by Dan buller

by Jim Hollyoak

by Katie Gosselin

by Naomi Cook

by Rebecca Rosen

by John Player

by Steven Somersbee

by Mathieu Matthew Conway

by Brooklin Cannon

by Unkown

by Winston McQuade and Michel Jarry

Afin de (dé)célébrer les jeux olympiques de Vancouver, Red Bird devient le lieu d’une série d’événements qui durent toute la nuit et qui explorent le rôle du jeu et de la subversion dans l’expression de la dissension vis-à-vis des systèmes hiérarchiques nationaux et d’entreprise. Tous sont invités à venir, à participer, à s’exprimer ou bien à garder le silence en profitant de plusieurs activités gratuites qui mettent l’accent sur les notions de communauté, de jeu, et du rôle de la spécificité du « site » qui va au-delà de l’éthos de compétition nationalisé!

http://www.canadianart.ca/online/features/2010/02/25/nuit-blanche/?utm_medium=email&utm_source=EWeeklyCampaign&utm_content=914257767&utm_campaign=CanadianArtFeb252010+_+ojjjhl&utm_term=NuitBlanche

http://www.unshowdemotarts.net/

Click here to view the embedded video.

by: Jen Maclntyre

Jacinthe Loranger vit à Montréal et travaille à l’atelier 100 Sided Die. Elle est diplômée d’un bac en arts visuels à l’UQÀM depuis 2001. Elle a créé plusieurs livres d’artistes et installations où la sérigraphie est explorée sous toutes ses formes, en plus d’effectuer plusieurs résidences d’artistes au Canada et en France, notamment au Dernier Cri. Loranger s’approprie des symboles et des
archétypes culturels en les remodelant de façon à créer une
réflexion sur notre société contemporaine. Son dessin se situe dans l’esprit “camp”, particulièrement dans l’usage de l’ironie et du mimétisme comme manière de tourner en dérison les valeurs de la classe moyenne et le mauvais goût.

Jacinthe Loranger’s My Own Private Dante’s Disneyland poses the question: what if Alice fell down that rabbit hole not as a child, but as a woman in her thirties? Would she react with the same feelings of wonder and curiousity, or would she be impervious to the magical absurdity of Wonderland, having already resigned herself to the everyday irrationality of adult life? In a series of photographic self-portraits, Loranger answers her own question by re-staging scenes from Lewis Carroll’s classic children’s tale in psychedelic landscapes that combine her idiosyncratic eyeball-searing aesthetic with a gleefully dark sense of humour. Visitors will be invited to follow the artist all the way down the rabbit hole as they wander among recreations of the installations constructed for these photos.

Jacinthe Loranger is a silkscreening and installation artist based in Montreal. Since graduating with a bachelor’s degree from UQAM in 2001, she has created books and installations that explore silkscreening in its many forms, participated in several residencies in Canada and France, most notably at Dernier Cri, and currently works in the 100 Sided Die print studio. Her work appropriates cultural symbols and archetypes in a deliberately camp aesthetic, drawing from sources as diverse as ancient Egyptian religion and dollar-store kitsch. The psychedelic landscapes created out of these absurd aesthetic collisions reflect the garbled values and tastes of contemporary consumer society.

My own Private Dante’s Disneyland. Image 1-6

http://www.montrealmirror.com/2010/021110/artsweek.html

At a time when film folks around the planet ponder the best movies of the year, decade and millennium, Trembles is focusing on the sediment at the bottom of the cinematic pool. And he wants nothing more than to share his finds with like-minded fanciers of film from the fringes.

Trembles’s four-day Trash and Treasures film fest kicks off Wednesday night, and – best news of all – it’s absolutely free. And what do you get for nothing? “Sex, monsters, telepathic appliances, popcorn.”

Trembles is creator of the Mirror’s popular Motion Picture Purgatory, wherein he creates a film review in cartoon form. Needless to say, his scrutinized films tend to be less from the Ten Commandments than the Twonky school. As fate would have it, Trembles launches Trash and Treasures with the not-so-epic The Twonky (1953).

“It’s a classic,” Trembles claims. “Pie-in-the-face McCarthyism meets Videodrome. It’s about a TV that invades a man’s home. It was made in a period when televisions were relatively new, and people were often scared of them.”

