This Case Study is researching the issues of gender-based violence, asking how these have been represented historically, in what contexts, through what social networks/and judicial systems, and to what effect?
In coordination with UBC's Morris and Helen Belkin Art Gallery’s multi-year community-based archives activation project, the researchers are investigating the archival collections held at VIVO of Women in Focus (WIF), Vancouver Status of Women, Women’s Labour History Project/Amelia Productions, First Nations Access Program, and Metro Media to develop understanding of the social ecology of collectives and collaborations, solidarities and complex affiliations across generations and through settler and Indigenous community-based movements/initiatives responding to gender-based violence.
The historical scope of this Case Study covers 1974, when WIF was established as a Vancouver-based feminist arts and media centre, to the early 1990s after the First Nations Access program was established, and In/visible Colours festival and conference brought the local conditions of gender-based violence and representation into an international platform. The remediations of this history will be projected on various public buildings in cities across the country on International Women's Day.
About VIVO Media Arts CentreVIVO Media Arts Centre is an artist-run media centre (est. 1973) in Vancouver, B.C. Their mandate is to directly support artists and independent community-based producers to develop, exchange, and disseminate their skills in a supportive environment through accessible services and programs.
Since 1973, VIVO Media Arts Centre (Satellite Video Exchange Society; formerly Video Inn and Video In Studios), has operated on the territories of xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. As an organization that occupies space on unceded Coast Salish land, collecting and stewarding resources for media arts production and presentation while also forming and holding histories, we are inflected by colonial structures of funding, notions of artistic excellence, and institutional arts practice. We have a responsibility to better understand these influences and how we can work to form new relations and practices that support Indigenous self-determination and actively decolonize our institution and sector.
Karen Knights is Manager of the Crista Dahl Media Library & Archive (CDMLA) and Development Officer at VIVO Media Art Centre (2013-present). She’s committed to the preservation and development of VIVO’s collection and oversees the CDMLA’s digitization projects of original media (most recently the Women’s Labour History Project Oral Histories; Celebration ’90 Gay Games III; Gayblevision community cable program).
Previously, Knights was active in the artist-run community as a librarian, video art distributor, curator, and anti-censorship activist (1984-2000). As an independent curator and critic, she has completed several historical surveys of archives held by Canadian ARCs and contributed to solo exhibition catalogues for Sara Diamond and Jin-me Yoon. Knights is a Board member of the Audio-Visual Heritage Association of B.C.
Gabriela Aceves Sepúlveda
Dr. Aceves Sepúlveda’s research bridges the histories of art, media, and technology with gender and women studies, and art and design practice. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press) and several peer-reviewed articles, book chapters, and research-creation projects on feminist media in Latin America, global networks of artistic exchange, aging and activism, and the histories of immersive technologies in the Global South. Currently, she is working on a book manuscript which explores the work of four Latin American composers working at the intersections of visual and sound art to suggest an alternative history of electronic music and twentieth-century avant-gardes. Her video and sculptural installations that explore the body as a site of cultural and gender inscriptions have been exhibited in Canada, Mexico, France, India, and Chile.
Zoë Druick is Professor of Communication at Simon Fraser University. Her research considers histories, theories,and trajectories of documentary and reality-based media with an emphasis on their intersection with biopolitical projects. This work has brought her into contact with numerous archives and developed her awareness of their precarity. She is author or editor of five books, including Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada (McGill-Queen's) and The Grierson Effect: Documentary’s International Movement (BFI). Current projects include a SSHRC-funded project on the legacies of the NFB's Studio D, the women's studio, and a manuscript on UNESCO's biopolitical media strategies.
Sydney Hart is a researcher, artist and PhD candidate in the Cultural Studies programme at Queen’s University. His current research investigates the roles that digital media and visual images play in representing borders and spaces of flows, and specifically how the transnational movements of people and goods are represented at Canadian airports. As a founding co-editor of livedspace, a research and publishing organisation investigating the social production of space in relation to contemporary cultural production, he has edited journal issues and organised screening events. His critical writing on media arts has appeared in publications such as C Magazine, Esse arts + opinions, and Synoptique.
Brenda teaches in the Department of Cinema and Media Arts at York University and has published extensively on documentary, feminist film theory, and Canadian and Québec cinema. Her documentaries have been screened and broadcast internationally winning awards including Best Cultural Documentary for Tina in Mexico (2002) at the Havana International Film Festival, a Canadian Genie for Shadowmaker/Gwendolyn MacEwen, Poet (1998), and the Grand Prix at Oberhausen for Our Marilyn (1988).
Her work has included feminist archival projects as well as a series of short films, and a television documentary exploring the tenacity of fossil fuel addiction. Her interactive documentary, Offshore (2012) is available at http://offshore-interactive.com. She is currently working on a co-created documentary project and installation with formerly incarcerated women in Vancouver.
Susan Lord is Professor in the Department of Film and Media at Queen's University and Director of the Graduate Program in Cultural Studies. She is the Director of the Vulnerable Media Lab (with Dylan Robinson and Rosaleen Hill). With a background in feminist and critical theory, her research has been dedicated to the histories of vulnerable media and in the remediation of these histories through curatorial and cultural events. These projects are necessarily collaborative, engaging with other researchers, cultural producers, policy and social actors to advance citizenship practices, expand the civic spaces, and decolonize the lands on which we live and work.
Her publications include two recent special issues of PUBLIC: Archive/Counter Archives and Havana (http://www.publicjournal.ca/issues/). A book on the Afro-Cuban filmmaker Sara Gómez is forthcoming in 2019. Other books include Killing Women: Gender, Violence and Representation (with Annette Burfoot); New World Coming: The Sixties and the Shaping of Global Consciousness (with K. Dubinsky, et al); Fluid Screens/Expanded Cinema ( withJanine Marchessault).