Visual Arts

Monday, October 16, 2017

A Nocturne 2017 round-up

Did you miss this year's event? Check out some of the highlights.

Posted By on Mon, Oct 16, 2017 at 10:52 AM

Keeping with this year's "vanish" theme, the art from Saturday night has left the city streets. Thankfully, we have Instagram to keep the memories alive. Check out highlights from Nocturne's 10th anniversary below.

A post shared by Laura Selenzi (@lauraselenzi) on

A post shared by Emma Richter (@emmajrichter) on

A post shared by Rochelle Locke (@r_locke) on

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Monday, September 18, 2017

Review: Bodies in Translation: Age and Creativity at the MSVU Art Gallery

Posted By on Mon, Sep 18, 2017 at 2:47 PM

George Steeves, Sublime Camoflage (2006) detail - Cecil Day, Winter Goldenrod (2017) detail - VIA MSVU ART GALLERY
  • George Steeves, Sublime Camoflage (2006) detailCecil Day, Winter Goldenrod (2017) detail
  • via MSVU Art Gallery

Bodies in Translation: Age and Creativity
Through November 12
Mount Saint Vincent University Art Gallery, 166 Bedford Highway

One of two current shows at MSVU Art Gallery, Bodies in Translation: Age and Creativity features work by eight senior artists who explore aging through art.

Several of the artists address the physicality of aging, as in M.J. Sakura’s "Vintage Plumbing and Wiring," where the artist explores “vintage sexuality” in the form of an informational video. Michael Fernandes tackles the mental effects–beginning to forget–while George Steeves' portraits seek to remember, to commemorate aged and departed friends.

“Has one grown old without growing up?” asks Onni Nordman in his piece "Scarecrow Amongst the Chancellors", a Terry Gilliam-esque scarecrow made of burrs against a wall of neon portraits. The artists in Bodies in Translation approach the delicate issue of mortality with humour. "Day by day life finds me less critical, more playful,” writes Fernandes, accompanying his salty audio and installation piece "Michael, Michael, Michael," featuring glittered sneakers placed to be worn on the wrong feet.

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Friday, September 15, 2017

Review: Zachari Logan's Topiary at Anna Leonowens Gallery

Posted By on Fri, Sep 15, 2017 at 11:15 AM

Zachari Logan - MOLLIE CRONIN
  • Zachari Logan
  • Mollie Cronin

Zachari Logan, Topiary
Anna Leonowens Gallery, Granville Square, 1891 Granville Street
To September 23

While the word “topiary” may conjure up images of shrubs in the shapes of elephants and swans, Zachari Logan’s latest exhibition by the same name delivers an entirely different articulation of this, but just as luxurious and with just the right amount of camp.

Topiary, now showing at the Anna Leonowens Gallery, is an exhibition of high-realism drawings ranging from large colour pastel botanicals on black paper, to life-size (if not larger) nude self-portraits, and miniature vanitas of human-plant hybrids done in architect’s soft blue pencil.

For Logan, “topiary” refers to “the human manipulation of plants into desired shapes for ornamentation;” an idea he explores in his intricately detailed drawings, with nods historical motifs and art forms, including paper cutting, wreaths, flower painting, wallpaper, and tapestries.

The human figures in these drawings interact with plant life in a way that blurs the line between the self and the landscape. In "Green Man" Logan composes a self-portrait out of plant matter, with green grass growing from his bowed back and halved cabbages forming buttocks, while in the "Eunuch Tapestries" series, male figures become tangled in, partially obscured by, and melt into walls of thick foliage. These plants, like the tall, phallic thistles caressing the naked legs and back of one of the figures, are plants commonly found in the ditches in Saskatchewan, some of the last untouched spaces in the cultivated farm-land of Logan’s home province. Logan identifies queer spaces as ditch-like: liminal and resilient, and through composition he positions the viewer alongside the figure in these ditches.

