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PLEASURE DOME IS AN EXHIBITION COLLECTIVE DEDICATED TO THE PRESENTATION OF ARTISTS’ MOVING IMAGES
Since the fall of 1989, Pleasure Dome has presented diverse experimental media arts, as such we strive to nurture an appreciation for artists’ moving images in ways which are accessible, engaging and challenging, and balance our exhibition priorities to include: current practices, historical traditions, and works which are shown infrequently due to genre or format, or because their creators have traditionally been denied access to wide-spread exhibition.
We are proud of our long-standing and ongoing commitment to alternative media arts and artists through commissions, the exhibition of diverse formats and perspectives, and to the development of public appreciation and critical understanding of experimental media art through the distribution and publication of critical writing on the art form.
The 2016/2017 Programming Collective is:
Mike Hoolboom (Secretary)
Clint Enns (Co-Treasurer)
New two-year terms beginning August 6, 2016:
Christine Lucy Latimer (President)
Kami Chisholm (Co-Treasurer)
Program Co-ordinator, Tom Taylor
Pleasure Dome Programming Collective/ Board Members (1989 — present):
1989/90 Founding Members
Philip Hoffman, Mike Hoolboom, Jonathan Pollard, Gary Popovich, Barbara Sternberg
Liz Czach, Philip Hoffman, Robert Kennedy, Jonathan Pollard, Barbara Sternberg
Liz Czach, Philip Hoffman, Robert Kennedy, Marnie Parrell, Jonathan Pollard, Kika Thorne
Liz Czach, Philip Hoffman, Robert Kennedy, Marnie Parrell, Jonathan Pollard, John Porter, Kika Thorne
Liz Czach, Chris Gehman, Philip Hoffman, Robert Kennedy, Marnie Parrell, John Porter, Kika Thorne
Liz Czach, Chris Gehman, Robert Kennedy, Marnie Parrell, Milinda Sato, Beverly Taft, Kika Thorne
Liz Czach, Chris Gehman, Robert Kennedy, Jeff Moore, Milinda Sato, Beverly Taft, Steve Reinke
Tracy German, Mike Hoolboom, Sarah Lightbody, John McCullough, Scott McLeod, Jeff Moore, Steve Reinke
Larissa Fan, Tracy German, Carolynne Hew, Sarah Lightbody, John McCullough, Scott McLeod, Steve Reinke, Ger Zielinski
Sarah Abbott, Larissa Fan, Tracy German, Carolynne Hew, Sarah Lightbody, Steve Reinke, Ger Zielinski
Jubal Brown, Rob Butterworth, Carolynne Hew, Sarah Lightbody, Tim Muirhead, Steve Reinke, Karyn Sandlos, Stefan St-Laurent, Scott Treleaven, Jacob Wren, Ger Zielinski
Roberto Ariganello, Jubal Brown, Petra Chevrier, Linda Feesey, Chris Kennedy, Steve Reinke, Karyn Sandlos, Stefan St-Laurent, Scott Treleaven, Jacob Wren, Ger Zielinski
Roberto Ariganello, Daniel Cockburn, Linda Feesey, Carolyn Kane, Chris Kennedy, Jinhan Ko, Nadia Sistonen, Stefan St-Laurent, Sylvie Wisniewski, Jacob Wren, Ger Zielinski
Roberto Ariganello, Daniel Cockburn, Arthur Conway, Linda Feesey, Graham Hollings, Carolyn Kane, Chris Kennedy, Jinhan Ko, Louise Liliefeldt, Stefan St-Laurent, Nadia Sistonen, Sylvie Wisniewski
Roberto Ariganello, Elena Bird, Daniel Cockburn, Arthur Conway, Linda Feesey, Graham Hollings, Carolyn Kane, Chris Kennedy, Sunny Kerr, Jinhan Ko, Louise Liliefeldt, Day Milman
Scott Berry, Elena Bird, Daniel Cockburn, Jon Davies, Linda Feesey, Graham Hollings, Carolyn Kane, Chris Kennedy, Sunny Kerr, Jinhan Ko, Day Milman, Michèle Stanley
Scott Berry, Daniel Cockburn, Jon Davies, Claire Eckert, Firoza Elavia, Sameer Farooq, Linda Feesey, Graham Hollings, Jean-Paul Kelly, Chris Kennedy, Erik Martinson, Ben Portis, Michèle Stanley
Scott Berry, Daniel Cockburn, Jon Davies, Claire Eckert, Firoza Elavia, Linda Feesey, Graham Hollings, Jean-Paul Kelly, Jacob Korcynski, Chris Kennedy, Erik Martinson, Ben Portis
Daniel Cockburn, Andrea Cooper, Jon Davies, Firoza Elavia, Linda Feesey, Brenda Goldstein, Graham Hollings, Oliver Husain, Jean-Paul Kelly, Jacob Korcynski, Erik Martinson, Rachel McRae, Ben Portis
Andrea Cooper, Jon Davies, Firoza Elavia, Linda Feesey, Nick Fox-Gieg, David Frankovich, Brenda Goldstein, Graham Hollings, Oliver Husain, Jean-Paul Kelly, Jacob Korcynski, Erik Martinson, Gabrielle Moser.
