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Notes on a Proposal for a ScreeningKenneth Koo (McGill 2015), Looking At You, Looking at Me, 2014Ann Hirsch, Here For You (Or my Brief Love Affair with Frank Maresca), 2012Em Rooney, Flesh & Ground, 2015This screening is meant to act as a sort of introductory dialogue linkingstudent video artpractices at McGill within the broader practices of contemporary video art.The critical repurposing of the “stock” options of both chatroulette and reality televisionprogramming provide new spaces for artistic embedding in noninstitutional grey areas(uncertainty of art value). (Kenneth & Ann)The medium of video is also interesting as a site of new modes of artcirculation. What happens,for example, when you can engage with something that is considered “art” on tv, on your laptop,in your bed, on your phone, etc.? Video allows new modes of interacting with art. (all of them)Kenneth’s placement of institutionally validated performance works (Abramovic etc.) as foil tothe expectations and lecherous gaze of mostly male chatroulette users (dissatisfaction with thedisruption of their mechanical desires) (frustrating in its duration → no sexual (read pornlike)immediacypassivity/decontextualization as disruptive to typical sexual flows of the site (joke in artperformance vs. performance of digital sexuality)Ann’s “infiltration” of reality tv circuit for art purposes similarly complicates the expectations ofthe performance of sexuality and/or femininity within these contextsUnlike Kenneth, who appropriates performances that are already validated as art, Ann’sparticipation in “Frank the Entertainer in a Basement Affair” is classified as art retroactively? (atleast it would not be apparent to other participants and viewers of the show) is the work theperformance or the edited documentation that forms a new video work? Both? How does thisrelate to performance as an everyday practice?Em’s work is not as clearly related visually. Dealing with the sexuality of the mechanical in amore literal way. Joke on these same sorts of desire machines? Sexual agency given to objectsand their anthropomorphic actions (and fluid byproducts of production) sex as production?Technological discourses of desireTie in Ryan Trecartin (it’s an intro to contemporary video practice after all) à Reality televisionand corporate embodiment à again, desire machines (as always) and the corporate cooption ofsexuality etc.; intensities of performancecirculation of the everyday – his wordplay incorporates absurd takes on everyday sayings, theyare remotely familiar to things we can recognize, but still alien. Intensifying ways in whichpeople perform a self mediated through technology; the desiremachines these charactersperform cannot accede to recognition, but break down. He intensifies the kinds of relations thatwe see in Ann’s performance – reality television features people who speak but say nothing.She says things that we can recognize as everyday but mean nothing.
folio contributorsMaxine DannattThough originally from New York, she spent high schoolin Paris before moving to this mad city of Montreal. Sheoccasionally takes pictures in between composing analysesof Sufi pop songs, interviewing anarchist poets andengaging in all night essay writing rituals with friends inMcLennan.Levi EasterbrooksBruce Willis in: Die Hard (1988), Die Hard 2 (1990),Die Hard: With A Vengeance (1995), The Fifth Element(1997), Armageddon (1998), The Sixth Sense (1999), SinCity (2005), Planet Terror (2007), Surrogates (2009), &Looper (2012) /// Jude Law in: Gattaca (1997), eXistenZ(1999), A.I. Artificial Intelligence (2001), Sky Captainand the World of Tomorrow (2004), Lemony Snicket’s Aseries of Unfortunate Events (2004), The Imaginarium ofDoctor Parnassus (2009), Repo Men (2010), & Contagion(2011). Also that time I watched Charlize Theron in ÆonFlux (2005) on a plane.Catherine JefferyI found this lawnmower on the side of the road in myhometown and it struck me as beautiful, despite the rust.I like to photograph abandoned places and items that mayseem like trash to most people, using my photography tocapture simple objects. I don’t spend a huge amount oftime setting up composition or doing anything technical—Isimply take pictures of things whose textures I findinteresting.Kara KatonI spend most of my time exploring flow art with myhoop and wishes to transfer the bodily movement tomy visual artwork. Through my submission I presenttwo distinct senses of home; one that is already leftbehind and the other that is currently occupied. Darastucaptures the incessant movement of the oceanthat surrounds the native island where I grew up.While diteluk disperses the interior of my living place,unsettling what is already settled.Kenneth KooKenneth creates art as a way for him to raise questionswithout necessarily answering them. His practice ofphotography explores the medium’s ability to transcendinherent qualities of photography and tap into the latentpossibilities of other media (i.e. painting, sculpture,installation).Yufei WangWhile I love science, I also love art because it allowsus to explore of the myriad of perspectives of thosebelonging to the world around us, not often privy to oureyes when society interacts in passing. Art is a reallyimportant aspect of my life that often gets lost on thenever-ending list of priorities, but I aspire to make timefor it because not only is it a therapeutic outlet for thechaos in my mind, but there’s something exceptional inthe process of creating something from nothing.Thanks to the AUS Fine ArtsCouncil and the Students’ Societyof McGill University for theirgenerous support.
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Page 5 and 6: Kara Katonditeluk & Darastu
Page 9: Maxine DannattNo Name
Page 12: Kenneth KooGrey Matter

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