The UNIT/PITT Society for Art and Critical Awareness, which operates UNIT/PITT Projects, will be having its Annual General Meeting on Thursday, September 4 2014, at 6pm. The meeting will be held at 236 East Pender Street. Members, new members, and observers are welcome.
We’re at the end of a hot summer in Vancouver, with a burst of activity to end the month of August. First is the closing reception for Behind the Wall x In Front of the Wall on Friday, August 22nd at 8pm. This project built slowly, from a collection of personal objects, then video installation, and is now complete with recently-added works by Alex Heilbron, Lauren Marsden, and Monsters. This week is the only chance to see the finished exhibition, either at the closing party on Friday, or during gallery hours until the end of the day on Saturday, August 23rd.
After that, on Sunday, August 24th at 1pm, Kootenay School of Writing is presenting another installment of Projector Verse. In this series, writers are asked to interpret and speak about an already-existing written work, which is projected on the wall while they talk. What is really striking about these afternoon events is the quality of the discourse; the people who attend ask smart, incisive questions, sometimes contesting each others’ arguments, and creating an atmosphere where interpreting a literary work is not an exercise but art in itself.
On Thursday, August 28th, we’ll be hosting another literary event, part of the Chief Dan George Reading Series organized by the Tsleil-Waututh Nation Sacred Trust. Elder Fred John, Wil George, Ray Hsu, reg johanson, Jen Currin, and Rachelle Rueben George will read works by Chief Dan George, and their own poetry, in an evening hosted by Stephen Collis and Christine Leclerc.
All that, plus the final evening of our Summer Screening Series on Wednesday, August 27. After that, we’ll be taking a very short break to get ready for the September launch of the Monochrome Shop, Wrong Wave 2014 in October, and a few other things.
This is the week that Behind the Wall x In Front of the Wall moves into its final phase, with more works arriving, a talk by the curators, premiere of an audio work by Lauren Marsden, the arrival of new works by Alex Heilbron and Monsters, the launch of a new book, and the closing event on Friday August 22nd.
The exhibition continues until Saturday, August 23rd, so there’s a limited amount of time to take this in. The curatorial discussion and Lauren Marsden project launch starts at 4 pm on Sunday; the closing event is at 8pm on Friday; public hours are Wednesday to Saturday, noon to 5pm.
The past two weeks of screenings of Marguerite Duras’ work have been fantastic, thanks to everyone who came out and shared their interest in both Nathalie Granger and India Song. This coming week, we will be screening a film from one of her contemporaries, L’Homme Qui Ment by Alain Robbe-Grillet.
Much more well known for his novels, Alain Robbe-Grillet was the driving force behind the development of the New Novel (or Le Nouveau Roman). His writing deals largely with the absence of meaning or a recognized truth, wherein there are multiple alternations of each story. The alibi, the excuse, the substantiation are the functions of his work. None of the proposed events within the story are guaranteed, and all are present. Maurice Blanchot described the sensation of reading his work “as if we were seeing everything, without anything being visible. The result is strange.”
His obsession with violent crime and the erotic are paranoid and anxiety- and guilt-ridden, and his work is often highly problematic because of this. He was a self-professed sexual deviant, who claims to write in order to gain control over his desires. His writing, as well as his films, are comprehensive examinations of the male gaze, which are taken on with the emergent dedication of a last resort.
Come out to 236 East Pender Street on Wednesday August 20th at 9pm for a short reading of his writing, and a screening of L’Homme Qui Ment.
Thanks to everyone who came to the screening of La Cicatrice Intérieure by Philippe Garrel while the fireworks were happening last week. For the next two weeks, we are featuring two films written and directed by Marguerite Duras, a prominent member of the Rive Gauche film movement, and a prolific novelist. The first is Nathalie Granger, screening tonight at 9pm, and the second is India Song, which will be screened next Wednesday. The Summer Screening Series continues until the beginning of September.
Thanks to everyone who came to the screening of Le Révélateur by Philippe Garrel on a cool, dark, rainy night. This week’s film is also a work by Garrel, La Cicatrice Intérieure, which features Nico. You can watch the film at any time of the day or night in our window (soundtrack is on 89.7 FM), or come to the screening event on Wednesday, July 30, at 9pm. The Summer Screening Series continues until the beginning of September.
Or, you can watch it here:
Tonight (Wednesday, July 23) we start our series of casual summer screenings at the Pitt, curated and introduced by Brynn McNab, with a viewing of Le Révélateur by Philippe Garrel at 9pm. Described by Ubuweb:
Surreal story of a 4-year old boy (Stanislas Robiolles) and his parents (Bernadette Laffont & Laurent Terzieff) made by Philippe Garrel days after May-1968 and student revolution defeat.
The film consists of starkly-lit tableaux which move deceptively slowly, a compelling mixture of fluid motion and static images. You can join us at 9pm for the screening, or view the film in our window at any hour of the day or night this week, or you can watch it here:
The latest in Kootenay School of Writing‘s Projector Verse series is coming up this Sunday, July 20, at 1pm. Writers Amy Fung, Reg Johanson, and Leah Horlick will be providing new takes on old texts. Admission is free, company is pleasant, and dialogue is fascinating.
Sunday July 20 1:00-2:30 PM
Fung + Johanson + Horlick
a KSW series @
UNIT/PITT Projects, 236 East Pender St., housing the KSW library
Poets / writers presenting poems / antipoems / language.
Spoken; visually projected.
Each will read one short text, followed with open discussion.
