Antimatter 2021
Media Installations
October 14 to 24, 2021
in the Deluge transom window
Protest Etiquette
Adán De La Garza | 1 min | 2020
Protest Etiquette is a response to the “centrist” cry for civility. This cry shifts its criticism to the behaviours of those protesting injustice, instead of the actual injustices. It sidesteps any real momentum for the sake of not appearing rude.
Originally from Tucson, Arizona, Adán De La Garza holds a BFA in Photography from the University of Arizona and an MFA in Interdisciplinary Media Arts Practices from the University of Colorado at Boulder. He has participated in exhibitions at AS220, The New School, The Future Gallery, The Tucson Museum of Contemporary Art, Casa Maauad, Microscope Gallery and festivals such as The Paseo, PAF Festival of Film Animation, Currents International New Media Festival, WNDX Festival of Moving Image and Denver Noise Fest in addition to The Biennial of the Americas. De La Garza is currently based in Denver, Colorado.
in the Deluge entrance foyer
Dreaming in Aspect Ratio
Gwendolyn Audrey Foster | 3 min | 2021
Dreaming in Aspect Ratio is a hand-made diary film and experiment in disrupted stereoscopy; an adopted “found” home movie. A playful queer self-portrait in found dream memories. An experimental documentary and Surrealist détournement. Bright colours collaged with black and white imagery of the joy of female friendships evoke dreaming and reverie; a lost queer childhood regained through the magic of cinema, disrupting typical self-portraiture and auto-ethnography.
Gwendolyn Audrey Foster makes highly personal poetic abstract films in 8mm and 16mm, and also from found 35mm film and HD video. She works in handpainted filmmaking and direct cinema as well as other techniques. Foster’s award-winning films and videos have screened at the Museum of Modern Art, Anthology Film Archives, Black Maria Film Festival, Rencontres, as well as other notable galleries, festivals and museums around the world and are held in the UCLA Film Archive. Author of Experimental Cinema: The Film Reader and director of The Women Who Made the Movies, Foster is Willa Cather Professor Emerita in Film Studies, Women’s Studies and LGBT+ Studies.
at Legacy Art Gallery
Generative Architecture
Colton Hash | 2021
Generative Architecture is a real-time simulation that produces an endless series of buildings that arise in virtual space. Each structure is generated by a system that encodes dominant architectural styles within the Vancouver and Victoria regions. Although individual buildings are unique, en masse they produce an overwhelming wall of homogenous development. The centralized algorithm produces sharp geometric features rendered with discrete logic, reflecting the mechanistic impulses of industrial society. Pristine towers structured with concrete, metal and glass foreground a turbulent sky, evoking a familiar yet daunting experience of urban existence. Although Generative Architecture is specifically created to reflect the local context of gentrification, this work may also express impacts of modern development in cities across the world.
Colton Hash is an artist who currently resides as an uninvited guest on Lekwungen territories of Vancouver Island. Hash’s multimedia practice is inspired by the wild and anthropogenic landscapes that surround him. Through an intuitive coding process, Hash creates generative systems that produce impactful experiences to foster reflection on contemporary issues. Hash employs representational imagery as a strategy to create accessible works that engage with the general public. Hash received a B.Sc. in Computer Science, Visual Arts and Environmental Studies and is currently an MFA candidate at the University of Victoria.
at Ministry of Casual Living Window Gallery
T I M E Q U A K E (2.0)
Tamar Zehava Tabori | 5 min | 2021
T I M E Q U A K E (2.0) shares a name with the novel by Kurt Vonnegut, whose science-fiction worlds build upon an already dystopian reality with dark humour and wit. The invented term refers to a disturbance in the flow of time. Two decades after the novel’s timequake occurs on the tail of Y2K, I find the term echoing in my mind and expressing a fundamental truth about the texture of our current moment. Rather than a global computer crisis, we are navigating a new computer-based reality in the face of a global crisis.
Tamar Tabori is a Canadian-Israeli contemporary dance artist and experimental filmmaker interested in interdisciplinary collaboration. She received a BFA in Contemporary Dance from Montreal’s Concordia University, and has created and performed work across Canada. Her short films have been screened internationally, at festivals such as F-O-R-M, NorthWest Film Forum, Art Volt: Watch and Listen and Moving Images ScreenDance Festival. Tamar is interested in the documentation of dance, having done archival work for organizations such as Kaeja d’Dance and Flamenco Rosario and at present holds positions as a video archivist for videocan, as well as the Youth Curator for F-O-R-M (Festival of Recorded Movement). She maintains an active engagement with the dance community, locally, nationally and internationally, using digital platforms as sites of creative exchange and connectivity. As an artist, she seeks to intrigue and engage, exploring the tension between the ephemeral dancing body and the ostensible permanence of digital landscapes.