MONITOR 12: Figures Pointing Outside the Frame

Hamilton Artists Inc. is pleased to present it’s partnership with SAVAC with the MONITOR 12 video program.
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Sanaz Sohrabi, Auxiliary Mirrors, 2016. Film Still

Outdoor Screening Series:
MONITOR 12: Figures Pointing Outside the Frame

Curated by Oliver Husain, Otty Widasari, Yuki Aditya

July 20th, 9:o0 pm

Hamilton Artists Inc. is pleased to present the shorts program, MONITOR 12: Figures Pointing Outside the Frame in partnership with SAVAC. The works that make up the Figures Pointing Outside the Frame consider the peripheries of the image as significant as the content within. Whether film, video, or a still image, the technology dictates the parameters of the frame. Decisions an image-maker makes regarding the composition, duration, performance, and location further contribute to a viewer’s experience. Collaboration is formed between the technology, image maker, and subjects- though this collaboration is often expanded with elements, situations, and conditions beyond that which is scripted. In this way, the program advocates for the viewer to consider the environmental, labour, historical, economical, gendered, and social conditions that influence the constructed experience.

 
Program:
Auxiliary Mirrors
Director: Sanaz Sohrabi
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The Rain After
Director: Mohammed Fauzi
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Speculations on India
Director: Harkeerat Mangat
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Landscape Series no. 1
Director: Nguyen Trinh-Thi
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Alex & I: Moving Pictures
Director: Sumugan Sivanesan
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Scene 38
Director: Nawapol Thamrongrattanarit
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Hamilton Artists Inc. would like to thank The South Asian Visual Arts Centre for sharing this collection of  short films with audiences in Hamilton and the surrounding area. For more information on SAVAC and MONITOR 12, please visit: 
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About the Films:
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Auxiliary Mirrors
Iran, 12 mins, 2016, HD Color video with sound
Director: Sanaz Sohrabi

Sanaz Sohrabi’s video-essay Auxiliary Mirrors addresses idea of the collective camera by examining the case of Zinedine Zidane’s head-butt in the final match of the 2006 World Cup soccer. This iconic moment was constructed by the mass circulation through media, creating a plethora of images by a multitude of creators, for world-wide spectatorship. Despite being a highly documented and viewed incident, the multiplication of these factors make the “truth” about what happened between the two actors difficult to attain. Following this examination, Sohrabi turns to an archival photograph during the analog era; in which the role of the medium and its author is central.

Sanaz Sohrabi uses image making practices, moving image and video, in order to analyze the status of the image as a gateway into a larger study of the photographic archives and their capacity to engender different temporal-spatial modes of spectatorship.

The Rain After
Indonesia, 12 mins, 2016, HD Color video with sound
Director: Mohammad Fauzi

Mohammad Fauzi film The Rain After explores this relationship in the midst of producing an image. For the duration of the film, a group of children in a residential area in Jakarta pose in front of the video camera in a manner that subjects typically pose for still images.  . The subjects inside the frame possess a communal consciousness about the ambiguity of the work of camera (still or motion). As the actors wait for the creator and the audience waits for the actors, the absence of an event builds on everyone’s anticipation. The reciprocal provocation from the director to both subjects and audiences becomes clear.

Mohammad Fauzi is a researcher and filmmaker. His work has been shown in OK. Video “FLESH” 5th Jakarta International Video Festival, Indonesia Art Festival (ARTE), Hamburg International Short Film Festival, ARKIPEL Jakarta International Documentary & Experimental Film Festival, and BFI London Film Festival (Experimenta).

Speculations on India
India, 29 mins, 2016, HD Color video with sound
Director: Harkeerat Mangat

A spectator’s subconscious expectation to be presented with the ‘truth’ is forwarded in Harkeerat Mangat’s Speculations on India. By using reenactment as a strategy, Mangat provides a space for fifteen Indian actors to reiterate common narratives about social, political, gendered, and economic issues. Shot on a train heading to Mumbai, the multiple cameras and microphones that record the actors’ performances on various train comportments are repositioned by various travellers. The repositioning of the camera affects the way  viewres  perceive the reality of the film, biased with the reality of location

Harkeerat Mangat is an artist and musician from Vancouver, Canada. His work engages with a dichotomy between improvisational structures in music and the technical apparatus of recording and reproduction in film production. He is currently based in Düsseldorf, Germany where he studies with Christopher Williams at the Kunstakademie.

Landscape Series No. 1
Vietnam, 5 mins, 2013, Found Online Press Photographs
Director: Nguyen Trinh-Thi

A director’s ability to repurpose narratives is mirrored in Nguyen Trinh-Thi’s video Landscape Series no. 1, which  provides spectators with  a series of found online press photographs in which a subject points in or beyond the frame. Trinh-Thi’s choice of sequencing these still images constructs a narration that each image did not possess individually. The viewer works to understand the repeated gesture of pointing in relationship to the act of witnessing in various landscapes.

Nguyen Trinh-Thi is a Hanoi-based moving image artist whose work engages with memory and history. Her works transcend the boundaries between cinema, documentary and performance. She has exhibited her work internationally. including Jeu de Paume, Paris; the Lyon Biennale; Asian Art Biennial Taiwan; Fukuoka Asian Art Triennial; and Singapore Biennale.

Alex & I: Moving Pictures
Australia, 12 mins, 2015, Digital Video
Director: Sumugan Sivanesan

Similarly using found images to narrate a story, Sumugan Sivanesan’s Alex and I: Moving Pictures traces the movements of Alex, a refugee of the civil war in Sri Lanka. Pictures of Alex include clippings from newspapers, self portraits and news items that circulated in online media, as Alex became an internationally recognised figure. Through the voice-over of Sivanesan, we are given the filmmaker’s view of Alex intentions through an analysis of self portraits and interviews, his own reflections as a consumer of both Alex’s personal images as well as the media’s, and finally what it means for Sivanesan for making this work. As the title hints, the film can be understood as a loose collaboration between the filmmaker and subject, who both counter the narrative offered by the media.

Sumugan Sivanesan is an independent researcher, writer and artist working across art, activism and academia. Often working collaboratively, he has produced videos, performances and installations for art spaces and festivals internationally. In Australia, Sumugan regularly contributes to the arts and cultural press. He also prints zines.

Scene 38
Thailand, 7 mins, 2015, Digital Video
Director: Nawapol Thamrongrattanarit

The issue of creator’s authority, and their relationship to their subject, is further discussed in Nawapol Thamrongrattanarit’s Scene 38. In this short film, the director is self-aware of his own authority. He teases that control with playful experimentation.

Nawapol Thamrongrattanarit is a new generation film director in Thailand. His first feature film ‘36’ (2012) won New Currents Award at Busan International Film Festival. His second feature ‘Mary is Happy, Mary is Happy’ (2013) screened at Venice Film Festival. Working with the film studio GTH, his film ‘Heart Attack’ (2015) won 8 awards including Best Picture from Thailand National Film Association Awards.


 
Hamilton Artists Inc. would like to acknowledge that the land on which we gather is the traditional territory of the Haudensaunee and Anishnaabeg. This territory is covered by the Upper Canada Treaties and directly adjacent to Haldiman Treaty territory.

The Inc.’s Outdoor Screening Series is made possible through project support by the Incite Foundation, Hamilton Community Foundation and Mohawk College.

 

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