VERBATIM Film Festival


Selected video works by b.h. Yael and Johanna Householder

 
DateFriday, November 23, 2007 - 5:00am to Friday, November 30, 2007 - 5:00am

Cost

Free

Email

rochelle@gowonderworks.com

Location

Fleishman Gallery at WonderWorks 79a Harbord Street, Toronto, Ontario

VERBATIM Film Festival presents collaborative works by Toronto-based artists and educators, Johanna Householder and b.h.Yael. Approximations: parts 1 ' 3, is a project series which takes an ironic and critical look at Hollywood films and their over-articulations of male power. The series includes The Mission, (4min 21sec) December 31, 2000 (7min 22sec) and Next to Last Tango (7min). The films referenced include Apocalypse Now, 2001: A Space Odyssey, and Last Tango in Paris. With much wit and wisdom, the gendered apocalyptic vision of Mel Gibson's Passion of the Christ is taken up in VERBATIM (7min 45sec).
When Gibson released the film in time for the Easter screenings of 2004, it had received an enormous amount of pre-publicity around Gibson's vaunted goal of verisimilitude, which included the cast speaking in Aramaic and Latin, but didn't exclude the studio set for the garden of Gesthemene, flooded with smoke and blue light, or the previously unreported presence of the Devil (herself) on the Via Dolorosa.
'Our strategy is to open up the question about accuracy versus interpretation, a tactic that Gibson used to ensure that the conservative Christian audiences, for whom it was made, would approach The Passion with proper, uncritical reverence. But then Pope John Paul II agreed: 'It is as it was,' he was reported as saying in the Wall Street Journal. This version just is.'
Biographies
Both b.h.Yael, and Johanna Householder are professors of Integrated Media Program in the Faculty of Art at the Ontario College of Art and Design.
Johanna Householder has been making performances and other artwork in Canada since the late 1970s. She was a member of the notorious, satirical feminist performance ensemble, The Clichettes, who performed under variable circumstances, throughout the 1980s. Householder has maintained a unique performance practice, often collaborating with other artists. She is one of the founders of the 7a*11d International Festival of Performance Art, and with Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, YYZ Books, 2004.
b.h.Yael is a Toronto based filmmaker, video and installation artist. Yael's work has exhibited nationally and internationally and has shown in various settings, from festivals to galleries to various educational venues. Her works have been purchased by several universities. These include Fresh Blood, A Consideration of Belonging, In the Middle of the Street, and Trisk-aidekaphobia. In 2006, Yael premiered Palestine Trilogy, three videos that focus on activist initiatives, addressing the politics of Palestine and Israel in sites of solidarity. Yael has just completed Trading the Future, a video essay questioning the ways in which secular culture has embraced apocalypse as inevitable.

DateFriday, November 23, 2007 - 5:00am to Friday, November 30, 2007 - 5:00am

Cost

Free

Email

rochelle@gowonderworks.com

Website Location

Fleishman Gallery at WonderWorks 79a Harbord Street, Toronto, Ontario

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Open life drawing session offered by the OCAD U Alumni Association
Verbatim
Friday, November 23, 2007 - 5:00am to Friday, November 30, 2007 - 5:00am

VERBATIM Film Festival presents collaborative works by Toronto-based artists and educators, Johanna Householder and b.h.Yael. Approximations: parts 1 ' 3, is a project series which takes an ironic and critical look at Hollywood films and their over-articulations of male power. The series includes The Mission, (4min 21sec) December 31, 2000 (7min 22sec) and Next to Last Tango (7min). The films referenced include Apocalypse Now, 2001: A Space Odyssey, and Last Tango in Paris. With much wit and wisdom, the gendered apocalyptic vision of Mel Gibson's Passion of the Christ is taken up in VERBATIM (7min 45sec).
When Gibson released the film in time for the Easter screenings of 2004, it had received an enormous amount of pre-publicity around Gibson's vaunted goal of verisimilitude, which included the cast speaking in Aramaic and Latin, but didn't exclude the studio set for the garden of Gesthemene, flooded with smoke and blue light, or the previously unreported presence of the Devil (herself) on the Via Dolorosa.
'Our strategy is to open up the question about accuracy versus interpretation, a tactic that Gibson used to ensure that the conservative Christian audiences, for whom it was made, would approach The Passion with proper, uncritical reverence. But then Pope John Paul II agreed: 'It is as it was,' he was reported as saying in the Wall Street Journal. This version just is.'
Biographies
Both b.h.Yael, and Johanna Householder are professors of Integrated Media Program in the Faculty of Art at the Ontario College of Art and Design.
Johanna Householder has been making performances and other artwork in Canada since the late 1970s. She was a member of the notorious, satirical feminist performance ensemble, The Clichettes, who performed under variable circumstances, throughout the 1980s. Householder has maintained a unique performance practice, often collaborating with other artists. She is one of the founders of the 7a*11d International Festival of Performance Art, and with Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, YYZ Books, 2004.
b.h.Yael is a Toronto based filmmaker, video and installation artist. Yael's work has exhibited nationally and internationally and has shown in various settings, from festivals to galleries to various educational venues. Her works have been purchased by several universities. These include Fresh Blood, A Consideration of Belonging, In the Middle of the Street, and Trisk-aidekaphobia. In 2006, Yael premiered Palestine Trilogy, three videos that focus on activist initiatives, addressing the politics of Palestine and Israel in sites of solidarity. Yael has just completed Trading the Future, a video essay questioning the ways in which secular culture has embraced apocalypse as inevitable.

Venue & Address: 
Fleishman Gallery at WonderWorks 79a Harbord Street, Toronto, Ontario
Email: 
rochelle@gowonderworks.com
Cost: 
Free
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