These Nocturnes (meaning night landscapes) are lit artificially from the bottom of the drawing, as though by car headlights or a flashlight. The result flattens the work, pulls all the detail close to the front, like a medieval tapestry or wallpaper. According to Logan curators and viewers often make a connection to gay cruising in these images–the sometimes semi-nude male figures seeming to hide in the bushes and illuminated by an unnatural light–but Logan says this connection was not intentional. He is, however, quite pleased that that unexpected element is found in these pieces–a queer history at work along with the histories of the decorative arts.
Logan’s use of history is far from stuffy, even though he heavily references some of the most traditional and historically gendered forms of visual and decorative art (both in the masculine and feminine sense): high realism, landscape, self-portraiture, textiles and flower painting. His drawings feel fresh; skillfully and meticulously rendered, rich and luxurious with detail and colour, with even the simple detail of black pastel on black paper creating luminosity.

Part of a generation of artists who value drawing as a medium unto itself (no longer simply a preliminary practice to later works), Logan’s drawings are wedded to their materials–the buttery pastels and tiny notches of graphite feel as tactile as the flowers and flesh that they render.

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Tuesday, September 12, 2017

Review: New works by Shane Keyu Song at Lost & Found

Posted By on Tue, Sep 12, 2017 at 4:11 PM

  • via
  • Shane Keyu Song

New works by Shane Song
Through September 20
Lost & Found, 2383 Agricola Street

Fans of Century Egg will be familiar with the visual talents of the band’s frontwoman Shane Keyu Song, whose illustrations grace their album covers and merch, and will recognize her distinctive style in the latest show at Lost & Found.

For her first ever exhibition Song has created a series of paintings (and several drawings) exploring a recurring character: a girl with black hair and thick, round eyebrows who wears nothing but a T-shirt. Vulva to the wind and accompanied by a motley crew of cats, furniture and food, Song’s character interacts with domestic spaces and objects in a way that oscillates between consuming and being consumed: cuddled inside of a giant dumpling, growing bok choy for breasts and falling head first into a vat of red stew.

Song’s clever paintings can be both goofy and dark, and her video-game influenced style of illustration lends itself well to this new medium. The untitled exhibition runs for the rest of September.

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Tuesday, September 5, 2017

Review: Prime Suspects: Canada's Prime Ministers in Caricature by Bruce MacKinnon at AGNS

Posted By on Tue, Sep 5, 2017 at 9:51 AM

  • Bruce MacKinnon's Trudeaus
  • via

Prime Suspects: Canada's Prime Ministers in Caricature by Bruce MacKinnon
Through April 1
Art Gallery of Nova Scotia, 1723 Hollis Street

With only a swooping hairline needed to bring him to mind, there has perhaps never been a POTUS more easily caricatured than Donald Trump, and few Prime Ministers that have looked better in comparison than Justin Trudeau.

But it is Bruce MacKinnon’s job to knock Trudeau and other important Canadian figures down a few notches, as he has done for over 30 years as an editorial cartoonist for the Chronicle Herald. In Prime Suspects MacKinnon has turned his keen eye for caricature on Canada’s 23 Prime Ministers with cheeky, bobble-headed portraits of current and past PMs, from the somewhat whimsical painting of Sir Wilfred Laurier as Spock to cartoons of a bulbous-nosed Harper.
If you are not a history buff, never fear: a cheat sheet has been provided to explain any John J.C. Abbott jokes that may be missed. Other jokes, like Trudeau as a Bieber-esque popstar, will land easily.

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Wednesday, August 23, 2017

Review: Centuries of Silence: The Discovery of the Salzinnes Antiphonal at the AGNS

Posted By on Wed, Aug 23, 2017 at 9:54 AM

  • via

<i>Centuries of Silence: The Discovery of the Salzinnes Antiphonal</i>
Curator: Judith Dietz
Through October 29
Art Gallery of Nova Scotia, 1723 Hollis Street

It’s not uncommon for art galleries and museums to be compared to churches, but the rooms filled with choir songs and religious portraits in Centuries of Silence: The discovery of the Salzinnes Antiphonal really do seem to transform the AGNS’ third floor into a religious space.

