition as a point of departure, supporting examples will be drawn from the history of cinema including works from such directors as David Lynch (Mulholland Drive) and Albert Maysles (Gimme Shelter).

The post Cinema Reveals Itself first appeared on PAVED Arts.

In early July, 2014, PAVED Arts issued a nation wide call for submissions for what was generally termed an “anti-advertising” project. Given that the centre programs a billboard space on an ongoing basis, the project is intended to critique the very nature of this venue, as an art work that ironically takes on the format of public billboard advertisements. In short, the project should in someway implicate the ongoing colonizing movement of advertizing in public urban spaces. Of the 56 submissions that were received, the “Outstanding Outdoor” project by Vancouver-based artist Scott Massey was selected.

In the artist’s own words:
“Outdoor advertising is nearly impossible to avoid seeing. It is pervasive and, by virtue of its purpose, meant to stand out and obscure everything else in the vicinity. In essence, it is visually “loud”. But perhaps because of its desirable appeals to love, sex, happiness and material wealth, it remains largely uncontested in the public sphere. This is a puzzling phenomenon when, contrasted with the outspoken criticisms and laments from the public over some public art installations, the effects of this visual advertising clutter are rarely discussed critically.”

The post Outstanding Outdoor first appeared on PAVED Arts.

This “Culture Days” outdoor screening will take place on the west side of the Senator Sid Buckwold (Idylwyld)
Bridge, projecting onto the underside of the most westerly pylon of the bridge itself. Ten short film and video
works will be featured, including a trio of commissioned works by Brad Proudlove. Other filmmakers include
(in alphabetical order): Neil Bignell & Gabriel Constant, Chrystene Ells, Ryley Konechny, Christopher McLeod,
Caroline Monnet, Katie Mooney, Heidi Phillips, Julie Oh, and the North End Art Centre youth, featuring music
by Wab Kinew, Lorenzo and Little Hawk.

The post I Am The Bridge September 27th first appeared on PAVED Arts.

New works by Bent Light Collective: installations, performances and screening featuring films by Mike Maryniuk

Mike Maryniuk will also give a stop-motion animation workshop on Saturday, September 20th from 1-4 pm. Space is limited so sign up soon! To register for the workshop email technical(a)pavedarts.ca

The Bent Light Collective acknowledges the support of the Canada Council for the Arts Grants to Media Arts Organizations: Initiatives for their financial support.

The Bent Light Collective would also like to acknowledge Cineworks as a Co-Presenter, as well as The Canada Council for the Arts and the British Colombia Arts Council for their direct contributions to the project.

Gallery Hours: Tuesday – Friday, Noon – 6 pm; Saturdays Noon – 4pm
PAVED Arts acknowledges the support of our members, volunteers and partners, and of our principal funders: Canada Council for the Arts, Saskatchewan Arts Board, SaskCulture, SaskLotteries, the City of Saskatoon and the National Film Board of Canada.

For more information, contact: David LaRiviere, Artistic Director tel. (306) 652-5502 ext.1 artistic@pavedarts.ca
PAVED Arts: 424 20th Street West Saskatoon SK. S7M 0X4 www.pavedarts.ca

Free admission to the public with barrier-free accessibility.

The Bent Light Collective would also like to acknowledge Cineworks as a Co-Presenter, as well as The Canada Council for the Arts and the British Colombia Arts Council for their direct contributions to the project.

The post Bent Light Collective Screening and Workshop Saturday September 20th first appeared on PAVED Arts.

PAVED Arts and AKA Gallery

A rare opportunity to purchase one of a kind work by 100 international, national, and local artist participants at the biennial.  For more information check out the emma website here

Organized by Saskatchewan Craft Council, Creative Saskatchewan, and the Saskatchewan Arts Board

The post Emma Auction Thursday August 7th first appeared on PAVED Arts.