Andrea Cooper, Jon Davies, Linda Feesey, Nick Fox-Gieg, David Frankovich, Brenda Goldstein, Kevin Hegge, Oliver Husain, Lisa Kennedy, Erik Martinson, Gabrielle Moser, Bojana Stancic
Sharlene Bamboat, Andrea Cooper, David Frankovich, Kevin Hegge, Eli Horwatt, Oliver Husain, Erik Martinson, Alexis Mitchell, Gabrielle Moser, Julia Paoli, Bojana Stancic, Carly Whitefield
Sharlene Bamboat, Andrea Cooper, David Frankovich, Kevin Hegge, Zoë Heyn-Jones, Eli Horwatt, Erik Martinson, Alexis Mitchell, Julia Paoli, Bojana Stancic, Carly Whitefield
Sharlene Bamboat, David Frankovich, Iris Fraser-Gudrunas, Kevin Hegge, Zoë Heyn-Jones, Eli Horwatt, Cressida Kocienski, Erik Martinson, Alexis Mitchell, Bojana Stancic, Carly Whitefield
Sharlene Bamboat, Iris Fraser-Gudrunas, Kevin Hegge, Zoë Heyn-Jones, Eli Horwatt, Cressida Kocienski, Samuel La France, Nahed Mansour, Erik Martinson, Alexis Mitchell, Carly Whitefield, Melanie Wilmink
Sharlene Bamboat, Amber Christensen, Jesse Cumming, Iris Fraser-Gudrunas, Kevin Hegge, Zoë Heyn-Jones, Eli Horwatt, Samuel La France, Cameron Lee, Nahed Mansour, Alexis Mitchell, Tess Takahashi, Melanie Wilmink
Amber Christensen Co-Chair
Jesse Cumming Treasurer
Eli Horwatt Co-Chair
Christine Lucy Latimer
Daniel McIntyre Co-Secretary
Melanie Wilmink Co-Secretary
Check out Blog TO's interview with collective member Melanie Wilmink and Program Co-ordinator Tom Taylor
Toronto’s experimental media collective turns 25
Posted by PO Karim / March 15, 2015
(THE PREAMBLE OF PLEASURE DOME)
As of September 14, 2014 as stated in the Corporation’s Patent:
1. To nurture an appreciation within the community at large for art expressed in the media of moving images of all formats, with or without sound;
2. To educate the community at large in the history of artists’ moving images;
3. To make available through public exhibition, local, national and international artists’ moving images that are rarely if ever seen by the general public;
4. To programme and exhibit artists’ moving images for the furtherance of Objects 1, 2 and 3;
Further, towards these objectives, Pleasure Dome:
1. Actively strives to make artists’ moving images, like all other art, as accessible to as many sectors of the public as possible, through making it inexpensive to see and presenting it in innovative and engaging ways;
2. Represents through its exhibition all aspects, genres and types of artists’ moving images on equal terms:
— from those of the experimental film tradition, to those of video art practice, digital aesthetics, expanded cinema, performance, installation, and beyond
— historical and international work, e.g. work representing the central trends and progressions of artists’ moving images,
— to those that are often less shown because of their genre or format,
— and to those that are often less shown because the makers of these works have traditionally been denied access to wide-spread exhibition;
3. Actively seeks out input and suggestions into the selection of its programming from the artistic moving image community and the general public as a whole, and from specific interested parties, such as independent curators, other arts groups, and its membership and audience;
4. Has a membership open to the artistic community and the general public as a whole;
5. Does not exhibit works made by members of its programming collective and as such avoids any conflict of interest in the impartial selection of material for exhibition;
6. Seeks to exhibit a balance of work from diverse moving image media;
7. Fundamentally upholds the rights of freedom of speech, freedom of expression and access to information and therefore disagrees with the censorship or prior approval of any work of art in any form, and as such will not comply with the censorship, prior or otherwise, of works it exhibits.
“We were just bored that’s how I think it started, bored with watching the same new avant pictures hitting the screen by fathers we never wanted, mothers we’d spent our lives saying no to. We thought fringe cinema wasn’t the church but serious fun, strange new emulsions for strange new lives, and wanted to lend a stage to all those queer, trans, post-pop underthings that had been waiting all along for a place to shine.
