E v i d e n c e 


On March 23rd at the Blinding Light in Vancouver 
8:30 PM, $5 admission
(+ $3 membership )
a one-time only performance of

Evidence is the most recent text by poet and visual artist Mike Schertzer

In collaboration with Vancouver video artist Joel Snowden, Mike Schertzer
has created a series of slide-collages from found sources and appropriated film trailers.
The images act as elaborations on themes and obsessions that comprise 
Schertzer's most recent text, Evidence
Those familiar with Schertzer's work will find many labyrinths in which 
they can comfortably lose themselves. For those who are new to his work, 
Evidence is sure unbuckle whatever has been restrained!

In this performance Mike Schertzer will read excerpts from his text Evidence
while video images assembled by Vancouver video artist Joel Snowden 
are projected behind him. 
These images are composed of a set of slide-collages that
Mike has assembled from film trailers, found slides, 
and reproductions of his visual art. 
As well, Joel has created some video interjections and has incorporated
the voice of Zoya Harris and the very appropriate (and appropriated!) 
music from Unwound, Low, and Burning Airlines. 


   This event is basically a performance of a text but was designed to be
much more than a simple reading. As a writer, I have always found readings to be
deficient renderings of the world and the energy delimited by the text.
I have finally come to the conclusion that the fact that I always find readings 
boring and banal is because they are. 

  Reading is not boring or banal, but the public performance of such an act is. 

  Therefore, I have created a presentation which hopefully presents the complexity 
and the peculiar energy of the text in a clear and definitive manner. Concerning the
aesthetics of the visual side of the presentation, I have always resisted attempts at
hyper-technologizing my art practice.This means that I am interested in leaving
traces of the creative act, stressing the artificial/constructed nature of any image.

Although it is true that the video was digitally edited, the source images were 
primarily slide collages which were glued together. These slides would make any
photographer cringe- they are scratched, covered in fingerprints (and whatever 

else was on the floor of my studio!), and have been stuck together in a very rough way. 
The slides were then videotaped and this live footage is what each 'still-image' is.
There is movement in each 'still' but it is very subtle.

   I must say, I always find a subversive thrill in taking the highly accomplished
photography found on Hollywood film trailers (photographs which took tens of thousands
of dollars if not more to create) and then scratching them, or bleaching them, or generally
messing them up.

It should be noted that my use of the products of popular (American) films 
does not represent any attempt at re-defining or re-working the lexicon of popular culture.
I have no idea what these films are or are about. I never go to see Hollywood movies.
I don't know who the stars are (other than perhaps their names).

I feel I am something of an anthropologist (or a child!) holding up artifacts before some
knowing public.

                                                                    - M.S.

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