2004 Programming


Men in the Wall

Yes, you get to wear the goofy glasses.

EXTENDED HOURS: TSV will be open Saturday, November 27, 12 – 5pm for viewing of Men in the Wall.

TSV and Moving Pictures Festival of Dance on Film and Video are pleased to co-present the North American premiere of Liz Aggiss and Billy Cowie’s artwork, an installation that redefines both dance screen practices and video installation with stereoscopic (3D) technology.

The installation consists of four matching squares, each inhabited by a male dancer. In the twenty-five minute loop the viewer is confronted with a quartet of private differences, framed and revealed through dance and witty dialogue. The four men – played by Jeddi Bassan, Scott Smith, Sebastian Gonzalez, Thomas Kampe – exhibit rivalry and humour, different dance styles, temperaments and nationalities. The work radically expands the physical space of the gallery and surrounds the viewer in the virtual world of the characters.


North-South-East-West 2.0

ImagineNative Film + Media Arts Festival and Trinity Square Video (TSV) are proud to co-present the Toronto premiere of Graham Thompson’s new media installation North-South-East-West 2.0 at the TSV Gallery. Inspired by the four sacred directions, as taught by the Anishinaabe peoples of North America, North-South-East-West 2.0 is concerned with enhancing our emotional connection to the earth through the use of digital technology.
Graham will give an artist lecture on October 22, followed by an ImagineNATIVE


‘Century 21′ by Jeremy Blake

Opening Reception: Saturday, July 10, 2004 from 2 – 5 pm @ Trinity Square Video / #376 – 401 Richmond Street West

The Art Gallery of York University and Trinity Square Video are pleased to present ‘Century 21,’ Part Three of the ‘Winchester Trilogy’ by Los Angeles artist Jeremy Blake, whose recent work has included a video installation in New York’s Times Square, participation in the 2004 Whitney Biennial, as well as collaborations with acclaimed film director P.T. Anderson (‘Punch Drunk Love’) and musical experimentalist Beck (‘Sea Change’).

Jeremy Blake’s DVD projections are time-based paintings, but the organically transforming images, which have the appearance of light-diffused colour-field paintings, embody allusive narratives that are psychologically complex interpretations of various histories of the last century.

Blake’s ‘Winchester Trilogy’ is a series of projections based on the Winchester Mystery House in San Jose, California. The projections probe the psychological aura of this architectural wonder constructed by Sara Winchester, widow of the heir to the Winchester rifle fortune, over the course of thirty-eight years, beginning in the late nineteenth century. After suffering the crisis of the death of her husband and child and informed by a deep belief in Spiritualism, Winchester decided that the victims of the “gun that won the west” had haunted her. An advisor suggested that the sounds of never-ending construction of a sprawling mansion with staircases going nowhere, doorways leading out into open air several stories above ground, and miles of darkened hallways to roam would both accommodate good spirits and ward off evil ones.

Parts One and Two, which were shown at the Art Gallery of York University May 12–June 27 2004, probe the psychological emanations and hauntings of the building, first from the exterior (‘Winchester’) and then the interior, after the building partially collapsed and was rebuilt due to the 1906 earthquake (’1906′).

‘Century 21,’ Part Three, which receives its world premiere here, develops its narrative by setting its social critique within the three cinemas that now surround the Winchester building. Whereas Parts One and Two demonstrated the traumatic effects of American mythical constructs (the gunfighter, the outlaw, manifest destiny, etc.) on the individual Sara Winchester and her compulsive building enterprise, ‘Century 21′ focuses on the fraternities that continue these frontier mythologies, repackaged and inculcated through the popular media and realized in contemporary wars.
–Philip Monk.



‘One A Day’ by Peter Kingstone

As a member of the One a Day artists’ collective, Peter Kingstone set himself the task of creating a work of art every day for one year. This exhibit of over 1200 photographs, 80 videos, 5 super-8 films, a charcoal drawing, several narratives, a t-shirt and one business card, chronologically organizes that body of work which he began on his birthday, June 7, 2001. By documenting the realization of artistic practice itself, Kingstone collapses the linear relations of time that differentiate the beginning of a work of art from its end. As an archive of sorts, the exhibit traces the creative journey between urge and its crystallization as artistic form. In this limi]l space, the opportunity for thinking about what makes art artful is returned to the viewer who must decide between the discarded content of artistic practice and its final event.

