#capturefestival

[irisfieldhouse]

Beautiful ODYSSEY sound and projection! As a part of the breathing room residency collaboration with EPFC North, Mia Glanz presented her experimental projection of Odyssey, part of the 2022 Capture Festival, Saturday April 23 at the Iris Film Collective Fieldhouse at Burrard View Park, 8–10pm CONGRATS Mia

[irisfilmcollective]

Beautiful ODYSSEY sound and projection! As a part of the breathing room residency collaboration with EPFC North, Mia Glanz presented her experimental projection of Odyssey, part of the 2022 Capture Festival, Saturday April 23 at the Iris Film Collective Fieldhouse at Burrard View Park, 8–10pm CONGRATS Mia

[normstelfox]

Corrosion Still Life. #normstelfoxphotography #corrosion #stilllife #capturefestival #richmondboatbuilders #thecannery #stevestonbc https://www.instagram.com/p/CUadlKEpdMi/?utm_medium=tumblr

[msmithphoto]

Beautiful portraits done by @pink_monkey_studios for the Paper Portrait Project @capturephotofest Well done, Ross & thanks for letting us be a part of it! #photography #CaptureFestival #vancouver #vancitybuzz #vancouverisawesome #cameraobscura

[lesartefact]

35 Years of Reflection: Alumni & Student Show CAPTURE FESTIVAL 2015 @ The Remington Gallery Apr 3 – Apr 14, 2015

All photographs by Jadynn Wolff,  Lesartefact Written content provided by CapturePhotofest.com 

Peter Morin

“Remembering the cost of human genocide” by Peter Morin 2014

“36 x48 “

digital print on paper

“time travelling device “ by Peter Morin 2014

“28 x 26″

digital print on paper

Peter Morin is a Tahltan Nation artist, curator, and writer, who recently relocated from British Columbia to Brandon, Manitoba, where he joined the Visual and Aboriginal Arts Faculty at Brandon University. Morin studied art at Emily Carr University of Art + Design and completed his MFA at the University of British Columbia Okanagan in 2011. In both his artistic practice as well as his curatorial work, Morin’s practice-based research investigates the impact between Indigenous cultural-based practices and Western settler colonialism. This work, defined by Tahltan Nation epistemological production, often takes on the form of performance interventions and also includes object and picture making.

Morin has participated in numerous group and solo exhibitions including Team Diversity Bannock and the World’s Largest Bannock Attempt, 2005; A return to the place where God outstretched his hand, 2007; performative works at the Royal Ontario Museum, Toronto; 12 Making Objects AKA First Nations DADA (12 Indigenous Interventions), Open Space, Victoria, 2009; Peter Morin’s Museum, Satellite Gallery, Vancouver, 2011; and Circle, Urban Shaman, Winnipeg, 2011. In 2014, Morin was nominated for the Sobey Art Award.

Katie Huisman

Katie Huisman is a photographer and educator based in Vancouver. Her work is informed by human behaviour, body language, and our relationship to voyeurism within contemporary society. She is influenced by the scientific approach to the creation of identity in nineteenth-century photography and is intent on studying the present state of photography with regard for history.

The snapshot aesthetic first appeared in the 1960s and ’70s as a powerful yet naive stylistic approach to photography. Robert Frank was the originator of this movement publishing his book The Americans in 1958, featuring a series of black-and-white beat-era photographs of gas stations, citizens, parking lots, small town politicians, etc. This work showed an unromantic, detached perspective of subject matter that had been frequently idealized in pictorialist and modernist photographic movements.

Aligning itself with pop art due to an ironic detachment from its subject matter, the snapshot aesthetic in the ’90s was popularized by young contemporary photographers such as Hiromix and Ryan McGinley who gained international recognition. In its ubiquitous nature, the snapshot allowed these young photographers a freedom to express their ideas with an unfiltered vernacularity.

In twenty-first-century photography, the snapshot aesthetic is everywhere, favouring our need for immediacy and consumption. It has become our way of seeing. This visual language is now inherent to today’s young photographers, glamourizing banality through raw realism, serving a vitally communicative role in our lives.

Traditional concerns for the medium of photography no longer seem to matter.

Jason Wright

Jason Wright is an artist living and working in Vancouver. He received a BFA in Visual Arts from Simon Fraser University in 1997 and an MFA in Sculpture in 2009. His recent practice peers into the pleasures and excesses of contemporary food culture in relation to one’s body. The work examines the communal performances of form, the smacking poesy of lips, the creamy comedy of slick tongues, the playful pulls and squishes of mouths dripping and salivating words, and the joyful spillovers of conversations and connections.