The focus of the exhibition is the Salzinnes Antiphonal, an enormous illuminated choir book from 16th century Belgium. The Antiphonal sits in the centre of a dark room lit by a spotlight, the pages of the giant book turned to a beautiful gilded illustration of the Three Magi. Visitors can peruse the entire book with the help of a tablet, and can even hear the songs as they would have originally been performed.
Recounting the history of the Antiphonal and its journey to Halifax, the exhibition is dense with information but the overall effect is very peaceful—a welcome and air-conditioned refuge on the last steamy days of summer.

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Wednesday, August 16, 2017

Review: Gina Stick's Ritual Objects of Everyday Life at Mary E. Black Gallery

Posted By on Wed, Aug 16, 2017 at 9:35 AM

Vase with Flower Medallion, Porcelain, Press-mould with original icon, Porcelain, 24k Roman Gold, 22k German gold, Chinese over-glaze enamels (gucai) - JOHN SHERLOCK
  • Vase with Flower Medallion, Porcelain, Press-mould with original icon, Porcelain, 24k Roman Gold, 22k German gold, Chinese over-glaze enamels (gucai)
  • John Sherlock

Gina Etra Stick, Ritual Objects of Everyday Life
Through August 27
Mary E. Black Gallery, 1061 Marginal Road

While many locals may steer away from the waterfront this time of year, there is one event that should pull them towards the boardwalk.

Mary E. Black Gallery, nestled between NSCAD’s port campus and Pier 21, boasts a stunning current exhibition of work by emerging artist Gina Etra Stick of hand-painted porcelain: Ritual Objects of Everyday Life. After a 40 year career as a designer and architect, Stick trained in Jingdezhen, the porcelain center of China and an area with more than a thousand years of porcelain production.
From 24k gilded lotus petals to carved celadon, Stick’s hand enameling is masterful and the resulting works are truly spectacular.

While Stick may employ some creative liberties, the works in Ritual Objects demonstrate a deep respect for and understanding of these continuing ancient traditions, reminding us that—when done right—craft has the potential to be a fruitful site for cultural exchange.

“Luminosity” Porcelain Vase, 17.5” x 7”, 24k Roman Gold, 22k German Gold, and Chinese media (overglaze enamel, painted on top of the fired glaze) - MARVIN MOORE
  • “Luminosity” Porcelain Vase, 17.5” x 7”, 24k Roman Gold, 22k German Gold, and Chinese media (overglaze enamel, painted on top of the fired glaze)
  • Marvin Moore

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Wednesday, August 9, 2017

Argyle Fine Art's Rainworks makes a splash

Posted By on Wed, Aug 9, 2017 at 5:02 PM

  • Kristen De Palma

Say Something: Exploring art with Rainworks
Saturday, August 12, 2-4pm
Argyle Fine Art, 1559 Barrington Street

Paint the town red? Well, this group of local artists have painted the town in text—that's only viewable when it rains. Here, Argyle Fine Art helps you see the secret writing on the wall (and the sidewalk), equipping adventurers with a bucket of water and a map. Stop by the gallery between 2-4pm to get in on the exploring!


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Friday, August 4, 2017

Halifax's first ever exhibition of artwork by Caribbean born and descended NS artists happens Monday

Posted By on Fri, Aug 4, 2017 at 9:42 AM

"Maudrie" by Justin Augustine, oil, 2000 - SUBMITTED
  • "Maudrie" by Justin Augustine, oil, 2000
  • submitted

Caribbean Diaspora Cultural Festival
Monday, August 7, noon-9pm
Halifax Commons, Caribbean Diaspora Festival Tent

Halifax's first ever exhibition of art by Caribbean born and descended Nova Scotian artists, Kaiso, is on view for one day only this Monday, as part of the Caribbean Diaspora Cultural Festival.

“This new exhibition shows the diversity of Caribbean culture in Nova Scotia and brings attention to the contributions that Caribbean born peoples have made to the province in the visual arts,” says curator and Black Artists Network of Nova Scotia organizing founder David Woods, in a press release.

