The Collective



The Lighthouse Series

Past Programs


The Lighthouse Series:
Amy Greenfield's Cinema of the Body

with Amy Greenfield in Person!

Saturday, March 10, 2012
Program One: 2pm
Program Two: 6pm
Jackman Hall, Art Galley of Ontario, 317 Dundas Street West, Toronto ON
* both programs will be followed by book signings

Featuring Canadian premieres of her major works, and the world premiere of BodySongs Two, a video piece by Greenfield that will be on display in the lobby outside the theatre.

“Amy Greenfield shows us how camera movement and human motion can be ecstatically joined together.” - Whitney Museum Of American Art

Amy Greenfield is an internationally award-winning New York experimental filmmaker and performer. Since the 1970s she has pioneered a new cinematic language of human motion. This language evokes primal inner experience and a woman's representation of the body?intensely visual and kinesthetic?poetic, often nude and timeless. Greenfield has made and frequently performed in almost forty films, holograms, live multimedia, and video installations. She is an innovator in moving holographic sculpture and has “developed a new form of video . . .choreographing for the video camera and television screen.” - Musuem Of Modern Art, NYC, Video Art A History.

Please join us for the first Canadian one-woman screenings of Amy Greenfield's work and a launch of the book Flesh Into Light: The Films of Amy Greenfield (Intellect Books/University of Chicago Press, 2012).

As part of Loop's mandate, Lighthouse events are always free to the public, though donations are welcome to support promotional costs and artist fees. We look forward to seeing you at this unique event.

2pm, 94 minutes plus discussion

Videotape for a Woman and a Man
32 minutes | 1975-78
World Premiere of 2011 restoration
“Photographed in black and white and color, and performed in the nude by Greenfield and dancer Ben Dolphin, it relentlessly examines the possible physical and emotional encounters between a man and a woman. The vulnerability of nakedness makes these encounters not only a study in exposure but a turbulent drama in which two human beings confront each other and begin a ritual of mutual and self-discovery.” - John Gruen, Dancemagazine.

Antigone/Rites of Passion
62 minutes | 1990
Note: Greenfield will show 62 minutes of this 85 minute film, replacing the prologue with her in-person introduction to the film.
Antigone/Rites Of Passion develops the intimate language of Videotape into a powerfully monumental experimental feature film. Greenfield transforms the myth of Antigone, daughter of Oedipus and one of the greatest heroines in literature, into a warning about the consequences of misuse of democracy in the aftermath of war, and an intensely visual and rhapsodically musical hymn to the extremes of feeling in a post-apocalyptic-like world. Greenfield performs the title role opposite actor/dancer Bertram Ross, Martha Graham’s last partner. The wall-to-wall music track is by luminary downtown Manhattan composers Diamanda Galas, Glenn Branca, Elliott Sharp and more.
“Seeing Antigone a second time I was just ten times more moved by it – really deeply moved - It’s a wonderful work. A monumental work. A near miracle” - Stan Brakhage.

6pm, 81 minutes plus discussion
*Canadian premieres

*MUSEic of the BODy
10 minutes | 1994/2009
MUSEic Of The BODy was edited in 2009 from a 1994 Greenfield/Nam June Paik Fluxus performance for the 1960s-famed performance artist Charlotte Moorman, who was arrested for playing cello topless. Greenfield’s video performance garnered a 10 Best In The Arts in the New York Times, " A nude attacks a piano with her long strand of pearls. Magical! Unforgettable" - Jennifer Dunning, New York Times.

*Downtown Goddess
11 minutes | 1995/2004
*Dark Sequins
14 minutes | 2005
Light of the Body
11 minutes | 2004
12 minutes | 2003
A selection from Greenfield’s cinema cycle Club Midnight which came out of multimedia performances presented to standing-room-only audiences at New York’s Anthology Film Archives and American Museum Of the Moving Image, and starring erotic dancers then working at the Tribeca club The Blue Angel. In the films, “Erotic dance becomes a political act, a powerful affirmation of conscious self and free thought, against the standardization of body and mind we live today.” - Vittoria Maniglio, University of Rome, Energy And Cinema Festival.

1973 | 11 minutes
1982 | 12 minutes
The program ends with the now classic Element (1973) and Tides (1982), with Greenfield herself becoming a living sculpture and primal force, first covered with and struggling in a vast field of mud, then with ecstatic liberation in the Atlantic ocean. “The transmutation of the body into a visible form of energy taking on a dimension which is mythic of (wo)man confronting the elemental forms and forces of the cosmos.” - Robert Haller, Flesh Into Light.