Food(ie) culture in all its sexy vigour may unite us in pleasure to be sure, but it is the slippery mush of our bodies that truly connects us. Not the long table, not the artisanal sausage, not the handmade ice cream, nor the designer juicer. (The language surrounding the trend of artisanal food culture often eerily parallels that of earnest contemporary art speak: rhetoric of community and of community based values, of organic process, of cultural service, of broad yet local cultural inclusions and brandings, of green interventions, and ultimately of transcendent social purposefulness.) On the surface, Wright’s work may appear as a sneering play against excessive consumption, against “consumer culture.” But how does one elude this consumer culture? It is not something one merely avoids or navigates around. Culture-as-traffic-accident. Rather, one takes it all in as one may food: consumer data cascading in and out of one’s body. This lyrical model of consumption is a tract, a body. One takes it all in and yet it all must leave. Food to body to waste. This work looks to examine not only what we consume but how this consumption moves through our bodies and, ultimately, how this movement may connect us as individuals and as larger communities—however grotesque, however beautiful.

Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013 C-prints on paper

Fan-Ling Suen

Fan-Ling Suen, Honeymoon Sweet, 2007 7" x 5"

Couple and Honeymoon Sweet are drawn from a series of photogrpahic collaborations between Fan-Ling Suen and Katie Clark. From 2006 to 2008, Fan-Ling and Katie used staged photography and cinematic tropes to investigate narrative structures and explore the visual languages of  interpersonal relationships filled with quiet tension, and cultivate an exchange between the models’ actual relationships and their preformed roles.

 Fang- Ling Suen Couple, 2007

5″x 7″

Fan-Ling Suen is a graduate of the University of British Columbia’s Masters of Fine Arts program. She has worked at Arts Umbrella since 2012 as a teaching assistant, visual arts instructor, and administrative staff. Suen’s current practice investigates the complex nature of human relations and how we understand ourselves within the framework of institutions—particularly those that structure childhood experiences. A combination of social history, popular fiction, children’s literature, and psychoanalytic theory informs her work as she navigates concerns around memory, longing, and attachment.

The works Couple and Honeymoon Sweet are drawn from a series of photographic collaborations between Fan-Ling Suen and Katie Clark. From 2006 to 2008, Suen and Clark used staged photography and cinematic tropes to investigate narrative structures and explore the visual languages of interpersonal relationships. Always involving the artists’ close friends and family, the photographs present scenarios filled with quiet tension and cultivate an exchange between the models’ actual relationships and their performed roles.

Kate Henderson, Untitled, from the Illumination Study, 2015 Analog black-and-white photogram

Kate Henderson

Kate Henderson is a Vancouver-based artist who received her MFA in Visual Art from the University of British Columbia in 2013 and her BFA with a major in Photography from the Emily Carr University of Art + Design in 2007. Henderson’s practice navigates the transitional space between the analog and the digital and the body and the machine in technologies of seeing, surveillance, and self-surveillance. She gleans low-res Internet images and videos of the material remains of analog media and repositions them through digital projection, slide projection, and installation—a process that locates and materializes the digital substrate, thereby giving physical form to a seemingly intangible medium. Henderson is interested in appropriated images of analog ruin and the industrial sublime and how the economy and poetics of photography has transformed with the onset of virtual, circulating images.

Henderson is sessional faculty at Emily Carr University and an art educator for children and youth at Arts Umbrella. She has exhibited in Vancouver at the Morris and Helen Belkin Art Gallery, Satellite Gallery, VIVO, Access Gallery, Burrard Arts Foundation, Gallery 295, and the AHVA Gallery at the Audain Art Centre at the University of British Columbia.

Lisa Burke

Lisa Birke is a multidisciplinary artist who situates herself between the tradition of painting, digital video, and performance art. She is a recent MFA graduate from the University of Waterloo (with distinction, 2013). She has had solo exhibitions and screenings across Canada, and her short films have been shown at film and video festivals internationally including the sixth edition of InShadow—International Festival of Video, Performance and Technologies, Lisbon; CologneOFF X; Cyprus International Performance Art Festival; Cold Cuts Video Festival, Dawson City; the 20th International Short Film Week, Regensburg; Other Venice Film Festival; and Videoholica, Varna, Bulgaria. Recently she was a keynote artist at the Sounds Like Audio Art Festival, Saskatoon, and performed at CAFKA 2014, Kitchener.

Birke examines notions of “self” through the lens of gender, bringing the cultural tropes of woman into focus and into question. Filmed unaccompanied in the Canadian landscape, absurd yet insightful performative acts become entangled in nuanced and complex narratives in single and multichannel video works that make reference to art history, mythology, and popular culture. Revealing what lies beneath the surface of femininity, her work toys with a conclusion that is problematic, comi-tragic, and, most essentially, human.

Red Carpet,  20 Minute Film

Lisa Burke

[irisfilmcollective]

APRIL 2022 BREATHING ROOM

ARTIST IN RESIDENCE: MIA GLANZ

April 23: ODYSSEY 8-10pm Burrard View Park

breathing room reimagines the artist residency as a fluid space for collaboration, experimentation, relaxation, and community connection. We are delighted to announce our April 2022 breathing room artist in residence, Mia Glanz.

