Selected Curatorial Projects
Variety Show: A Pleasure Dome Sampler 2010
Cinemateque Quebecois, Montreal
Gallery 101, Ottawa
EX-iS, Seoul Korea
A Lower World
Up from A Lower World, Oracles for an Anything Epoch or a Very Important Substratum (introductory essay)
Mike Kelley Day Is Done
Testing Body, Mind and Soul Historical Performances
Pleasure Dome Fall 2008
Collage Collisions
Recent Films by Martha Colburn (In Person)
2004 Friday, October 29, 8 pm@ Cinecycle, 129 Spadina Ave.
The Vienna Aktionists
Orgiastic Rituals From the Cutting Room Floor
2003 Friday, March 7, 8 pm@ Cinecycle, 129 Spadina Ave.
Istvan Kantor Monty Cantsin? Amen! An Unseen Selection from the Days of Song and Sex
Thursday, November 7, 9 pm@ Latvian House, 491 College St.
2004 Governor General’s Awards in Visual and Media Arts recipient nominated by Linda Feesey
Annual New Toronto Works Show
Curated by Sarah Abbott & Linda Feesey
1998 Sunday, March 15, 7 pm360 Legion Hall, 326 Queen St. West
Variety Show: A Pleasure Dome Sampler 2010
Cinemateque Quebecois, Montreal
Gallery 101, Ottawa
EX-iS, Seoul Korea
A Lower World
Up from A Lower World, Oracles for an Anything Epoch or a Very Important Substratum (introductory essay)
Mike Kelley Day Is Done
Testing Body, Mind and Soul Historical Performances
Pleasure Dome Fall 2008
Collage Collisions
Recent Films by Martha Colburn (In Person)
2004 Friday, October 29, 8 pm@ Cinecycle, 129 Spadina Ave.
The Vienna Aktionists
Orgiastic Rituals From the Cutting Room Floor
2003 Friday, March 7, 8 pm@ Cinecycle, 129 Spadina Ave.
Istvan Kantor Monty Cantsin? Amen! An Unseen Selection from the Days of Song and Sex
Thursday, November 7, 9 pm@ Latvian House, 491 College St.
2004 Governor General’s Awards in Visual and Media Arts recipient nominated by Linda Feesey
Annual New Toronto Works Show
Curated by Sarah Abbott & Linda Feesey
1998 Sunday, March 15, 7 pm360 Legion Hall, 326 Queen St. West
CINEMATIC FOLDS: the furling and unfurling of images
Edited by Firoza Elavia
Image Curation by Linda Feesey
Pleasure Dome 2008
302 pages $30
Traditionally, the cinematic has been understood as the visual movement occurring from the rapid succession of one film frame to another. The notion of the cinematic in this book begins instead with an understanding that it is to be conceived as a mode of perception and experience of the world. Cinematic movement, it is argued, is what occurs in our perception of things, in the flow between the tangibility of the world, images (material/immaterial) and the mind. These infinite oscillations between world, image and mind, between what is mental and material and, what lies inside and outside film constitute the force fields of Cinematic Folds: the furling and unfurling of images. The zones between media experimentation, writing, reading and thinking come to resonate and flow with each other, enduring over the pages of this volume.
Image Curation by Linda Feesey
Pleasure Dome 2008
302 pages $30
Traditionally, the cinematic has been understood as the visual movement occurring from the rapid succession of one film frame to another. The notion of the cinematic in this book begins instead with an understanding that it is to be conceived as a mode of perception and experience of the world. Cinematic movement, it is argued, is what occurs in our perception of things, in the flow between the tangibility of the world, images (material/immaterial) and the mind. These infinite oscillations between world, image and mind, between what is mental and material and, what lies inside and outside film constitute the force fields of Cinematic Folds: the furling and unfurling of images. The zones between media experimentation, writing, reading and thinking come to resonate and flow with each other, enduring over the pages of this volume.
Visual Alchemy: Carl Brown
Published by EX-iS, Seoul 2007
"Carl Brown is a visual alchemist. He transmutes the dross of silver halide suspended in gelatin into visual poetry. Farming crystals on celluloid in his dark room lab for over twenty years, he is Canada's master of self-processed film. His alchemical process leaves behind the traces of his involuntary becoming photo-chemically embedded onto the film. Mineral and vegetable affix themselves to a piece of celluloid, like jewels of life in a clear plastic setting for all to see. Brown stacks up to eight images on one piece of film so that the projector's light refracts through flowering prisms before sliding down the screen in multicoloured patterns. NEIGE NOIRE , Brown's latest double screen optical extravaganza is his most luminescent and dense work to date. Pure clear colours define gently undulating images that flow from the foreground to the background and back again expressing rising fear and forgotten trauma that the conscious mind must set aright."
(Excerpted from the essay by Linda Feesey)
Visual Alchemist: An Interview with Carl Brown
LIFT Newsletter March 2004
Film Reviewer for Broken Pencil 2004-08
ZOO
Taxidermia
Scott Walker: 30 Century Man
Futurisms: Film, Architecture and Urbanisms
Drawing Restraint 9
Flicker
Images Festival 2007
The Wayward Cloud
Our Own Private bin Laden
Rick Raxlen, animator and social commentator
Automatic Vaudeville Studios: Your Hi-Class DVD Volume Two
Richard Kerr: Industrie
Arts Reviewer for Lola magazine 2003
Zoe Beloff
Jack Chambers
"Carl Brown is a visual alchemist. He transmutes the dross of silver halide suspended in gelatin into visual poetry. Farming crystals on celluloid in his dark room lab for over twenty years, he is Canada's master of self-processed film. His alchemical process leaves behind the traces of his involuntary becoming photo-chemically embedded onto the film. Mineral and vegetable affix themselves to a piece of celluloid, like jewels of life in a clear plastic setting for all to see. Brown stacks up to eight images on one piece of film so that the projector's light refracts through flowering prisms before sliding down the screen in multicoloured patterns. NEIGE NOIRE , Brown's latest double screen optical extravaganza is his most luminescent and dense work to date. Pure clear colours define gently undulating images that flow from the foreground to the background and back again expressing rising fear and forgotten trauma that the conscious mind must set aright."
(Excerpted from the essay by Linda Feesey)
Visual Alchemist: An Interview with Carl Brown
LIFT Newsletter March 2004
Film Reviewer for Broken Pencil 2004-08
ZOO
Taxidermia
Scott Walker: 30 Century Man
Futurisms: Film, Architecture and Urbanisms
Drawing Restraint 9
Flicker
Images Festival 2007
The Wayward Cloud
Our Own Private bin Laden
Rick Raxlen, animator and social commentator
Automatic Vaudeville Studios: Your Hi-Class DVD Volume Two
Richard Kerr: Industrie
Arts Reviewer for Lola magazine 2003
Zoe Beloff
Jack Chambers