As they were of witch-hunting senator Joe McCarthy. The maker of this flick capitalizes on that fear by having a TV zap dangerous rays into the owner’s head and brainwash him.

“Oh, it’s just so bad, but the premise is fantastic,” Trembles gushes. “That’s the thing about bad movies – you can tolerate the badness, although you generally have to wait 10 or 20 years after it is made. It allows you to peer into another era.

“Of course, at the time, people wouldn’t go near the film because it is just so hideously cheesy. But then the cheese ripens, and it becomes an artifact.” Albeit a smelly one.

Trembles has dubbed each night of his fest. Wednesday night’s spectacle, also including Red Nightmare (1962), a short, is Paranoiamania.

Best/Worst Groovy, Thursday evening, will showcase Alien Factor (1978) and Starcrash (1978). Friday’s Avant Nards features The Secret of Wendel Samson (1966), The Stranger in Apartment 9F (1998) and Screamplay (1985). And the fest wraps Saturday with Feminine Misspeak: Nice Girls Don’t Do It (1990); Je t’aime, moi non plus (1976); and the heart-wrenching Kamikaze Hearts (1986).

“Some of these films were made for next to nothing,” Trembles says. “The filmmakers poured their hearts into them, and so many of them went completely broke in the process.”

For his part, Trembles is proud of all the film trash in his collection and is initially hard-pressed to pick a favourite from his batch of bad. “The heir to the throne of bad changes yearly, although Alien Factor was No. 1 in my heart for a while. Its director, Don Dohler, was touted as the Ed Wood of Baltimore.”

For the uninitiated, Ed Wood was the king of the no-budget, C-film genre and creator of such lovably abysmal classics as Plan 9 From Outer Space and the autobiographical Glen or Glenda. Alien Factor, the debut offering of cartoonist Dohler, is a sort of how-to manual on making flicks on the cheap. Trembles hails it as the “zero-budget zenith.”

By offering free admission, Trembles is clearly not in this for the money. “These are film gems to me, and I’ve been looking forever for some of them. And when I finally snag them and discover they are everything I had hoped they would be, I just want to share them with others. It becomes so infectious.

“I see a lot of weird stuff. I have peculiar tastes. I like films that make my jaw drop. I ask myself how on earth they got made, and why would anyone put money into them. But you truly have to admire these creators who know they’ll never make a cent but are just so committed to telling their tales – no matter how twisted they may be.”

If all goes well, Trembles hopes to launch an annual Trash and Treasures fest. Not surprisingly, he has been in contact with Montreal filmmaker Dan Ahmad, who presented the worst-ever flick, The Room, last Saturday to an enthusiastic house of screaming, spoon-throwing revellers of the wretched.

“It’s not always understood,” Trembles explains. “But bad can be just so beautiful.”

Trash and Treasures starts Wednesday night and runs until Saturday at 135 Van Horne Ave., 2nd Floor. Admission is free. For more information, go to www.redbirdstudios.org or call 514-746-6754.

http://www.montrealgazette.com/entertainment/movie-guide/Dumpster+diving+ghastly+gold/2318820/story.html

“Dirty Laundry” is a single day retrospective installation of work by illustrator Oksana Kemarskaya. A paper record of the past 5 years in the artist’s commercial career, the installation acts as a collective revealing of the process of illustration. Mounted in such a way so as to the link the raw state of the studio to the definitive gallery atmosphere, the exhibition seeks to alleviate commercial context through a night of theft and barter, culminating in a ritual burning of everything on display. Kemarskaya’s installation draws attention to the very process of illustration and a questioning of the worth of the original over the reproduction, the concept over the final product. Live music accompanies the event and formal attire is encouraged.

Oksana Kemarskaya

Oksana Kemarskaya was born and raised in the Ukraine (formerly of the Soviet Union). Her education and drawing skills have deep roots from The Academic School of Russian Fine Art. Her passion to draw began when she was three years old.

By the age of 24 Oksana had a desperate need to explore the world and to experience new visions and life styles, so she moved to North America. These days you can find her working in Montreal as a freelance illustrator for different publishers, such as: Scholastic Canada Ltd., La Montagne Secrete, Bayard Presse Canada Inc., Les Edition Quebec Amerique, Tormont Publication Inc., The Quarasan Groupe Inc., Les Edition Graphicor, Group Educalivre Inc., Les Editions Transcontinental.

-Red Bird