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An introduction to Frida, Naturaleza Viva (1983) at the AGO (podcast)

January 18th, 2013

Film poster for Frida, Naturaleza Viva

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Recorded: Jan. 9, 2013 in Jackman Hall, Art Gallery of Ontario
Duration: 40:15

Mauricio Toussaint, Consul General of Mexico in Toronto, and Dot Tuer, guest curator of Frida & Diego: Passion, Politics and Painting at the AGO, introduce a free screening of the 1983 Mexican film Frida, Naturaleza Viva (1983), directed by Paul Leduc with Ofelia Medina as Frida and painter Juan José Gurrola as Diego. They discuss the artists and their iconic status and how the film represents their lives, their time and their art. The recording ends with a Q&A with the audience.

The screening was presented in partnership with Consulate General of Mexico in Toronto, as part of the programming for the AGO’s Frida & Diego: Passion, Politics and Painting.

August #ArtHour: Explore the intersections of film and art, with co-hosts AGO and TIFF

August 7th, 2012

On Thursday, August 9, from 11 a.m. to noon the AGO is teaming up with TIFF and co-hosting an hour-long online discussion about film and art. We hope you’ll join us!

Julian Schnabel, Untitled (Christopher Walken), 2006, Polaroid photograph, 20” x 24” Polaroid Camera. Courtesy of the artist.

Despite their separate venues and divergent mandates, the visual arts and film worlds share a lot of similarities, not just in technique and presentation but also in their ability to engage and inspire viewers. The AGO has invited visitors to experience and explore the convergence of art and film in both its programming — with film screenings in Jackman Hall and courses and workshops that utilize filmmaking techniques — and exhibitions, such as the recent showing of Yael Bartana’s film trilogy …And Europe Will Be Stunned and Julian Schnabel: Art and Film in 2010-2011 (listen to the artist discuss his work with former AGO curator of modern and contemporary art David Moos here). This fall and winter in Evan Penny: Re Figured, we are excited to show works by a Canadian hyperrealist sculptor who worked for a thirteen-year period in the film industry, creating amazing special effects and makeup for films by David Cronenburg, Oliver Stone, John Woo and others.

Our co-hosts for this month’s #ArtHour, TIFF, run a programme called Future Projections, in which “cinema meets the visual arts with moving-image projects” during each year’s festival. Last year as part of that programme, actor James Franco collaborated with director Gus Van Sant to create Memories of Idaho, a multi-part installation that centred on the critically acclaimed film My Own Private Idaho and its lead actor, River Phoenix. You can watch Franco and Van Sant discuss that project here (check back at tiff.net soon for info on this year’s Future Projections programme). TIFF has also shown many films about art and artists. Currently running at TIFF Bell Lightbox is Ai Weiwei: Never Sorry, a documentary about the prominent Chinese artist and dissident.

Nice To Tweet You

With their multidisciplinary experience and expertise, we’re glad to have TIFF as our co-hosts on August 9 for a Twitter chat that explores the following questions:

Q1 What are your favourite films that blur the line between the visual art and cinema worlds?
Q2 What people have been able to master working in both the fields of visual art and cinema?
Q3 Which films do you think have excelled in the artistic use of special effects?
Q4 What is your favourite movie about art or artists?
Q5 Is there more freedom for creative individuals working in the art world than working in film?
Q6 How do we give art and artists recognition in film festivals and awards? Do they get enough?

The person who contributes the most to the conversation will win a copy of Julian Schnabel: Art and Film, the 368-page catalogue produced for the AGO exhibition of the same name, as well as two pairs of tickets to a screening at TIFF Bell Lightbox.

Evan Penny and Shelley #2, Variation of 4, 2008, silicone, pigment, hair, aluminum, 64 x 61 x 18 cm, Richard R. Singleton of Priddis, Alberta, Canada, © Evan Penny 2012.

HOW TO TAKE PART

What #ArtHour is a Twitter chat with a new art topic each month. We invite you to spend one hour each month thinking about and sharing what art really means to you.
When Thursday, August 9, 11:00 a.m. – noon EDT (takes place the second Thursday of every month).
Where On Twitter. Follow @agotoronto and @TIFF_NET for more information, or search for the hashtag #ArtHour. You can follow along using Tweetchat by using the #ArtHour hashtag.
Who #ArtHour is for everyone: galleries and museums, arts professionals, artists and anyone interested in learning more and meeting other passionate art fans.
How Starting at 11 a.m. @agotoronto and @TIFF_NET will be tweeting a question every 10 minutes using the hashtag #ArtHour. Anyone can respond, also using #ArtHour. For example, we would tweet Q1 What is your favourite painting? #ArtHour, and you could tweet back A1 The West Wind by Tom Thomson! #ArtHour.

We hope that you’ll help spread the word and join us for #ArtHour. For more information, please email meagan_campbell@ago.net.

