Exhibitions 2003

March 13 - April 12, 2003
Opening March 13, 6-8 pm

Time and Again
Raymonde April, Dianne Bos, Bertrand Carrière & Tashia Friesen
Curated by Sara Angelucci

Raymonde April, Tout embrasser (excerpts), 2000, video installation

Co-sponsored by V tape

Toronto…Exploring the space between photography and video, the still and the pan, decisive moments and protracted sequences, Time and Again brings together four photo-based artists who work with such time-based media as film, video, and audio as a means to reinsert (and thus re-examine) the single image within the flowing stream of time. In so doing, these artists restrict the viewer's privilege to linger over and examine images at our own pace, both disrupting the photograph’s iconic status and repositioning it within its temporal origins. Angelucci discusses these works in terms of the relationship between "slowness and memory, speed and forgetting," as described by Milan Kundera in Slowness.

Raymonde April’s Tout embrasser, originally shot as a film, is a four-channel video piece which encompasses 27 years of photographing. Showing the artist’s hand sifting through piles of proof prints, this string of images form a "meta-narrative…an invitation to travel, in which repetition, re-occurrence, rhythm, accidents, and time passing trigger memories and emotions." (R. April) Bertrand Carrière's La gare is a homage not only to cinema, re-staging one of the first films ever made by the Lumière brothers, but also to childhood memories of his grandfather and father who worked for the Canadian Pacific Railway. Unlike his predecessors, Carrière ‘paralyzes’ the film, turning it against itself, "reconciling it to its primary photographic source," the still (B. Carrière). Like Carrière, Tashia Friesen uses her motion camera to make stills, deciding intuitively when a moment should be frozen or allowed to flow. The two works presented in this exhibition seem to invert the still and the moving image so often that it is difficult to distinguish one from the other. Presenting large black & white pinhole photographs, Dianne Bos’s exposures often last thirty seconds or more — an aggregate of many moments merged into one. Her photo/audio installations unravel this merging of time, as revealed by the sound tracks accompanying each image, recorded during the actual exposure of each photograph.