Paintings by Woods will be on display as well as work from Justin Augustine, Angel Gannon, Michelle Flemming, Laurel Francis, Habiba El-Sayed, Kaas Ghanie and selections from Black Artists Network members Heather Cromwell and Alex Thuku.

Expect paintings, quilts, installations, photography and ceramic sculpture reflecting "Caribbean images" as well as exploring "social issues and local African Nova Scotian history." The Caribbean Diaspora Cultural Festival also features dancing, singing, drumming, a domino tournament and more.

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Friday, July 28, 2017

Ceramics technician Doug Bamford says so long to NSCAD after 23 years

Posted By on Fri, Jul 28, 2017 at 2:29 PM


Doug Bamford, the WORKS
Opens Monday, July 31 at 5:30pm
Runs to August 5
Anna Leonowens Gallery, 1891 Granville Street
Retirement party to follow at 7pm at Art Bar + Projects, 1873 Granville Street

Beloved NSCAD ceramics technician Doug Bamford is closing the chapter on 23 years at the college with a goodbye exhibition at the Anna Leonowens Gallery and a retirement party at Art Bar + Projects at 7pm on Monday, July 31. the WORKS, opening July 31 at 5:30pm and running to August 5, served as a great excuse for Bamford to finish up some projects he'd been puttering on. "[Anna Leonowens Gallery director] Melanie Colosimo asked me if I wanted to have a retirement exhibition and I jokingly said 'you mean an exit-bition? You're darn tootin' I do.' I had a bunch of half finished work and a bunch of new ideas and I wanted to put the jumper cables on them and make it happen fast," says Bamford. "They're all pieces you could say I’ve been working on for 20 odd years but they're all coming to completion at the same time. And there’s some brand new work too."

In 23 years, Bamford became an essential part of the NSCAD experience. With his retirement, he hopes to allow a changing of the guard. "Of course the students were all crying, mourning, weeping, wailing and gnashing their teeth," he says, jokingly. "But I think it’s time for a change in the department. I’m still full of beans but I’ve been doing it for 23 years, it's time to move along and time for some goddess energy, it’s a bit of a male stronghold and we're all hoping to see a woman take the part."

Now located in Lunenburg, Bamford says fell into his role at NSCAD accidentally. "I came to NSCAD from Toronto 1991 to get an arts education and teach high school, I was self employed so I wanted a cheque on Fridays, summers off and some kind of dental plan," he says. "One of the NSCAD faculty members—Walter Ostrom—said 'you don’t want to teach high school, why don’t you stay here with us?' And I did and it turned into 23 years. It was great, more than I ever could have wished for."
Five years ago, Bamford moved to Lunenburg, in a move he says was "preparing for the return to the studio full time."

"It’s been absolutely wonderful helping bright young artists make their dreams come true, but I’d been an artist all my life, and it’s time for me to get back to doing that," he says. "In terms of the work in this show, something I’m most excited about now comes from observing the built material world in Lunenburg—fish hooks become a motif, and propellers... decoy ducks become expressive characters—I’m looking forward to this direction of assimilating my neighbourhood in my work. It’s made a big impression."

Bamford and a group of like-minded individuals started the Lunenburg School of the Arts in 2013, a school offering short intensive courses taught by professional artists. "I did that to make the place where I live more exciting and it certainly has done that," he says. Bamford's home—known as the Fairbanks—has become a de facto artist residence, and he runs Skullduggery Gallery from the first floor of his home. It's safe to say Bamford' post-NSCAD life will be busy.

"I'm very excited for the next chapter and the chapter I’m living. It’s such a cliche—I’m retired and I’m busier than ever. But there's so much going on here that I need to learn how to pace myself a bit. I call it a return to being self-employed."

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Eyelevel artistic director Katie Belcher moves on to Vancouver's Access Gallery

Posted By on Fri, Jul 28, 2017 at 9:08 AM

Katie Belcher - HEATHER YOUNG
  • Katie Belcher
  • Heather Young

Eyelevel's artistic director Katie Belcher is leaving the artist-run centre and relocating to Vancouver to become Access Gallery's newest director/curator in October. "It is difficult to leave after building my life here for fourteen years, but shifting to another coast feels reassuring somehow, and I have already been so welcomed by the community as the news spreads," Belcher says. "I'm keen to add to what I've learned out here, and stretch a bit more."