Past Lighthouse Screenings:

Carl Brown In Person!

Friday, December 2, 8pm at Cinecycle (129 Spadina Ave., Toronto)

Loop is proud to announce our final Lighthouse presentation of the year on December 2nd at CineCycle, with Carl Brown in person to present his most recent work, MEMORY FADE, on 35mm for the first time ever in Toronto, alongside his 1990 feature-length tour-de-force, RE:ENTRY.

Carl will discuss his creative evolution as an artist with a practice that spans three decades as an internationally renowned master whose films are unlike any others. In working primarily with the emulsion itself, Brown creates a unique visual syntax by tinting, toning, reticulation, stacking, bleaching and hand-processing film to generate crystalline forms and configurations of light and colour that are entirely unique – a process which he refers to as "visual alchemy".

Memory Fade
A film by Carl Brown
2009 | 30 minutes | colour | 35mm


Carl Brown’s characteristic use of saturated colour is showcased in Memory Fade, his latest masterpiece, exquisitely crafted. Employing his transformative alchemical techniques, Carl explores issues of memory fade – the phenomenon wherein exposure to a traumatic event is progressively forgotten. Through a separation of colours, dissolution of the self is symbolized in fittingly eidetic media imagery. An over-medicated society contributes to the “cyclic emptying of tragic events”, of which memory fade is an overt symptom. Processed media images keep time to a spectral dance, not lost in this powerful film, but preserved eternally. Accompanied by an original sound composition by media artist Dan Browne.

A film by Carl Brown
1990 | 90 miniutes | colour | 16mm
soundtrack by Kaiser Nietzsche

"In Re:Entry, I stood at the water’s edge, it was night, I was eighteen, I was young. I dove in the pool for a swim and then it seemed as though I was thirty before I reached the other side. In the water, I was suddenly in a different world. The barriers were gone and the darkness was no longer an enclosed stifling dark, but an enormous night in which darkness was not the absence of light but the presence of things unseen, of a whole world of being, not known or realized before. I got out and looked at the ripples in the water extending away from me until they shaded into a horizon-like etched glass. I saw it only with my eyes, without recognition. All my senses were turned inwards. I was looking this time past, with this immensity of vision straining my eyes to distinguish some form, listening for an intelligible sound. Yet as I stared, all that looked back was a reflection that made the surrounding darkness seem transparent like a sky. I re-entered to find out why.

"We, as an audience, move through this film on the waves of the swimmer and all he encounters on the way through time endless, my life/your eyes. You see/ I convey/ through emulsion, composed of light, colour, and movement, arranged for those who visit upon this experience." - Carl Brown

“The images are flowing and layered: a swimmer in a pool, a rushing stream, tall conifers against a close horizon, a heron stalking in water, cars and a clapboard house, a raging fire ... images often return, re-coloured or re-edited, relentless. The sound is also active, layers of voices and machinery whines, a passing helicopter, long drones and hums, a rising aggression. Spoken texts underlie or cover over other noises: a male voice leading relaxation exercises, phone-in radio conversations, an extended conversation (“I killed my mother and father ...”). The sound is never synchronous with the image, whose brilliant tints are created by Brown himself as he processes and prints the footage. This is an artist who lives his work, his personal history surfacing in both images and textures. As film, Re:Entry could hardly be more pure. A story in light and colour and movement, it becomes an extended essay on change wrought through time, through chemistry, through experience. It shows memory tattered but obsessive, a recurring drift of thought and allusion. Though much of the imagery is based in nature, the audio is distinctly urban: nervous, speedy and full of aural debris. Re:Entry quantifies and characterizes the materiality and physicality of the cinematic experience. Conscious of both its antecedents and its present context, this is a radical work.” - Peggy Gale

We acknowledge the support of the Canada Council for the Arts
which last year invested $11.8 million in media arts throughout Canada.


Friday, September 30, 8pm at Cinecycle (129 Spadina Ave., Toronto)

Collaborations between dancers and filmmakers seem a logical and natural fit—the dancer’s desire for a less fleeting and ephemeral moment than a performance, the filmmaker’s desire for inherent, lyrical flow in a malleable body. And yet within this simple collaboration a myriad of options exist, their differences subtle or not so subtle: cinedance, dance films, dancers on film, films made by dancers, documents of dance. There are even more options when the end goal is performance: cinedance (with a slightly different emphasis), films made by performing dancers, dancers on film on stage, dancing with film. Movement::Gesture::Dance presents a small selection of films that span the subcategories of dance on film. There are films made by artists originally recognized as dance-makers; film-makers’ interpretations of complete dance works; a film by one of the originators of cinedance; contemporary cinedance works; collaborations between dancers and filmmakers; and a filmic, visual elaboration of a historic film. In the end, these films all deal with the dancer’s body on film, but the similarities end there…
– Kassandra Prus

We look forward to seeing you at this unique event, and encourage you to extend and share the invitation with others!

