This week’s film: La Cicatrice Intérieure by Philippe Garrel, feat. Nico

Summer Screening Series - La Cicatrice Intérieure by Philippe Garrel, feat. NicoThanks 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:

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tonight: Le Révélateur by Philippe Garrel, 9pm

Le Révélateur by Philippe GarrelTonight (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:

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Projector Verse 4, this Sunday (July 20)

Projector Verse 4The 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

Hilton Als
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.

Annharte
“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.

Sharon Olds
“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.

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Behind the Wall, Day 1

behind-the-wall-day-1The 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.

minarikova-day1

 

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Coming Up: Behind the Wall and Projector Verse 3

We’re closed right now, but busy in preparation for summer programming.

Projector Verse 3We’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.

Behind the Wall xx In Front of the WallWe’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.

Outside seating

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Last few days of Robert Chaplin: About Time

236 E Pender, Robert Chaplin exhibition, 24 May 2014Robert Chaplin’s solo exhibition About Time, which opened back in mid-May, is closing this weekend. The show is a sampling of what Robert has produced over about two decades, including drawing, painting, sculptures, books, and animation.

If you haven’t seen the show yet, or if you want to come back for a second look (there are, in fact, hundreds of works on display), we’ll be here from noon to 5 daily until About Time closes for good on Saturday, June 28. The exhibition was accompanied by two books: Robert Chaplin’s artist’s book, Sorry I’m Not Sorry, and A Dossier Against Cyncism: Two Essays for Robert Chaplin by Jerry Zaslove. If you missed the show, or even if you didn’t, you can order books from us online, or drop by during our open hours to browse and buy in person.

After the 28th, we’ll be closing for a little while, and we’ll be back on July 12 with a summer curatorial residency by Sylvana D’Angelo and Anežka Minaříková. Look for more information in the next few days.

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One year at 236 East Pender

236 East Pender, March 2013

The “before” shot, March 2013

236 E Pender, Robert Chaplin exhibition, 24 May 2014

“After” shot, Robert Chaplin exhibition May 2014

It has been one year since we opened our first exhibition at 236 East Pender. IOU, curated by Kalli Niedoba, was installed on temporary walls just weeks after we took possession of the building, and opened on May 17, 2013. Since then, we have replaced the floors, created a new gallery and office space in the front of the building, and the rest of the building has filled up with the studios and offices of artists, plus organizations like Project Space, LIVE, and Brick Press. We’re also providing storage space for Kootenay School of Writing’s Charles Watts Library (KSW and the Pitt will be making some announcements connected with that).

236 East Pender provides the Pitt with a stable location (we have a 15-year lease) and many other advantages. Grasping this opportunity was not effortless: it took long hours of hard work from everyone involved, including our joint venture partners from 221A, and our interns and volunteers; it took some careful control of expenses, and sacrifices here and there; and as always, it wouldn’t have been possible without the support of our community: artists, curators, studio tenants, donors, cultural workers, and everyone else.

And while we’d like to say we’re home free, and it will be smooth sailing from here on in, we still need your support to continue presenting our exhibitions, innovative series like Crawling, Weeping and Spaces of Contestation, publications, readings, music and performance, and everything else. Please consider a donation: every little bit helps, and it’s easy to do.

Donate Now Through CanadaHelps.org! Donate now through CanadaHelps.org

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Robert Chaplin: About Time opens tonight, Thursday May 15

Robert Chaplin book twinsHere are the two books we will be launching at the opening of Robert Chaplin: About Time tonight (Thursday, May 15, starting at 8pm). The first one is Sorry I’m Not Sorry by Robert Chaplin, a collection of rhymes, stories, and songs. The second is a critical volume, A Dossier Against Cynicism: Two Essays for Robert Chaplin, by Jerry Zaslove.

The gallery at 236 East Pender is more full than it has ever been before. This is probably the closest thing to a career survey that anyone has ever done of Robert’s work, including drawings, paintings, carvings, lego chess sets, a video, a huge collection of hand-drawn cheques (including the ones written to and cashed by Elton John and Stompin’ Tom Connors among others), and of course the Snowflakes Falling on Smallpox Blanket, which dominates the back wall of the gallery.

Join us at 8 tonight, or visit the exhibition between May 16 and June 28. We’ll be making the books available for online order after tonight’s launch, so watch for an announcement.

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Stephen Collis talk from Spaces of Contestation now online

Speaking of Spaces of Contestation, Stephen Collis’s talk “Riot Dogs and Research Labs: Poetry and Struggle” is now online. That means that all five talks in the series are available for viewing, with even more documentation of the performances and other events still to come.

Thanks again to the SFU Vancity Office of Community Engagement and SFU Institute for the Humanities for co-presenting this talks series, to curator Mariane Bourcheix-Laporte, and to Stephen Collis not only for his talk but for serving as a marshal at the People’s Procession Against the Pipelines.

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Now Online! Kirsty Robertson, Capitalist Cocktails and Moscow Mules: Activism in the Museum and Gallery

Thanks to our co-presenters at the SFU Vancity Office for Community Engagement and SFU Institute of the Humanities, the final talk in the Spaces of Contestation speaker series is now online. If you missed the talk and contentious q&a after, you can catch up here:

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