Exhibition & Event Archive

Winnipeg, MB (January
23, 2008) – We can always trust artists to challenge assumptions and to seek creative alternatives to conventional practices. In the case of film and video, this is also true. This screening featured
experimental techniques for moving image creation and manipulation including: machinima (film and video made using avatars and/or video
game environments), computer-based image manipulation, well-established filmmaking techniques such as hand processing, optical printing, and scratch animation, as well as work employing modified cameras or found footage.

At Video Pool, we love art, and we love parties, and we were thrilled to continue our tradition of bringing international Art’s Birthday celebrations to Winnipeg!

Video Pool gathered
with friends and neighbors to share in a good time and to look back on an exciting year of video productions by our members.

Aiming to shake up the conventions of traditionally-formatted talks, Mattes’ presentation was inter-textual, multi-disciplinary, performative, and participatory. Furthermore, it functioned in the spirit of a happening. Mattes opened and closed the talk with a selection of karaoke songs, and they were performed enthusiastically (and creatively) by members of the audience. The talk also involved clips of video work presented in the exhibition.

Hattori is known for his skill using outmoded analogue technology to produce stunning audio and video landscapes in a live performance environment. Only occasionally using source footage, Hattori skillfully manipulates feedback loops to generate the source content for his immersive performances. Referring to his medium as abstract video-concert, Hattori presented a new work created in collaboration with two local artists – Bryan Basant and Curtis Walker (blunderspublik) – over the course of his residency at Video Pool.

Video Pool welcomed residents of Winnipeg to talk to
strangers via two intriguing new media projects by Germaine Koh.
Call was an interactive installation involving a hacked vintage rotary-dial telephone that connected immediately to one of several volunteers as soon as the receiver is lifted. Participants were invited to experience the unique opportunity of striking up a conversation about anything or everything with an anonymous individual at the other end of the line.

Germaine Koh delivered a fantastic talk about her work, which surveyed her dynamic and varied conceptual practice encompassing performance,
intervention, installation, new
media, painting, and even knitting.

launched on September 29 with all the appropriate fanfare. This exhibition, which features work by Warren Arcand, Kevin Ei-Ichi deForest, Skawennati Fragnito, and Benny Nemerofsky Ramsay, was available for viewing until Saturday, November 10 at Urban Shaman Gallery (203-290 McDermot Ave).

Lynne Marsh’s work is influenced and informed by: the infinite spatial expanse of game environment, the Ballroom presents a woman, athletic and glamorous, suspended upside down in the centre of a dancehall, her glittering sequined costume reflects light like a mirror ball. Marsh’s virtually constructed ballroom is based on the existing, south London ‘Rivoli’ ballroom. The spinning woman at the centre of the projection appears small in comparison to her virtual surroundings. The viewer is overwhelmed by the scale of the virtual environment, and, perhaps, is underwhelmed by the limited actions of the virtual performer.

A virtual universe of faraway stars and planets is created from commonplace objects, compressed and reframed by video processing software in Erika Lincoln’s interactive new media installation Sidereal Projections. Through the technological mediation of ordinary objects, Lincoln provokes a subtle distinction between the perceived and the known through making familiar objects and spaces strange. In this work the physical world, the illusion of art and the imagination of the viewer work together to create the sense of a vast and distant universe.