The Power Plant

Caryn Coleman: Keep Moving

Wed Apr 02 2014

3:30 PM – 5:00 PM

$15 - click the button below or call the Harbourfront Centre Box Office at 416.973.4000 to purchase tickets.

FREE to Members of The Power Plant and Pleasure Dome - call 416.973.4926 or email Jen to reserve tickets. Please note that if the event is sold out, reserved Members' tickets that are not picked up by 7:20 PM will be released.

Studio Theatre, Harbourfront Centre

Inspired by the uninhabited, immersive environments created by artist Mike Nelson, curator Caryn Coleman presents a film program of works that use objects and architectural environments as tools to give voice and visibility to the unimaginable.Featuring Richard Lester's 1969 surrealist post-apocalyptic farce The Bed Sitting Room, preceded by a selection of contemporary artist short films: Aida Ruilova, 7 Things of Mollino (2006); Aldo Tambellini, Black Trip 2 (1962); and Elizabeth Price, User Group Disco (2009). Keep Moving: Objects and Architecture in the Apocalypse reflects how objects and space define the void that accompanies the end of all things. These films present pivotal ways in which to address the past, access the present and consider a possible future world. Coleman will introduce the films and lead a discussion following the screening.

Caryn Coleman is a New York-based curator and writer whose curatorial practice explores the intersection of cinema and visual art with a focus on the horror genre's influence on contemporary artists. As Senior Film Programmer at Nitehawk Cinema, she organizes the monthly ART SEEN and VICE Presents: The Film Foundation Screening Series, along with other programs such as Naughties: Reclaiming 1970s Porn Cinema (2014), The Works - Angelo Badalamenti (2014), The Works - Karen Black (2013), Shocking Representation (2013), A Nite to Dismember (2013), and Nitehawk Shorts Festival (2013).

Coleman is co-editor of the philosophy journal Incognitum Hactenus and her blog on horror and contemporary art, THE GIRL WHO KNEW TOO MUCH, received the 2012 Creative Capital/Warhol Foundation Art Writers Initiative grant. Recent curatorial projects include the artist film screenings The Art of Fear and Sparkmarker along with Empty Distances, Mark Moore Gallery (2013) and Film as a Social Art for the 2013 New York CAA conference. Her writings have appeared in the Brighton Photo Fringe 2011 catalogue, LUX, Rue Morgue, Fangoria,, the modernist, Network Awesome, ArtReview, Beautiful Decay and Los Angeles Weekly. She received her MFA in Curating, with distinction, from Goldsmiths College, London.