Odyssey: presented as part of the 2022 Capture Festival and the April 2022 breathing room residency

Saturday, April 23 at the Iris Film Collective Fieldhouse at Burrard View Park, 8–10pm

Society Visual Music continues to explore the social and cultural repercussions of the pandemic through video and sound. The project was formed by the limitations of the pandemic, particularly the need to communicate electronic music performance in video packages. As we begin to physically gather together again, everything is not the way it was. Among other schisms, we are divided between our digital and physical selves more than ever. In order to make this change visible, Society Visual Music’s Odyssey will be projected on a screen located outside at Iris Film Collective in Burrard View Park. The projection of a DJ set will stand-in for a physical DJ and set-up. Society Visual Music will film the audience and space during the casual screening event. The live footage will be combined in real time with the Odyssey projection using TouchDesigner, immediately turning the experience digital and 2-D, equalizing audience and performer on screen. We propose a fun, interactive and experimental film screening to be part of Capture Photography Festival.

Facilitated by Iris Film Collective and EPFC North, breathing room artists are provided with some filmmaking materials and equipment, technical and creative support, and access to work/exhibition space at Moberly and/or Burrard View Fieldhouse. The residency also includes optional opportunities for artists to engage with the local community via workshops, talks, screenings and other public activities. breathing room artists are invited to share their creative discoveries at a free public in-person and/or online event.

Mia Glanz is an artist living in Mexico City and Vancouver. Working with photography, video, text, ethnography, and new media, her work attends to material culture as an exploration of personhood and social conditions. Mia has a degree in anthropology and plant biology from the University of British Columbia. She has exhibited in Mexico and Canada. Group shows in Vancouver include the Richmond Art Gallery, Access Gallery, Ho Tam Gallery, and Hatch Art Gallery, and photography as performance with the Dance Centre BC. Currently she is making virtual installations with the new media collective Society Visual Music, and working on an image/text book project about the stories in the spaces of the Puerto Rico Apartments in Mexico City.

During my time at the breathing room residency I will be using Super 8 and 16mm film to collect moving samples of the "real" world. I will learn how to edit the film physically and will combine these tools with digital editing to create a fast paced and abstract narrative with a typically analog tactile aesthetic; a music video for a techno track from Mexican producer Eliobeth.

[irisfieldhouse]

APRIL 2022 BREATHING ROOM ARTIST IN RESIDENCE: MIA GLANZ

April 23: ODYSSEY 8-10pm Burrard View Park

breathing room reimagines the artist residency as a fluid space for collaboration, experimentation, relaxation, and community connection. We are delighted to announce our April 2022 breathing room artist in residence, Mia Glanz.

Odyssey: presented as part of the 2022 Capture Festival and the April 2022 breathing room residency

Saturday, April 23 at the Iris Film Collective Fieldhouse at Burrard View Park, 8–10pm

Society Visual Music continues to explore the social and cultural repercussions of the pandemic through video and sound. The project was formed by the limitations of the pandemic, particularly the need to communicate electronic music performance in video packages. As we begin to physically gather together again, everything is not the way it was. Among other schisms, we are divided between our digital and physical selves more than ever. In order to make this change visible, Society Visual Music’s Odyssey will be projected on a screen located outside at Iris Film Collective in Burrard View Park. The projection of a DJ set will stand-in for a physical DJ and set-up. Society Visual Music will film the audience and space during the casual screening event. The live footage will be combined in real time with the Odyssey projection using TouchDesigner, immediately turning the experience digital and 2-D, equalizing audience and performer on screen. We propose a fun, interactive and experimental film screening to be part of Capture Photography Festival.

Facilitated by Iris Film Collective and EPFC North, breathing room artists are provided with some filmmaking materials and equipment, technical and creative support, and access to work/exhibition space at Moberly and/or Burrard View Fieldhouse. The residency also includes optional opportunities for artists to engage with the local community via workshops, talks, screenings and other public activities. breathing room artists are invited to share their creative discoveries at a free public in-person and/or online event.

Mia Glanz is an artist living in Mexico City and Vancouver. Working with photography, video, text, ethnography, and new media, her work attends to material culture as an exploration of personhood and social conditions. Mia has a degree in anthropology and plant biology from the University of British Columbia. She has exhibited in Mexico and Canada. Group shows in Vancouver include the Richmond Art Gallery, Access Gallery, Ho Tam Gallery, and Hatch Art Gallery, and photography as performance with the Dance Centre BC. Currently she is making virtual installations with the new media collective Society Visual Music, and working on an image/text book project about the stories in the spaces of the Puerto Rico Apartments in Mexico City.

During my time at the breathing room residency I will be using Super 8 and 16mm film to collect moving samples of the "real" world. I will learn how to edit the film physically and will combine these tools with digital editing to create a fast paced and abstract narrative with a typically analog tactile aesthetic; a music video for a techno track from Mexican producer Eliobeth.

[msmithphoto]

Moment of truth. @nicoleld @the0fficial_anthony #capturefestival #lightbulb #art

[msmithphoto]

Nicole's bright ideas are always a little bit backwards. @nicoleld #art #questionmark #capturefestival