Belcher has run the Eyelevel since 2013, initiating the shift from brick and mortar gallery to spaceless artist-run centre, exploring experimental forms of art presentation. Along with the Eyelevel board, Belcher wanted to initiate "a return to our experimental origins, this approach has the potential to consider Eyelevel's relationship to site, emerging and local work, queer and feminist theory, and decolonizing practices. I'm inspired by our intention to articulate and embody an intersectional feminist politic with our program and structure." Belcher is also a founding director of HERMES, a non-profit commercial artist's cooperative, President of Atlantis (the Association of Artist-Run Centres from the Atlantic), a member of the steering team of the upcoming Flotilla and treasurer of the board of the national Artist-Run Centres Collectives Conference (ARCA).

"I'm excited to see what the individual vision of the new artistic director will add to Eyelevel's work. I've felt empowered to contribute my own character to Eyelevel and support others in doing the same—the idea for Food for Thoughts came from my own artistic practice, and its approach was really driven by project staff. It is because of new contributors that Eyelevel remains nimble and relevant after 43 years," Belcher says. "Although I'm sad to leave at such an exciting time, I also know that I'm leaving it in a great position. The board is supportive, critically engaged, and active, resources are improving, programming conversations are expansive, and we're moving forward with intention in this model. I feel so fortunate to have found this loving, challenging, and artistically thrilling place to stretch these last four years. It is the best time for someone to step in and help guide the next few years. I think they'll have fun!"

Eyelevel is currently seeking applications for the position of Artistic Director. Those who want to throw their hat into the ring are encouraged to apply before the deadline of Friday, August 11. Full job details here.

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Wednesday, March 29, 2017

The Laundry Room Gallery tides you over

Posted By on Wed, Mar 29, 2017 at 3:49 PM

Lucy Marrion Pauker's tapestry work - SUBMITTED
  • Lucy Marrion Pauker's tapestry work
  • submitted

The Laundry Room Gallery is a breath of dryer-fresh air—a small previously unused space, thoughtfully curated, is transformed into a community gathering hub. Featuring a three-day gallery pop up in the new space, located beside the Cochran Bay laundry room at King's College (6350 Coburg Road), and a closing reception April 8 hosted by Emily Lawrence and Kate Walchuk—complete with dryer lint grey cotton candy—you really ought to give this place a spin. We asked some crucial questions about the gallery and organizers Greta Hamilton, Klara Ingersoll, Emily Lawrence answered.

Q: How did you come up with this idea? Did you run into any static from the school about using the space?

A: The idea for the Laundry Room Gallery was born from hanging out a lot in the common space next to the laundry machines. The gallery itself is technically right beside the laundry room, in this sort of limbo space with a sofa and a vending machine. It’s kind of a time vacuum in there, like one of those 10 hour still videos on Youtube, the ones where you can only tell the picture is moving if you stare at the bottom corner of the frame and realize a singular blade of grass is moving in the wind. Anyway, that’s what it feels like to sit in the laundry room, so it only seemed natural to start a gallery in there.

The King’s community has been instrumental in the establishment of the Laundry Room Gallery. The President of King’s, Bill Lahey, donated $2000 from the King's Collegiate Fund. The fund is administered by the President to support initiatives that enhance student life, including those that recognize student innovation or improve the look and function of student spaces. This donation was put towards the renovation of the space by facilities. Facilities plywood backed the walls, painted them white, installed spotlights and added glass panels to the front door.

We also received a donation from the Residence fund that allows us to pay artist fees to every participating artist. Students have also helped with funding and material distribution. Paisley Conrad, a third year student and executive member of SNARC, wrote our funding request. The KSU approved the funding request at a council meeting, which covers installation and opening materials. The KSU also allowed us to use the printer on a modified schedule outside of normal printing hours, which really helped out during this busy time of the school year. And Jacob Baker-Kretzmar, a fourth year student and editor of The Arts Abstract, designed all of our posters.