Amy Fung projects Hilton Als
Reg Johanson projects Annharte
Leah Horlick projects Sharon Olds
From White Girls
In all those years in the house I used to wonder: If a man touched me in the way that I imagined SL touched white women, would I die? A friend told me once that his first brush with intimacy during the height of the dying epoch was with an older man who would rub my friend’s facial cheek with his own while saying, I like you. No kissing. I like you. No close hearts. I like you. No grabbing. I like you. No shared saliva. I like you. That was the way it was not just for my friend, but for so many people, including myself: love not fully expressed physically wasn’t true love; they wouldn’t die if you didn’t touch them. Before, I touched SL through white girls. And I got him back, always, because I offered what they could not: love that was free of their quest for “liberation,” and thus egoless. Or so it seemed. After a few months away in that world of women, SL would come back to our play, and the cast of characters in our village, the backdrop of sea spray. But by 2006, neither of us verbalized what we felt: my I, and his you, and the ever-widening gulf in our twinship. Look at that empty door frame, look at that unhappy hyacinth. But I cannot look at the days SL spends away as those days. That is, I cannot see them for what they are, and what I am now: unjoined, without pattern, some meaning, a series of questions, untwinned. I cannot look at myself as myself and not see him, or the feeling of him, not SL, but the first we, and feel our unjoining because of death, but he couldn’t help it and SL can, he couldn’t help his jawline become sharper above the checkered shirt that was disappearing him, I didn’t want to look, I couldn’t help it.
“Succinct Savage Subtext”
Sublime sin is subversive sloth.
Search for superlative transgression
is a waste of superb time and silly putty.
Contra dictation in speech spelled out.
Spirituality suckered back slow slug
style into shame stride so secret sacred.
Size of head dress indicates sad sly
sell out stance or Chief Lie in His Face
or Pants colanders sick soul slime space.
Sensational sensing of scarred syllables.
Submit soon to sacrifice backslider sulk
yet loathe subtle wraparound remains
hardly suggest starburst satisfactions.
How many feathers in a warbonnet
tickle fancy vile verbal utter splutter?
Forked tongue forensics show off
self-serving crock talk diplomacy.
Stay mum and numb first nations.
Stoic whisper campaigns sneak up.
Say it again. Shut up if you speak out.
Ask relevant questions to our flat ass
association but fine tune the fiddle
for after the big pow wow is over
we get advice to cry after apology
given for government genocide
sponsored residential schools.
Media scans ho hum responses
across the country waiting to put
a smile on subversive stone faces.
What ancestor carved a pictograph
in this eye to fight this syndrome?
Drone on until ancient song takeover.
Read between the lines for signs.
Massage that tomahawk gently
to further the fling of truth now
it brings out savage after glow.
Cheek pushes scowl past censor.
Undertones too high decibel.
Defiant war cries must re-echo
memories not that easy to forgive.
Shake the loose warbonnet loose.
“I Go Back to May 1937”
I see them standing at the formal gates of their colleges,
I see my father strolling out
under the ochre sandstone arch, the
red tiles glinting like bent
plates of blood behind his head, I
see my mother with a few light books at her hip
standing at the pillar made of tiny bricks,
the wrought-iron gate still open behind her, its
sword-tips aglow in the May air,
they are about to graduate, they are about to get married,
they are kids, they are dumb, all they know is they are
innocent, they would never hurt anybody.
I want to go up to them and say Stop,
don’t do it—she’s the wrong woman,
he’s the wrong man, you are going to do things
you cannot imagine you would ever do,
you are going to do bad things to children,
you are going to suffer in ways you have not heard of,
you are going to want to die. I want to go
up to them there in the late May sunlight and say it,
her hungry pretty face turning to me,
her pitiful beautiful untouched body,
his arrogant handsome face turning to me,
his pitiful beautiful untouched body,
but I don’t do it. I want to live. I
take them up like the male and female
paper dolls and bang them together
at the hips, like chips of flint, as if to
strike sparks from them, I say
Do what you are going to do, and I will tell about it.
The is the first day of Behind the Wall x In Front of the Wall, a curatorial residency by Sylvana D’Angelo and Anežka Minaříková that will take place over the summer months. This is an installation that will expand and evolve day by day, starting with today’s collection of personal artifacts from the collections of the curators, continuing to include works by Alex Heilbron, Lauren Marsden, and Monsters, and finishing with a book launch and closing party on Friday, August 22nd.
As part of this exhibition, we’ll be launching an audio work by Lauren Marsden soon — watch for an announcement. Please visit us this summer to talk with the co-curators about new developments with their project and exhibition.
We’re closed right now, but busy in preparation for summer programming.
We’ll be hosting more of Kootenay School of Writing‘s Projector Verse series this summer. Every second or third Sunday at 1pm, writers will present new riffs on old texts. Projector Verse 3, on Sunday July 6 at 1pm, features Ivan Drury presenting Eugene Ionesco, Taryn Hubbard presenting Anne Carson, and Lorraine Weir presenting the Tsilhqot’in land claim.
We’re also hosting a summer curatorial residency by artists Sylvana D’Angelo and Anežka Minaříková, beginning on July 12. Behind the Wall x In Front of the Wall is a project that will change and grow over its duration, culminating in a closing party on August 22 at 8pm. Besides the work of the co-curators, the exhibition will include work by Alex Heibron, Lauren Marsden, and Czech design collective Monsters. Lauren Marsden’s piece will be launching at the “welcome” reception on Thursday, July 17, at 8pm.
If you’re in town, we hope to see you, even if you just drop by to take advantage of our convenient outdoor seating.