The onlooker is not exterior to Kingstone’s archive: we are invited to plunder his resource, to use it at will. His archive resonates with our own, each object a marker in time that returns us to the details of our own place in history. Certain dates call forth memories that flare up and collide with Kingstone’s strangely elusive narrative structure in which the private and the collective coincide. His work draws upon that which is familiar and intimate in its specificity – the interior of a refrigerator, clothes strewn across the bedroom floor, a used condom wrapper, an unflushed toilet – the mundane evidence of life. Through interplay of image and narrative Kingstone brings these details into focus and challenges us to read their familiarity otherwise.

Kingstone’s work pokes at the belief that there is, after all, some communicable experience that art might represent. In its unrelenting demand for active interpretation, his archive refuses closure, standing not as mute witness to the past but opening the future. The energies gathered together in Kingstone’s archive carry us towards a promise that must always be deferred: that the tension between the work of art and its final expression might be resolved. In challenging this illusion Kingstone affirms the unknowable and moves the viewer towards the pleasures of pursuit. In this model of art, pursuit is not satiated by answer but rather our ability, following Andre Brink, “to fabricate metaphors – that is, tell stories – in which, not history, but imaginings of history are invented”1.

1In: S. Nutall and C. Coetzee (eds) (1998) Negotiating the Past: the Making of Memory in South Africa. P 42. (Cape Town: Oxford University Press)

Opening Reception
Thursday, July 8, 2004 7 – 10 pm
Prefix Institute of Contemporary Art, 401 Richmond Street West,
Suite 124, Toronto.
Artist will be present

Closing Conversation between Peter Kingstone and Steve Reinke
Saturday, August 7, 2004 2 pm
Trinity Square Video, 401 Richmond Street West, Suite 376, Toronto.

Press Contact
Olivia Tsang
T 416.591.0357 E [email protected]

Prefix Institute of Contemporary Art
Suite 124, Box 117
401 Richmond Street West
Toronto, Ontario, Canada M5V 3A8
T 416.591.0357 F 416.591.0358
E [email protected] W www.prefix.ca
Gallery Hours: Wednesday – Saturday, 12 – 5 PM

About Peter Kingstone
Peter Kingstone is a Toronto-based artist, writer and curator. He makes video, photo-based and installation art. He writes both fiction and non-fiction, and criticism. He holds a degree in Philosophy/Cultural Studies from Trent University and recently completed his Masters of Fine Art at York University.

About Prefix Institute of Contemporary Art
Founded in 1999, Prefix Institute of Contemporary Art is a non-profit contemporary arts organization based in Toronto. Prefix’s mandate is to promote the appreciation an understanding of contemporary photographic, media & digital arts through exhibitions, publications and related activities.

Located at the heart of Toronto’s art’s district at 401 Richmond West, Prefix is a unique facility designed to increase the visibility of Canadian artists and support Canadian writers, curators and critics, while also bringing a diverse body of international work to the nation’s audiences through its exhibitions, publications and community-partnered activities. The newly renovated facility consists of a visual gallery, an audio gallery, and a public reference library. Over the past year, Prefix Institute of Contemporary Art showcased a number of accomplished artist works including “Motels” by Steve Payne (nominated for a Steam Whistle Art Award for Best Photography Show of 2003); “Present-day Epics” by Wang Qingsong; “Ordinary Marvel” by Susan Kealey and David Small’s “Illuminated Manuscript.” Confirmed upcoming shows include Peter Kingstone’s “One a Day” and The Atlas Group’s “The Fakhouri Files.”