Q: Who is involved? Have you done any curation before?

A: We collaborated on the curation of the Patchwork exhibition. We have both worked on multiple curatorial projects, including publications and exhibitions. Klara runs a biannual art magazine called Okay Mag that spotlights artists on the East Coast. The mag is currently in its third issue themed around radical love. Klara most recently curated an "Anti-Fascist Valentine's Day" art show and dance party at the Modulating Mansion in February that raised money for Indigenous resistance.

Greta worked as curatorial assistant at the Campbell River Art Gallery in BC, conducting research on Canadian contemporary art with a focus on feminist theory and digital narratives. Greta has curated many collaborative zine projects, founded the King’s zine society, and contributes to The Arts Abstract.

Emily Lawrence and Kate Walchuk will be hosting the closing reception (more info below).

Q: How did the call for art go? Who is showing their work? Did you get a lot of variety in the types of work people wanted to show?

A: We conducted an open call for submissions online through Facebook, as well as by word of mouth through the King’s and NSCAD community. It was a juried submission process. We also reached out to artists we were interested in working with. We had a working list of artists whose work fit our curatorial ambitions and the theme of the exhibition, which is “home.”

Our curatorial ambition was to prioritize femme artists and work that discusses contemporary interpretations of craft. We mostly sought out textiles and ceramics, as well as work that involves a labour intensive material practice. So we ended up with a few print series, drawings and photography. For this exhibition we really wanted to consider notions of labour, craft and our matriarchal lineages in a contemporary setting as a means of understanding “home.” The show is called Patchwork.
A list of participating artists: Shaya Ishaq, Camila Salcedo, Lucy Marrion Pauker, Celeste Cares, Emma Rath, Brianna Dunn, Georgia Sachs, Imogene Broberg-Hull, Klara Ingersoll, Amanda Marie, Sienna Maebe, Lucas McNeely, Gabriel Logan

The following week, Halifax artists Emily Lawrence and Kate Walchuk will also be doing a laundry-themed relational installation and dance party called Missing Sock Hop.

Q: Are you going to have an opening or closing reception?

A: The opening reception is Friday, March 31 from 4-7pm in the Cochran Bay Laundry Room. Juice Girls will be playing at 6pm. We will be stitching a patchwork quilt together with found and used fabrics. There will be free pizza and cake, and we will be selling artist made stickers and zines, as well as a zine with the exhibition statement and photos of the work.

The gallery will be open Saturday to Sunday April 1 and 2 from 10-4pm for viewing. The exhibition will be coming down after the weekend, so it is only a three day pop-up.

On Saturday April 8 at 8pm, the closing reception and project fundraiser will take the form of a rock n’ roll, multisensory dance party hosted by Emily Lawrence and Kate Walchuk. Missing Sock Hop will feature bunting made from thrifted underwear, cotton candy tinted grey to resemble dryer lint, and the distinctively soapy Thrills gum. All proceeds will go back into the project and artist fees ($5 cover).

Q: Do you aim to keep this going throughout the year?

A: Yes. The Laundry Room Gallery will now be used on an ongoing basis for curatorial projects. We’d like to host art making sessions, more structured art/craft workshops and facilitate discussions for our community around art accessibility. We’d like to develop this space into a multi-purpose room for folks who are interested in furthering the values of what this show represents, that is, considering the history of femme labour, considering our familial lineages, and collaborating through material practices to consider our collective material record.

Q: Why do you think galleries in unorthodox places are important?

A: Emily and Kate comment on their project Missing Sock Hop and the use of this unorthodox venue: “Missing Sock Hop was conceived as a relational artwork specific to the site of a laundromat, this project is celebration of a utilitarian, often gendered work space, as well as the profound ability of music and dance to bring together disparate communities. Missing Sock Hop is a response to the decline of traditional dance halls and the growing number of unaffordable, inaccessible gathering spaces in our gentrifying Canadian cities. Our experience hosting events and interest in social practice has led us to consider the potential of ‘alternative venues’, which can be temporarily transformed into vibrant spaces.”

