By Mike Hoolboom
What if there have been video clips made an identical manner as fits, customized geared up, each adapted for one individual? no longer broadcast, yet narrowcast? now not theatres all over the world displaying an analogous globalized photographs, yet as an alternative a neighborhood situation, a film so specific, so odd, it could possibly treatment evening blindness or vertigo?
Welcome to the realm of fringe video clips, the place artists were busy placing queer shoulders to the wheels, or bending mild to speak about First international locations rights (and making it humorous on the related time), or demonstrating how a character will be taken aside and prepare back, all during a ten-minute motion picture which would take years to make.
Practical Dreamers takes us to this different part of the media plantation. In it, twenty-seven Canadian artists dish approximately how they get it performed and why it issues. The conversations are own, up shut and jargon loose, clever with out smarting. The stellar solid comprises smartbomb Steve Reinke; visionary Peter Mettler; heart East professional Jayce Salloum; queer Asian avatars Richard Fung, Midi Onodera, Ho Tam, and Wayne Yung; pictures recyclers Aleesa Cohene and Jubal Brown; overhead projector king Daniel Barrow; First countries vets Kent Monkman and Shelley Niro; foreign artwork presence Paulette Philips; and documentarian Donigan Cumming.
those in-depth talks come lavishly illustrated in an outsized quantity.
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Additional info for Practical Dreamers: Conversations with Movie Artists
Why Always Instead of Just Sometimes (Beyond the Usual Limits Part 1) DL: I like to explore the subtle di=erences between intimacy and privacy. When does something become private, what lines get crossed to make privacy occur, what measures do we use to determine it, can something be intimate and private and still be public? Is there some sort of universal way to determine privacy? Like, two or more witnesses to an event or action = public? In Eclipse, you are witnessing something I would call semiprivate.
With both works, I set out with the explicit intention to produce a series of ten to 12 shorts within a particular theme. I then determine an order in which they will function conceptually and formally together. They are interrelated and so pose an interesting challenge – it’s like lining up ten stormy skies. Each may appear similar, but each sky produces a di=erent storm. I do not edit the works either. I might make changes to a=ect their speed or colour or make additions, but little if anything is taken away from what is captured.
Outside of this, the degree of queerness in my work varies depending on the context within which the work is presented. The idea of a double vision, or a queering of more universal experiences, is certainly a part of my subject matter. In the works there is lots of duality and doubling and codependent, relational images suggesting some duality of experience as well. Am I part of a queer nexus? I think Toronto is overﬂowing with queer production, but I feel that useful discourse on the subject of queer, experimental media is absent.