Looking for Love in the Hall of Mirrors

In “Looking for Love in the Hall of Mirrors,” Daniel Barrow tells the tale of a foppish man, of nebulous age, who leaves the farm and moves to the city (ostensibly Winnipeg) to begin a committed and confused pursuit of love and artistic success. The narrative unfolds in monologue. Barrow expounds upon dualistic themes from his previous work: beauty vs. ugliness, genius vs. idiocy, and the balancing of one’s talents with advancing physical shortcomings.

“Looking for Love in the Hall of Mirrors” unfolds in the form of visual and emotional, cartoon vignettes, with speech balloons depicting all dialogue. A nostalgic, electronic score, composed by Jeff Cressman, parallels the tracing of a melancholic internal dialogue.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video, and installation. He has exhibited widely in Canada and abroad. Recently, Barrow has exhibited at Three Walls Gallery/Chicago, Hoxton Hall/London, UK, and the iMAGES Festival/Toronto.

Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a “manual” form of animation by projecting, layering, and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as “graphic performance, live illustration, or manual animation.” Barrow’s forthcoming performance, “Every Time I See Your Picture I Cry” will once again use an overhead projector in this way, to trace and develop the internal dialogue of a melancholic, cartoon character.

I’ll Wait for You

Tired of waiting for tardy friends? Need to renew your license or passport? Better things to do than wait for the plumber?

Let me wait for you.

This service will be available free of charge April 19-23, 2004 from 9 am to 5 pm.

To schedule an appointment, call 416.971.4023, between 9 am and 5 pm, the preceeding week, April 12-16, 2004.



TSV’s Themed Commission Program

Connoisseurs of the cookbook may not exclusively use it as a manual in the instruction of culinary skills. Some indulge just in the pleasure of reading recipes embedded in a particular time and space. These so-called snapshots of culture reflect back to the distinct needs of a particular group in a specific period. EAT, Trinity Square Video’s Themed Commission Program, provides fodder for reflections on glorious food.
– Milada Kovacova

EAT was conceived and initiated by Day Milman.

TSV would like to thank Milada Kovacova for her hard work as Interim Programming Director during the EAT residency.

Programmed in 2004.



Fallout Food reflects on the mealtime histories of providing food security for the family on a tight budget. Through discussions with our mothers, the ideas of time, class, nutrition and pleasure are served up meat-and-potatoes style, informing what we keep in our kitchen cupboards today.

mom’s advice


mom’s advice is a short video about my mother, the cashiers at the local grocery store and advice on a regular diet of healthy living. As the video focuses on the checkout, my mother discusses her philosophies about life, happiness and the pleasures of the everyday.

  • Production medium: DV
  • Categories: Art Video & Documentary
  • Production year: 2004
  • Author: Heather Keung

Eating Regular


Eating Regular is about eating as ritual, performance and habit. This videotape essays “regular” or plain eaters, and how they may or may not adapt to social mores and expectations. Eating Regular references modernism, in its deployment of my own rather mathematical Photoshop drawings, its original soundtrack, and its portrait of the artist as a solitary man.

  • Production medium: DV & 3/4″ Video
  • Categories: Art Video
  • Production year: 2004
  • Author: Andrew Paterson

Nahrung (Food): Symphonie von Großer Bedeutung (Symphony of a Great Substance)


What do we do with our food when we aren’t eating it? Nahrung: Symphonie von Großer Bedeutung heralds the coming of the great Food Symphony craze, where coming generations of film and video enthusiasts will turn their unwavering cinematic eye to the formal investigation of our topical, functional, utilitarian and deviant applications of this Stuff-Which-Ought-Really-Be-Eaten.

  • Production medium: DV
  • Categories: Art Video & Experimental
  • Production year: 2004
  • Author: Karim Zouak

Free! Bake! Sale!


Fat activists Pretty Porky & Pissed Off take on the dieting hordes at Ryerson University. Broadsheets and sweet home baked treats crash diet beliefs. YUM!

  • Production medium: DV
  • Categories: Documentary & Political
  • Production year: 2004
  • Author: Allyson Mitchell

Food Human’s Mistake


You are eating them. But what if they have voices . . . Just look and hear!

  • Production medium: DV
  • Categories: Art Video, Drama & Experimental
  • Production year: 2004
  • Author: Yura Yurinskiy