Decadancx. 1,of 3 explores the interplay between memory and visual media through the use of found footage alongside films and videos from personal archives. By allowing the footage to serve as a catalyst for memories that may not be directly connected to the images themselves, the work delves into the fragmented and subjective nature of building histories. This experimental process retraces steps not to reconstruct a narrative but to uncover unanticipated outcomes, inviting a dialogue between the known and the unknown, the remembered and the non-imagined.
Jorge Lozano is an immigrant artist and filmmaker born in Colombia. He has been painting and filming, and making video, sound, performance and installation works since he came to Canada in 1971. He has made over 150 movies — works that live not in-between, but within cultures. His work is a reflection of his personal commitment to epistemological disobedience and the investigation of different ways of thinking, feeling and doing. Jorge’s fiction shorts have been screened at TIFF and Sundance, and internationally at many festivals, museums and galleries. He initiated the Crossing Borders Film Festival, the aluCine Toronto Latin Media Festival and converSalon in collaboration with Alexandra Gelis. Jorge is currently working on several feature-length deliriums, architectural installations and film fetish short forms in Toronto, Ontario, where he lives.
Programme:
Decadancx. 1,of 3 (2024, 60 mins.)
Decadancx. 1,of 3 (2024, 60 mins.)
TRT: 60 minutes
AD HOC aims to rethink what an experience of cinema can be. We seek to reposition historical landmarks and buried treasures within the on-going tradition of experimental and other non- commercial modes of filmmaking, drawing on work from Toronto, throughout Canada, and internationally. Within these parameters, we aspire to diversity in programming, as well as to multimedia and interdisciplinary screening events that bring together varied communities.
AD HOC = Stephen Broomer, Madi Piller, Jim Shedden, Bart Testa.
AD HOC would like to thank Alberto Zambenedetti, Denise Ing, Charlie Keil, Eyan Logan, Rob Trevisan, Thom Chan, Jarret Sorger, and the staff of Innis College and the Cinema Studies Institute.