Board of Directors

Vtape’s Board of Directors works by a consensus model to make decisions, and policy discussions are undertaken on a yearly basis with full Board participation.

Given the range of artists we represent in our distribution collection, and the importance of diversity at the Board level, we maintain representation on our Board by at least one member from outside of Toronto, a Francophone member, an Aboriginal member and one or more artists of colour. In addition, to achieve a true reflection of the media arts community, we maintain representation on our Board from emerging, mid-career and established video and media artists as well as from critics and curators specializing in video and media art exhibition.

 

Current Board of Directors

Sharlene Bamboat

Andrea Fatona
Richard Fung (Treasurer)
Jean Gagnon
John Greyson (President)
Nelson Henricks (Secretary)
Lisa Jackson

Michelle Jacques
Serena Lee

 

 

Sharlene Bamboat is a Toronto-based artist, working predominantly in film, video and performance. Shaped by a queer framework, her work calls into question narratives of diaspora, citizenship and nation building. Through a re-examination of history, Bamboat elicits tongue-in-cheek performative videos and installations to question our contemporary moment marked by colonialism and neoliberalism. Bamboat regularly works in collaboration with artists and academics. Her most regular collaborative partner is artist Alexis Mitchell, and together they form Bambitchell. Bamboat’s work has been exhibited internationally. She is on the programming committee of the Pleasure Dome Film & Video Collective, sits on the board of VTape, and is the Artistic Director of SAVAC (South Asian Visual Arts Centre).

 

Richard Fung is a Toronto-based videomaker and writer. His tapes, which explore the intersection of race, sexuality and representation, have been widely screened and collected internationally, and his essays on cultural policy and politics have been published in many journals and anthologies. Richard frequently programs film and video, and has served on the boards and committees of many organizations. He has lectured and taught across North America and is the recipient of many awards, including Rockefeller and McKnight Foundation fellowships; The 2000 Margo Bindhardt Award; and most recently The Bell Canada in Video Art. Recent articles include: “Chinese (Dis)connections: Documentary Realities and Diasporic Imperative,” “Uncompromising Positions: Antiracism, Anticensorship and the Visual Arts,” and “Colouring the Screen: Four strategies in Anti-racist Film and Video.” Richard teaches at the Ontario College of Art & Design University.

 

Jean Gagnon is currently Interim Director of Collections, Cinémathèque québécoise. From March 2008 until September 2009, he was Director/curator of the SBC Gallery of Contemporary Art. Since leaving SBC, he has been an independent curator, writer and critic. He holds a PhD in Études et pratiques des arts from the Université du Québec à Montréal (UQAM), and is also Associate Professor at the School of Media at UQAM. Mr. Gagnon was Executive Director of the Daniel Langlois Foundation for Art, Science and Technology from 1998 to 2008. Among his many other roles at the foundation, Mr. Gagnon produced and directed the prototyping of Digital Snow, a DVD-ROM showcasing the life’s work of Michael Snow, and curated the exhibition The Body of the Line: Eisenstein’s Drawings (1999-2000). He also headed up the DOCAM Research Alliance (Documentation and Conservation of the Media Arts Heritage). Finally, he was the curator for Communicating Vessels: New Technologies and Contemporary Art (2007), an exhibition commemorating the foundation’s 10 years, which was displayed at the Montreal Museum of Fine Arts. Before joining the Daniel Langlois Foundation, from 1991 to 1998, Mr. Gagnon was associate curator of media arts for the National Gallery of Canada (NGC) in Ottawa. In this role, he was responsible for the exhibition program for media arts – encompassing film, video and new media – and the acquisition of works for the museum’s contemporary and media art collections, as well as for media art research and publications. As head of the National Collection of Video Art, Mr. Gagnon sat on the steering committee of the National Archives of Canada for the preservation of Canadian audiovisual heritage. Between 1988 and 1991, Mr. Gagnon held the position of Media Arts Officer and Acting Chief of the Canada Council for the Arts’ Media Section. He has also served on numerous Boards of Directors, and has published widely on subjects related to the media arts.

