Luther Konadu (MB) and Pao Houa Her (MN) share their personal experiences photographing their families, communities, and themselves. Through this conversation, they explore the binary between actively seeking change and at the same time grappling with a nostalgia for home and tradition.
Winnipeg
Leslie Supnet began creating animated films in 2008. Although her films have screened at festivals such as the Toronto International Film Festival and Oberhausen, she is particularly fond of the camaraderie offered at artist-run spaces and micro-cinemas. After studying in Toronto, she has recently returned to her hometown of Winnipeg, a place that has been pivotal in the formation and expansion of her practice.
The tradition of cameraless filmmaking spans the history of experimental film; from the work of the Surrealists, to the field of visual music, to the mid-century abstractionists, to a contemporary vanguard of artists working in animation and chemical processes. The artists affiliated with this tradition used many tools in the course of marking, drawing, or in other ways affixing forms onto the film plane. From the direct exposure to light that creates the photogram, to controlled application of paint and emulsion scratches, the processes involved range from the aleatoric to the carefully deliberated.
Writing about send + receive, and sound art in general, creates a paradox, as one has to rely heavily on the left, quantitative, hemisphere of the brain, the one responsible for “visual space,” as it is the mind-space of civilization proceeding for the last four millennia of linearity, according to the Winnipeg-raised media prophet Marshall McLuhan.
“At the corner” features new work by Winnipeg-based artists Irene Bindi and Aston Coles. The work in the exhibition considers the “behind the curtain” experience of the cinematic. By reinterpreting the fourth wall, the artists create works that suspend the viewer and eliminate reliance on traditional storytelling.