Curated by Jon Davies, the Transmission Shorts Program examines experimental film/video works from the past decade that reimagine the possibility of communication, exchange, and intimacy across generational lines. Works consider the erotics of loss and of missing out as well as complicated connections with parental figures—real or fantasized. Others offer models for how to map inaccessible spaces, unbury repressed histories, and how to disappear. Together this collection of shorts exhibit what scholar Carolyn Dinshaw calls a “queer desire for history,” using moving images to viscerally touch across time and its ruptures. Total runtime: 75 min.
Program Information
Amina Ross, Man’s Country, 2021, digital, 8 min.
Mariah Garnett, Encounters I May Or May Not Have Had With Peter Berlin, 2012, 16mm, 14 min.
Theo Jean Cuthand, The Lost Art of the Future, 2022, digital, 4 min.
Jamie Ross, Dad Can Dance, 2022, digital, 29 min.
Pauline Boudry / Renate Lorenz, Telepathic Improvisation, 2017, digital, 20 min., Ruben/Bentson Moving Image Collection
Bios
Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often starting with a song, a picture, a film, or a score from the near past. Their performers are choreographers, artists, and musicians with whom they delve into long-term conversations on the conditions of performance, the violent history of visibility, and the pathologization of bodies while also exploring companionship, glamor, and resistance. Telepathic Improvisation was commissioned by the Walker Art Center and EMPAC / Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy. The work was produced in partnership with the Goethe-Institut, New York, and generously supported by the Bentson Foundation and ProHelvetia.
Theo Jean Cuthand (Little Pine First Nation) creates short experimental narrative videos and films about sexuality, madness, Queer identity and love, and Indigeneity, which have screened in festivals internationally. His work has been exhibited at the National Gallery, Ottawa; Museum of Modern Art, New York; and the Walker Art Center. In 2020 he completed “A Bipolar Journey,” a video game based on his experience learning and dealing with his bipolar disorder. He is a Whitney Biennial 2019 artist and has made 32 films and counting. He is a trans man who uses he/him pronouns. Cuthand is of Plains Cree and Scots descent and resides in Toronto.
Jon Davies is a Montreal-born curator and writer. He holds a PhD in art history from Stanford University for his dissertation The Fountain: Art, Sex and Queer Pedagogy in San Francisco, 1945–1995. Davies was a member of the Pleasure Dome programming collective before working as an assistant curator at the Power Plant Contemporary Art Gallery, Toronto, and associate curator at Oakville Galleries. Davies has curated film programs for venues including the Ann Arbor Film Festival, Aurora Festival, Gallery TPW, Images Festival, Inside Out Film Festival, and Vtape. His book about the film Trash by Paul Morrissey was published by Arsenal Pulp Press in 2009 and his anthology More Voice-Over: Colin Campbell Writings was published by Concordia University Press in 2021. His writing on film, video, and contemporary art has been published in many anthologies, catalogues, journals, and periodicals, including C Magazine, Canadian Art, Criticism, Fillip, Frieze, GLQ, and No More Potlucks.
Mariah Garnett creates films and installations that deconstruct the conventional hierarchy between filmmaker and subject, a mode that has historically been the purview of directors who possess economic, racial, and gender privilege. Garnett is a 2019 Guggenheim Fellow in Film/Video and holds an MFA from Calarts and a BA from Brown University. Recent solo exhibitions include Contemporary Arts Museum, Houston; Commonwealth + Council; a 10 year survey exhibition at the LA Municipal Art Gallery; and Sundance Film Festival. Her work has also been featured in the New York Times, the New Yorker, Art Forum, and Bomb, among others.
Amina Ross is an artist, educator, and lifelong learner. Their artistic endeavors exist within a dynamic intersection of video art and sculpture, serving as a platform to explore themes of feeling, embodied knowledge, and intimacy as vital survival technologies, particularly for Black, queer, trans, and feminine-spectrum individuals. In 2023, Ross was featured at the 68th annual Flaherty Film Seminar: Queer World Mending. They are the 2023–2024 Estelle Lebowitz Artist in Residence at Douglass College, Rutgers University. They’ve taught, completed residencies, and exhibited work internationally. Ross lives and works in Brooklyn, New York.
Jamie Ross is a visual artist, filmmaker, city gardener, and educator. In their films, radical faerie elders help young people memorize the chants sung in Queer street battles with the police, incarcerated pagan men regale their chaplain with stories of intimate encounters with the divine, and the flow of autumnal viscera and liquids frames a story of a sheep farm run by witches. Ross’s video works have been screened and installed in exhibitions worldwide. They have received grants and awards from the Canada Council for the Arts, Les offices jeunesse internationaux du Québec, the Conseil des arts et lettres du Québec, and the Fulbright Program.
Accessibility
This film program has open captions.
Assistive Technology
Assistive listening devices (ALDs) are available at the Main Lobby desk for most film screenings. ALDs play the film’s audio track through headphones. Each side has a separate and adjustable volume setting. Call 612-375-7564 or email access@walkerart.org for the availability of assistive technology at this event.
Seating
For seating that doesn’t require the use of stairs, enter the Cinema through the left-side door. Our accessible seating is situated at the back of the house, with clear views of the screen and stage. The area is elevated slightly above the tiered seating and can accommodate two wheelchairs. As space is limited, reservations are encouraged. Please call 612-375-7564 or email access@walkerart.org for availability.
Restrooms
Accessible restrooms near the Cinema are located in two areas. There are two all-gender, single-user restrooms with manual doors to the left of the restaurant, across from the Cinema. There are gendered, multi-stall restrooms behind the Main Lobby desk, accessible by elevator (level LL).
Parking
Vineland Place parking meters provide four-hour options for vehicles with disability license plates or certificates.
Accessible parking in the underground ramp is designated near the elevator and entrance. To get to the Cinema from the parking ramp, follow the P1 (level 1) hallway (look for the large “WALKER” sign) into the Main Lobby.
Services such as Metro Mobility should be instructed to drop off and pick up passengers at 725 Vineland Place. There is a disability transfer zone by the main entrance on Vineland Place.
Questions?
For information or to request accommodations, call 612-375-7564 or email access@walkerart.org. For more information about accessibility at the Walker, visit our Access page.
Contact the box office at 612-375-7600 for day of event questions.
Before Your Visit
Paid underground parking is available on-site. Enter the ramp on Vineland Place at Bryant Avenue. Biking or taking Metro Transit? Learn more.
Visiting the galleries? Enhance your experience by joining a public tour or with self-guided resources accessible for free on Bloomberg Connects.
Personal photography is permitted throughout the Walker and the Minneapolis Sculpture Garden, but please turn off the flash when visiting the galleries.
To help us promote future events and programs, this event may be photographed or recorded. By attending, you consent to appear in this documentation and its future use by the museum. Please let staff know upon arrival if you prefer not to be photographed.
)
)
)
)
)