As part of the Loop Collective mandate, our presentations are always free to the public (though donations are welcomed to assist in event promotion and artist fees).

Part 1: 57min

(1971) 5.5min, colour, 16mm
by Amy Greenfield
“Transport came out of many influences in the early 1970s: the dead of Vietnam; the poem by my poetry teacher Anne Sexton, "For God While Sleeping"; the post-modern dance experiments with trust, to give yourself totally while being lifted by another; and the airborne astronauts of moon exploration. In the film, a man, then a woman, are lifted from the ground and are carried through space. Most of the film is seen upside-down against the white sky. The man and woman never meet. Their relationship is made entirely through the film editing. They move between ground and sky, between death (dead weight), through gravity (conflict weight) toward space (floating space).” – Amy Greenfield

Underneath the Ice; You
(2011) 15min, colour, video
by Priscilla Guy & Mandoline Hybride
“This dance film explores the poetics of location and belonging. It is the story of Emilie, arriving in Lourdes-de-Blanc-Sablon, a small and isolated community on the very North Coast of Québec. Through her journey of solitude on the North Coast, Emilie starts to belong and relate to herself, a ‘location’ she recognizes more and more throughout the film. Reconnecting with her body as a ‘location’, Emilie also realizes she belongs to places and architectures. She discovers the endless process of re-locating herself within her own body and within her environment, without ever being lost.” – Priscilla Guy
"-Where do you belong?
-Here, there, now, further away

Ritual in Transfigured Time
(1946) 15min, b/w, 16mm
by Maya Deren
In Deren's Ritual in Transfigured Time we have gestures that invite us to move into step with them, abandoning the comfort of the known and giving ourselves over to so many strange partners. This silent short begins in a domestic environment, moves to a party scene, and ends with modern dance performed in an outdoor setting. The film's continuity is established by an emphasis on gesture and/or dance throughout.

(2009) 9min, colour, video
by Erin McCurdy

Of the Heart
(2008) 7min, colour, video
by Allen Kaeja & Douglas Rosenberg
Of the Heart is a tender and moving duet for the camera that slowly unfolds in a windblown field in the late fall. The film speaks of longing and desire and is a richly metaphoric movement portrait. The performance by Dorfman and Race is heartfelt and honest, stripped to its emotional core.

(2000) 5.5min, colour, 16mm
by Garine Torossian
Dust is an interpretation of choreographic work of Julia Sasso performed by Heidi Strauss and Darryl Tracy. The film portrays the intimate physical relationship of two dancers. The interpretive shooting style of the film unveils the emotional drama between the subjects.

Intermission: 10 min
Part 2: 52.5 min

(2000) 5.5 min, colour, video
by K.G. Guttman
A movement study: A duet between herself and the camera, between herself and her reflected image. Guttman deconstructs the stereotype of the dancer with the perfect sculptural body.

The Light In Our Lizard Bellies
(1999) 8min, b/w, 16mm
by Sarah Abbott
“The title of the film plays with the softness and vulnerability of lizard bellies, and the tendency for people to be disgusted by lizards; as people, we share the same characteristics as lizard bellies and often grow up feeling disgusted with ourselves. It is when we face our fears and learn to trust and honour ourselves that we find our light. The oscillations in the film’s exposure are like the constant changes in chameleon skin; the dancer’s hands stretch wide like gecko feet; and the narrator speaks of her skin hanging empty, paralleling lizard’s habits of skin shedding. The exposure shifts and bursts of light also symbolize the unknown - our light - as it calls to and disorients us. "The dance in The Light in Our Lizard Bellies was originally part of a longer piece entitled Four Ways of Approaching a Door, choreographed and performed by Toronto-based Susanna Hood, who appears in the film. The layers of rhythms that create the film’s vocal score were composed and performed by Hood for the dance.” – Sarah Abbott

(1998) 8min, colour, 16mm
by Garine Torossian
This experiment in visual collage follows a dancer, Kimberly Pike, picking her way through a studio filled with lights.