We loved super-8 and when our friends were dying we gave them cameras and then the punks came and made zinekinos and there were performances by people who were fucking with emulsion not because they could but because they had to, because it was the only way to face the next day…the miles of tape and emulsion keep running past eyes still open for something akin to our capacity for wonder. Welcome to the Pleasure Dome.” Mike Hoolboom, Co-founder of Pleasure Dome
Pleasure Dome isn’t really a place, it’s a state of exhibitionism. Inspired by the muse of experimental film, Kenneth Anger (Inauguration of the Pleasure Dome, 1954), the Pleasure Dome programming collective began in 1989 to programme some of the most innovative and challenging work produced by media artists from Canada and abroad. In the course of over four hundred screenings (including feature-length works, solo screenings, mid-career retrospectives, open screenings, thematic programs and gallery installations),Pleasure Dome has been presenting year-round experimental media arts screening programs, often curating expanded forms of presentations, installations and other non-traditional formats. We have a on-going commitment to alternative media arts and artists through commissions and exhibiting shorter length and small format work, and to the public appreciation and critical understanding of experimental media art through the distribution and publishing of critical writing on the art form. These include the recent publication by Sami van Ingen Moving Shadows: Experimental Film Practices in a Landscape of Change (Finnish Academy of Fine Arts, 2012, Helsinki); The Beauty is Relentless; The Short Movies of Emily Vey Duke and Cooper Battersby (2012, Pleasure Dome / MOCCA), a collection of twelve essays, scripts and art projects on the art of Emily Vey Duke and Cooper Battersby; the 2009 catalogue on the work of Toronto media artist Daniel Cockburn, You Are In A Maze Of Twisty Little Passages All Different, edited by Daniel Cockburn and Jon Davies; and the 2008 anthology Cinematic Folds; the furling and unfurling of images, edited by Firoza Elavia. See Publications page for complete list.
Pleasure Dome has emerged as the conduit whereby Toronto audiences can see experimental media art that may otherwise have fallen between the cracks of other institutions mandates. From the likes of Peggy Ahwesh and Linda Feesey in 8mm at the Rex Hotel bar to Marnie Parrell and John Kneller at The Cabana Room, John Porter at The Euclid Theatre, Annie Sprinkle at A Space Gallery, Bruce LaBruce at the Metro Porn Theatre, Matthew Barney at the Bloor Theatre, Mike Hoolboom and Barbara Sternberg at the Art Gallery of Ontario, Sadie Benning at the Latvian House, and Frank Moore, George Kuchar, Alex Bag, Rick Prelinger and many, many others at CineCycle, we inhabit any and all spaces which suit our exhibition needs. We call Cinecycle our home, a 19th-century coach house that can accommodate our variant formats, including regular 8, super 8, 16mm, 35mm, video projection, film performance, and other alternative modes of presentation. In all its modes (curatorial/exhibitionist/critical), Pleasure Dome seeks both to preserve the history of image-making and its surrounding discourse, and to clear a space for those who are still bored with pictures that don’t hit the screen hard enough.
Pleasure Dome does not submit any of its film and video programming for prior approval by any censoring bodies.
We fundamentally uphold the rights of freedom of speech, freedom of expression and access to information and therefore totally disagree with the state censorship or prior approval of any work of art in any form, and as such will not comply with the state censorship, prior or otherwise, of videos and films we exhibit. As such we refuse to exhibit in theatres that use unionized projectionists that are required by Ontario law to have a certificate of prior-approval from the Ontario Censor Board. By refusing to submit any of the film/video works that we exhibit we are challenging the legitimacy of the Censor Board itself. In 2004 Ontario Superior Court Justice Russell Juriansz struck down the Ontario Censor Board ability to censor and require prior approval of all film and videos exhibited in the province as it contravenes Canada’s Charter of Rights and Freedoms. However, the current Ontario government has constructed a new law, titled the Film Classification Act, requiring all films and video to be submitted to the censor board for classification. Pleasure Dome continues its policy of not submitting our programming for prior approval by any censoring bodies. As such, when work is exhibited with Pleasure Dome, we are in affect breaking the law and open to prosecution. However, the Censor Board does not want to have any organization challenge the legitimacy of requiring approval since once again the law would be struck down based on the Charter of Rights and Freedoms. The most the Censor Board could do is to require Pleasure Dome to submit preview copies of artists work to them. We feel that it is important and relevant for all artists exhibiting with us to know our commitment to upholding the rights and freedoms of speech and expression.
Pleasure Dome is made possible through the generous support of:
The Canada Council for the Arts, The Ontario Arts Council and the City of Toronto through the Toronto Arts Council as well as our members, sponsors and community partners.
195 Rushton Rd. Toronto, Ontario, Canada M6G 3J2
Title sequence to Inauguration of the Pleasure Dome, Kenneth Anger, 1954
Alex MacKenzie's Film Performance @ CineCycle, May 31, 2013 Photo: T. Taylor
Marnie Parrell projecting Feb 25/ 1991
Charles Atlas April 11/2008
Alan Licht April 11/2008
Lee Ranaldo Oct 27/ 2007
Tony Conrad & Marie Losier Dec. 11/ 2009
John Kilduff performance Sept.18/ 2009
Liss Platt riding bicycle projector performance Nov 24/ 2007