Ceramic basketballs by Lucy Marrion Pauker - SUBMITTED
  • Ceramic basketballs by Lucy Marrion Pauker
  • submitted

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Tuesday, March 29, 2016

Casting call: Star Wars fan film seeks actors in Halifax galaxy

Posted By on Tue, Mar 29, 2016 at 3:06 PM

  • Grzegorz Domaradzki Gabz

Calling all defenders of a galaxy far, far away: Halifax director David Connellan is looking for several actors to fill various roles for a locally shot Star Wars fan film at an open casting session on Saturday, April 2, at the Sobeys Community Room (2651 Windsor Street, 2pm-6pm). 

"The movie will be a five minute-long short that will be entered in the 2016 Official Star Wars Fan Film Awards," explains Connellan, . "As this is a fan film using copy-written characters and settings, it's not a commercial film. It's an all-volunteer project." The synopsis? "The story is set after the battle of Endor which takes place at the end of Return of The Jedi. The film is based around Princess Leia and her emotional distress of dealing with being the leader during a long and bloody civil war, and her relationships, especially with Han Solo. This will be a dramatic piece." 

As such, Connellan is seeking non-union actors for the following roles:

Princess Leia, female 22-29 lead actor
Han Solo, male 33- 40
Voice Over Actors
Admeral Ackbar
Darth Vader
Jaba the Hutt
Secondary actors and extras
Various rebel troops and offices
Stormtroopers and Imperials

You can book an audition by emailing or visiting the Halifax Star Wars Fan Film Facebook. Filming will begin in Halifax this spring. Use the force.


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Tuesday, January 19, 2016

Check out this year's winning Film 5 projects

Posted By on Tue, Jan 19, 2016 at 5:40 PM

Nicole Holland (director) & Jess Smallwood (producer), participants in 2016's Film 5 program - JESS SMALLWOOD
  • Nicole Holland (director) & Jess Smallwood (producer), participants in 2016's Film 5 program
  • Jess Smallwood

Last week, the Atlantic Filmmakers Cooperative aka AFCOOP announced the 2016 winners of the Film 5 program in which aspiring and emerging directors, producers and crew produce a five-minute film from script to budget to star-studded premiere. With two phases — Program Development (Phase I) and Production (Phase II) — participants experience the full range of filmmaking on a manageable scale to gain the skills to produce films on a larger scale. Hollywood, baby. Since 1994, Film 5 has provided training to hundreds of film professionals. Every year, four teams are selected by a jury to receive training, mentorship and over $30,000 in cash and services to produce a five-minute film. Grads of the program include Jason Eisener, Andrea Dorfman, Andy BushJay Dahl, Ashley MacKenzieThom Fitzgerald and many more

Despite an earlier potential loss of funding to the program because of the dissolution of Film & Creative Industries, along with the devastating impact of the Liberal changes to the Nova Scotia Film Tax Credit on the entire film industry, the cameras will roll. This year's projects:

Black Guitar
Director/writer: Devin Cesario
Producer: Todd Fraser
Synopsis: A weathered troubadour in the midst of a tailspin travels through a dark night of debauchery and self-destruction that can only end in one of two ways: death or death by epiphany.

Charlie's P.O.C. 
Director/writer: Kevin Hartford
Producer: Thom Payne
Synopsis: A year and a half after their breakup, Charlie returns to the apartment he used to share with his ex to pick up some things he left behind, but after a surprise encounter with his ex's mother, Charlie realizes he may have left more behind than he originally thought.

Tipping Point
Director/writer: Stephanie Young
Producer: Jack Ivany
A painfully shy barista is crushing on a customer who turns out to be a not-so-shy burlesque performer, and must overcome their own self-doubt to tell her how they really feel.

Don't Be Late
Director/writer: Nicole Holland
Producer: Jessica Smallwood
Brandy prepares to go out on a first date with a man she met on the Internet. She is severely delayed when she hits a strange, otherwordly creature with her car. Maybe it's for the best.