 

John Greyson (President) is a Toronto film/video artist whose shorts, features and installations include: Fig Trees (2009, Best Documentary Teddy, Berlin Film Festival; Best Canadian Feature, Inside Out Festival); Proteus (2003, Best Film, Diversity Award, Barcelona Film Festival; Best Actor, Sithenghi Film Festival); The Law of Enclosures (2000, Best Actor Genie); Lilies (1996, Best Film Genie; Best Film at festivals in Montreal, Johannesburg, Los Angeles, San Francisco); Un©ut (1997, Honourable Mention, Berlin Film Festival); Zero Patience (1993, Best Canadian Film, Sudbury Film Festival); The Making of Monsters (1991, Best Canadian Short, Toronto Film Festival; Best Short Film Teddy, Berlin Film Festival); and Urinal (1988, Best Feature Teddy, Berlin Film Festival). He co-edited Queer Looks, a critical anthology on gay/lesbian film and video (Routledge, 1993), is the author of Urinal and Other Stories (Power Plant/Art Metropole, 1993), and has published essays and artist’s pieces in Alphabet City, Public, FUSE, and twelve critical anthologies. An Associate Professor in film production at York University, he was awarded the Toronto Arts Award for Film/Video (2000), and the Bell Canada Award in Video Art (2007).

 

Nelson Henricks is a Canadian artist born in Bow Island, Alberta. From 1982 to 1986 he studied drawing at the Alberta College of Art and Design, where he received a diploma with distinction. From 1986 to 1988 he was assistant coordinator at Off Centre Centre, an artist-run centre. The gallery moved in 1988, changing its name to The New Gallery, where he continued working as programming coordinator. In 1991, he decided to move on, and after a brief residency at the Banff Centre, relocated to Montréal, where he took up studies at Concordia University. After an initial focus in film studies, he moved into the film production stream, eventually graduating with a BFA in Cinema in 1994. Immediately after completing his studies, Henricks began to teach Video History and Theory at Concordia. Since that time, he has continued to teach studio art, video production and media art history and theory at Concordia, McGill University, University of Toronto, UQAM, and Université de Montréal. Henricks currently lives in Montréal. From 1985 on, he has produced more than 30 videos and films. His works have been presented at galleries, museums and festival worldwide, and are in the collections of the Museum of Modern Art (NYC); The National Gallery of Canada (Ottawa); the National Museum of Québec; The Montréal Museum of Fine Arts; and the Museo des bellas artes Buenos Aires (Argentina). He has produced ten multi-channel video installations, some of which incorporate photography and sculptural elements. His writings have been published in the magazines Fuse, Public and Coil, and in the anthologies So, To Speak, Lux and Caught in the Act. With Steve Reinke, Henricks co-edited an anthology of artists’ video scripts entitled By the Skin of Their Tongues. In 2002, Henricks was the recipient of the Bell Canada Award in Video Art, and in 2005 he received the Board of Governors’ Alumni Award of Excellence from the Alberta College of Art and Design. A mid-career retrospective of his work was presented at the Leonard and Bina Ellen Gallery in Montréal in 2010.

 

Michelle Jacques is a curator and writer based in Victoria, where she currently holds the position of Senior Curator at the Art Gallery of Greater Victoria. Her past curatorial projects while positioned at the AGO have included At Work (2010); Sarah Anne Johnson: House on Fire (2009), Luis Jacob: Habitat (2005-06); Jennifer Steinkamp: Loom (2005); and Present Tense: Kori Newkirk (2005). She has also curated the first four projects in the AGO series Toronto Now, which launched in spring 2010. Independent projects have included At the Corner of Time and Place (Nuit Blanche Zone B, Toronto, 2007); Digitalized: Inside the Electronic Dream (Gallery TPW, 2000); and here, a group exhibition of local emerging artists (Robert Birch Gallery, 1999). Recent writings include “And the winner is…,” an exploration of Camille Turner’s Miss Canadiana performance in Byproduct: On the Excess of Embedded Art Practices (YYZ Books, 2010, forthcoming); “The Artist-run Centre as Tactical Training Unit,” in decentre: concerning artist-run culture (YYZ Books, 2008); and “Art and Institutions: An interview with Janna Graham and Anthony Kiendl,” in the September 2007 issue of Fuse.

 

 

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