Stunning film stills from Yael Bartana’s …And Europe Will Be Stunned

January 31st, 2012

 

Yael Bartana Mary Koszmary, 2007 one channel super 16mm film transferred to video Duration: 10.50 min. Courtesy Annet Gelink Gallery Amsterdam and Foksal Gallery Foundation Warsaw. Produced with support from Hermès.

Yael Bartana Mary Koszmary, 2007 one channel super 16mm film transferred to video Duration: 10.50 min. Courtesy Annet Gelink Gallery Amsterdam and Foksal Gallery Foundation Warsaw. Produced with support from Hermès.

Yael Bartana Mur i Wieża, 2009 shot on RED, HD video projection Duration: 15’00’’ Courtesy Annet Gelink Gallery Amsterdam.

Yael Bartana Zamach (Assassination), 2011 RED transfered to HD Videostill Courtesy Annet Gelink Gallery Amsterdam and Sommer Contemporary Art, Tel Aviv. The film was commissioned by Artangel, Outset Contemporary Art Fund, Louisiana Museum of Modern Art, The Netherlands Foundation for Visual Arts, The Netherlands Film Fund and Zachęta National Gallery of Art. Yael Bartana Zamach (Assassination), 2011 RED transfered to HD Videostill Courtesy Annet Gelink Gallery Amsterdam and Sommer Contemporary Art, Tel Aviv. The film was commissioned by Artangel, Outset Contemporary Art Fund, Louisiana Museum of Modern Art, The Netherlands Foundation for Visual Arts, The Netherlands Film Fund and Zachęta National Gallery of Art.

Yael Bartana Zamach (Assassination), 2011 RED transfered to HD Videostill Courtesy Annet Gelink Gallery Amsterdam and Sommer Contemporary Art, Tel Aviv. The film was commissioned by Artangel, Outset Contemporary Art Fund, Louisiana Museum of Modern Art, The Netherlands Foundation for Visual Arts, The Netherlands Film Fund and Zachęta National Gallery of Art.

Yael Bartana Zamach (Assassination), 2011 RED transfered to HD Videostill Courtesy Annet Gelink Gallery Amsterdam and Sommer Contemporary Art, Tel Aviv. The film was commissioned by Artangel, Outset Contemporary Art Fund, Louisiana Museum of Modern Art, The Netherlands Foundation for Visual Arts, The Netherlands Film Fund and Zachęta National Gallery of Art.

Yael Bartana is an Israeli filmmaker and artist who is based in the Netherlands. Her latest project, …And Europe Will Be Stunned, is showing at the Art Gallery of Ontario until April 1, 2012. The trilogy of films took almost five years to complete, and tells the story of the fictional Jewish Renaissance Movement in Poland. The result is a beautifully realized set of films that deal deftly with the complex dialogues that surround questions about national identity, homeland and what it means to belong.  The three parts of the trilogy are called Mary Koszmary (Nightmares), Mur i Wieża (Wall and Tower) and Zamach (Assassination). The films feature architecture and scenography by Oren Sagiv

The work was first shown at the the 2011 Venice Biennale, where Bartana became the first non-Polish artist to represent Poland at the major international art exhibition.
This is the first time the work has been shown in Canada. To find the films at the AGO, turn right immediately after entering the Gallery through the main entrance. Keep walking straight until you enter the Philip B. Lind Gallery,

“Interweaving past and present, reality and fiction, the conceptual and the emotional, and drawing on propaganda films of the 1930s and ’40s, as well as the visual language of advertising, Bartana’s films boldly traverse a landscape scarred by the histories of competing nationalisms and militarisms,” said Elizabeth Smith, AGO executive director of Curatorial Affairs and curator of the exhibition.

There are copies of the Manifesto of the fictional Jewish Renaissance Movement in Poland available free for our visitors. A striking piece of graphic design, this is an amazing commemorative piece for people to be able to take with them. They’re already moving fast, so make sure you get down to the Gallery to grab yours soon!

                 Instagram Photo

…And Europe Will Be Stunned is accompanied by one of the artist’s earlier video works, Trembling Time (2001), from the AGO’s collection. For more information about this exhibition please visit the AGO website.  Contemporary programming at the AGO is supported the Canada Council for the Arts.


Image credits:
1 - 3 Yael Bartana, Mary Koszmary, 2007, one channel super 16mm film transferred to video. Duration: 10.50 min. Courtesy Annet Gelink Gallery Amsterdam and Foksal Gallery Foundation Warsaw. Produced with support from Hermès
4, 5 Yael Bartana, Mur i Wieża, 2009, shot on RED, HD video projection, Duration: 15’00’. Courtesy Annet Gelink Gallery Amsterdam. 
6-8 Yael Bartana, Zamach (Assassination), 2011, RED transfered to HD, Videostill, Courtesy Annet Gelink Gallery Amsterdam and Sommer Contemporary Art, Tel Aviv. The film was commissioned by Artangel, Outset Contemporary Art Fund, Louisiana Museum of Modern Art, The Netherlands Foundation for Visual Arts, The Netherlands Film Fund and Zachęta National Gallery of Art.