Nicole Holland location scouting for 'Don't Be Late' - JESS SMALLWOOD
  • Nicole Holland location scouting for 'Don't Be Late'
  • Jess Smallwood

"Nicole and I decided to apply to the FILM 5 program last September," says producer Jessica Smallwood, a film fanatic and co-organizer of film series Thrillema. "When I read the script for Don't Be Late, we started collaborating on ideas and it slowly evolved into something more like a horror or subtle genre film. We plan on showcasing rural Nova Scotia in an unconventional way through the horror genre and we hope to shoot in Prospect, where Nicole grew up." Heck yes.

Smallwood continues: "As women who love genre film, we are excited at the opportunity to create a relatable female lead who isn't portrayed as a victim, an accessory, or is over-sexualized. In a genre predominantly dominated by men, it's exciting to be able to contribute and show our individual points of view. We are excited about being mentored in this program by some of the best filmmakers in the industry and look forward to applying to festivals around the world." 

"This is an important year for the FILM 5 program," says Martha Cooley, AFCOOP's Executive Director. "In the wake of the changes to our industry, providing opportunities for emerging Nova Scotia talent is more important than ever. FILM 5 is grateful for the ongoing support of the film community and we look forward to this year's projects." So do we! Congratulations, Film 5'ers.

FILM 5 20th Anniversary Highlight Reel from AFCOOP on Vimeo.

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Thursday, January 14, 2016

Art Notes: Khyber Meeting and Show Openings

Posted By on Thu, Jan 14, 2016 at 9:00 AM

Hank Bull: Connexion - SMU ART GALLERY
  • Hank Bull: Connexion
  • SMU Art Gallery

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Curated by Joni Low and Pat Wendt, the Saint Mary's University Art Gallery (923 Robie Street) has a full art-weekend planned for you. You're invited to the following events: on Friday at 7pm, Vancouver-based artist Hank Bull speaks on his sculptural installation that aligns "artwork with communication technologies, costumes and documents," before the official opening at 8pm (free). On Saturday at 3pm (free), artist and NSCAD faculty Bruce Barber will give a talk before Hank and Arthur Bull perform "blues, roots, hokum and storytelling" at The Company House (2202 Gottingen Street) at 7pm (by donation). In our age of technology, this will illuminate.  

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Tonight (Thursday) at 7pm at Halifax North Memorial Library (2285 Gottingen Street), the Friends of the Khyber (FoK) will host a public meeting to present "a plan submitted to regional council for a revitalized Khyber Building. Over the past year, FoK and The Khyber Centre for the Arts have worked with respected and knowledgeable arts partners, architects, engineers and real estate specialists to develop a viable plan to save the Khyber Building at 1588 Barrington Street. Regional Council will consider the plan within the coming weeks." Managing friends of the Khyber in attendance: Joel Plaskett, Robin Metcalf and Emily Davidson. 

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On Friday at Hermes Gallery (5682 North Street) at 5:30pm, Halifax artists Ian Funke-McKay and Dave LeRue showdown with an exhibition that features their works in competition. Both "find common ground in fields of colour, sport and tournament-style decoration." On Sunday, they'll share a Team Talk at 2:30pm at the Gallery. Let's get ready to rumble!

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Extremely old Moon photo - SCOTT BLACKBURN
  • Extremely old Moon photo
  • Scott Blackburn


On Saturday night at The Khyber (1880 Hollis Street, 10pm, $8), there's a musical fundraiser — fun-raiser! — featuring Halifax's Moon, DJ Goldilocks (Cat Abreu), DJ Fancy Pants (Jess Ross), Horse Heaven (Evan Cardwell) and Nigel Chapman (Nap Eyes). All proceeds will go towards a new SUB-WOOFER for the music and art space because it needs one "like WOAH!" and all of those bands and artists totally fucking rock. It'll help the Khyber keep putting on shows!

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In Print This Week

Vol 28, No 3
November 12, 2020

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