NEW DATE! Yaniya Lee & Andrea Fatona in conversation on Instagram Live

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bessie and lucille, ariella tai, GIF, 2018

Vtape presents

A CONVERSATION BETWEEN YANIYA LEE AND ANDREA FATONA

Instagram Live (vtapevideoart).
Wednesday, September 23, 2020 @ 7pm EDT

As Yaniya Lee’s 8-title video program fractured horizon – a view from the body draws to a close, Yaniya will be in an Instagram Live conversation with writer, curator and educator Andrea Fatona, Wednesday, September 23, 2020 @ 7pm EDT (vtapevideoart).

Her essay, which is a continuation of her research into Black film and video practices, is entitled GLITCH AND FIGURE: representation and refusal in the videos of Buseje Bailey and areiella tai. It is now posted on the Vtape website @ https://www.vtape.org/publications

All the works in fractured horizon – a view from the body will be available for viewing on the Vtape website until September 25, 2020.

Deanna Bowen, sum of the parts: what can be named, 2010.
Cheryl Dunye. Janine, 1990.
Thirza Cuthand, Thirza Cuthand is an Indian Within the Meaning of the Indian Act, 2017.
ariella tai, she’s not gonna get more dead, 2018.
Hannah Black, My Bodies, 2014.
Buseje Bailey, Blood, 1992.
Richelle Bear Hat, In Her Care, 2017.
Donna James, Maigre Dog, 1990.


Politics and Black Aesthetics in the Vtape Holdings, A Brief Overview

“Our rights to desire, to freely inhabit our bodies and to exist without discrimination based on origin or (access to) assets have all been hard won, and often alongside the work and creative expression of artists. With the knowledge that artists reflect their time in the ways they record, perceive and create, during my residency at Vtape I have been studying the ethical and political struggles of the past through film, video and critical texts in the holdings. I have been searching with particular attention to the development of black film and video practices to locate where, and how, our efforts in art and activism have led to social change. I ask: what are the concerns of a new generation of emerging racialized artists? In what ways do their questions parallel those of the 70s, 80s and 90s?

“This project will undertake these larger questions through careful attention to several bodies of work and pieces of critical writing. I begin with personal interviews with filmmakers and activists represented in the holdings to give me truthful historical contexts with regards to aesthetics and political activism around race, sexuality, ability and class. In my initial search I reviewed the works of Buseje Bailey, Deanna Bowen, Carole Condé & Karl Beveridge, Richard Fung, John Greyson, Sylvia Hamilton and Claire Prieto. My critical writing touchstones are a 2007 FUSE roundtable between Andrea Fatona, Aruna Srivastava and Rinaldo Walcott on the “Ethno Politics of Identity,” a 1993 Cineaction survey article by Gabrielle Hezekiah about black Canadian women filmmakers and video artists, as well as a missive written by the incubator participants of the 2019 Images festival, in which these racialized emerging artists, art workers and curators express their vexation and disappointment with the organization’s efforts towards diversity and inclusion. I will consider the work and politics of the past generations through the lens of this callout: their ethical expectations will be the signposts I use to get a sense of what has changed or stayed the same. This research will culminate in a single substantial essay, a short screening program and a public conversation.” Yaniya Lee


Yaniya Lee (born in Montreal, QC; lives in Toronto, ON) is interested in community organizing and collective practice. As a writer and editor, she uses interdisciplinary research to question critical-reading practices and reconsider Canadian art histories. In 2019, she co-convened the Bodies Borders Fields symposium with curator Denise Ryner. Lee, a founding collective member of MICE Magazine and current member of the EMILIA-AMALIA Working Group, works as Features Editor at Canadian Art. She is the 2019-2020 Researcher-in-Residence at Vtape.

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www.vtape.org
Our offices are closed now due to Covid-19.

Vtape acknowledges the generous support of all of our funders including The Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council.

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