(1970) 22min, colour, 16mm
by Ed Emshwiller
“Made in collaboration with Alvin Nikolais, featuring the Nikolais dance company. Chrysalis is the result of structuring a series of cinematic and dance ideas Nikolais and I had. The film involves the dancers in improvised choreography, varied costumes, and cinema techniques from slow motion (400FPS) to pixilation. I did the sound score, using the voices of the dancers.” – Ed Emshwiller

fugitive l(i)ght
(2005) 9min, colour, 16mm
by Izabella Pruska-Oldenhof
“This film explores the morph-like quality of the Serpentine Dance and its intricate play on the visible and the invisible, which extends to the larger context and legacy its originator, the American born Loïe Fuller. fugitive l(i)ght is composed of elaborately reworked found footage, originally captured by Thomas Edison and the Lumiere brothers, of various renditions and imitations of Fuller's Serpentine performances, where glimmers of her presence slip into the film by means of the artist's absence; both Fuller's and my momentary suspensions through my use of chance operation.” – Izabella Pruska-Oldenhof

Recent Works by the Double Negative Collective
With a live performance by JERUSALEM IN MY HEART

Friday, June 3rd, 9pm at CineCycle (129 Spadina Ave., Toronto)

The Loop Collective proudly presents our second edition of the 2011 Lighthouse Series, a selection of recent works by Double Negative Collective. This extraordinary programme will be accompanied by a live audio-visual performance by Jerusalem In My Heart.

Lighthouse Series, June 3, 2011

by Christopher Becks
2010 | 5 minutes | 35mm (scope) | black and white | silent
An in-camera improvisation for a barn in Normandy.

by Lindsay McIntyre
2010 | 7 min. 32 sec. | 16mm | black and white | optical sound
A portrait film. The struggle through failure and triumph where labour is devoured by the landscape.

by Lucia Fezzuoglio
2010 | 4 min. 35 sec. | 16mm | black and white | sound

by Philippe Léonard
2009 | 5 min. 30 sec. | 16mm | black and white | optical sound
  Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. PERCEPTUAL SUBJECTIVITY is an essay on the structural formation of thoughts.

by Malena Szlam
2010 | 3 minutes | Super-8mm to 16mm | colour | silent
Originally shot and edited in a super 8 camera, BENEATH YOUR SKIN OF DEEP HOLLOW translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.

by Karl Lemieux
2010 | 8 minutes | 35mm (1.85:1) | black and white | Dobly Digital
MAMORI takes its title from a place in the Amazon forest. At the invitation of Spanish composer Francisco Lopez, a leading figure on the avant-garde music scene, Lemieux took part in a creative residency at Lopez's Mamori ArtLab, where sound artists compose from field recordings. Lemieux tried to capture the textures of tropical vegetation and its various transformations according to the phenomena of light. The film's sound track is an original composition by Francisco Lopez.

by Daïchi Saïto
2009 | 10 minutes | 35mm (1.37:1) | colour | Dolby SR
TREES OF SYNTAX, LEAVES OF AXIS is Saïto’s second collaboration, after ALL THAT RISES (2007), with composer/violinist Malcolm Goldstein, who composed and performed for the film the original structured improvisation score, HUES OF THE SPECTRUM. The film explores familiar landscape imagery Saïto and Goldstein share in their neighbourhood at the foot of Mount-Royal Park in Montréal. Using the images of maple trees in the park as main visual motif, Saïto creates a film in which the formations of the trees and their subtle interrelation with the space around them act as an agent to transform viewer’s sensorial perception of the space portrayed. Entirely hand-processed by the filmmaker, TREES OF SYNTAX, LEAVES OF AXIS, with the contrapuntal violin by Goldstein, is a poem of vision and sounding that seeks certain perceptual insight and revelation through a syntactical structure based on patterns, variations and repetition.

by Eduardo Menz
2009 | 16 minutes | HD video | colour | 5.1 surround sound
Through precise choreography of exterior movement and interior commotion, a montage of contrasting visual and aural moments creates a minimally-composed travelogue as a reflection upon the airport as a unique microcosm of the 21st century.  With a live performance by: JERUSALEM IN MY HEART
mesmeric sights...
mesmeric sounds...
from the middle white sea...
tickling the shepherd...
but not the sheep...
malena szlam and radwan ghazi moumneh give you jerusalem, from their heart.

Lighthouse Series, March 18, 2011

Lighthouse Series, Fall 2009

Lighthouse Series, Winter 2009

Lighthouse Series, Fall 2008

Lighthouse Series, Winter 2008