Current and Upcoming

VIDEO OF THE MONTH: Shooting Stars Remind Me of Eavesdroppers, by Maha Maamoun

VIDEO OF THE MONTH: Shooting Stars Remind Me of Eavesdroppers, by Maha Maamoun

For April’s Video of the Month, we invited our Young Canada Works Intern, Fiona Enright, to select something she had seen from the hundreds of videos she has watched and catalogued over the past several months. Here’s what Fiona has to say about her choice:

“Poetic and sensorially rich, Maha Maamoun’s Shooting Stars Remind Me of Eavesdroppers transports viewers to a resplendent day in Cairo’s al-Azhar Park. Amidst the ambient hum of urban life, the rustle of wind through greenery, and the careful movements of egrets, a couple navigates intimacy and truth through a conversation on eavesdropping. The video opens with a cosmic allegory of ever-watchful stars, evoking the transgressive and voyeuristic dimensions of listening in on others. It implicates the viewer in the very transgression it contemplates, raising the question of whether we might be punished by the cosmos for our own eavesdropping.”

 

 

Shooting Starts Remind Me of Eavesdroppers
Maha Maamoun (Egypt, 2013, 4:45, Arabic w/English subtitles)

Maha Maamoun is an Egyptian video artist, photographer, curator and publisher based in Cairo. Her videos and photographs often address the form and function of images that are found in mainstream culture, acting as a lens through which we see familiar images in novel and insightful ways. She makes subtle interventions in photographic material that she captures on camera or borrows from various sources: through an unusual crop, a seamless edit, an odd juxtaposition, an incongruent photomontage, a staged remake, Maamoun shakes up our expectations and toys with our perceptions.

With a keen eye for the absurd and a dark sense of humor, Maamoun’s work pulls on emotional, psychological and cerebral strings. She has been known to reflect on generic and overused national symbols and the ways in which they have been appropriated to construct personal narratives and collective histories. Since 2007, she has completed a succession of projects that take as their starting point the Pyramids of Giza as a visual and literary image

KYOKO MICHISHITA in April: Vtape meets e-flux Film Staff Picks!

KYOKO MICHISHITA in April: Vtape meets e-flux Film Staff Picks!

Vtape is excited to announce the first in a projected cycle of occasional collaborations with New York-based e-flux, a powerhouse of critical writing, curatorial projects, and online access. For this first presentation, e-flux Staff Picks makes three very different works by Japanese filmmaker and video artist, writer, translator, and feminist icon Kyoko Michishita available for the month of April!

See the intimate personal documentary Being Women in Japan Series: Liberation Within My Family (1974); Video Portraits – Men: Shuntarō Tanikawa (1982), one of a series of brief, witty portraits of male cultural figures; and the monumental 16mm film Cherry Blossoms (1975), which draws out a minatory aspect in the traditional springtime sight of cherry trees in bloom, with music by Toshi Ichiyanagi.

 

Image credit (home page): Being Women in Japan Series: Liberation Within My Family, by Kyoko Michishita (1974)

 

THE CURATORIAL INCUBATOR: Call for Proposals

THE CURATORIAL INCUBATOR: Call for Proposals

THE CURATORIAL INCUBATOR, V. 20: LOST HISTORIES, FOUND FUTURES

If the brief but crowded history of video technology teaches us anything, it’s that for every future that’s realized, a dozen more never come to pass. The history of video art is similarly full of roads not taken: technical experiments ventured once and not pursued again, social movements that imagined alternatives now forgotten or suppressed, documents of physical and social spaces now missing from contemporary life. What happens, in retrospect, appears inevitable, but didn’t seem so at the time. On the other hand, what really has come to pass has often been unforeseen.

From Vtape’s vast and varied collection, we want to look to the past to help imagine what a different future might look like. For Volume 20 of the Curatorial Incubator, we invite prospective curators to engage with either/both the past and future of video art, to search for alternatives that may have been neglected or forgotten, to draw new lineages, and to scan the horizons of contemporary work for viable futures.

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Participants in The Curatorial Incubator will develop their media-arts curating skills through a program of workshops conducted by arts professionals; undertake research using the rich, specialized resources provided by Vtape; engage in intensive viewing of video works from Vtape’s catalogue; and write an essay to accompany their final program, with editorial assistance from experienced writers. The resulting programs will be presented by Vtape in the fall of 2026.

If your proposal is selected, you will receive fees for the curating and writing, and will work within a realistic budget to cover screening fees for your program.

The workshop and research phase will begin in May and should be complete by early August. The writing and editing phase will begin in August and be complete by mid-October. Presentation will take place in November-December.

Deadline for proposals: April 20th, 2026

Proposals must include:

  1. An up-to-date CV; applicants should have limited or no professional curatorial experience (i.e., outside of an educational context).
  2. A statement of intention (no more than one page). This should demonstrate your interest in media art and why you would like to participate in the Curatorial Incubator. The statement of intention should focus on your research area rather than providing a list of works to be screened (though if you wish to include specific titles as examples of the sort of work you are interested in, that’s okay). The point of the program is to provide time, resources, and support for you to explore what’s available and discover works you don’t already know about.
  3. One or more examples of critical writing you have done (published or unpublished; works written in an academic context are fine).
  4. Examples of any curatorial or organizational work you have done.

Participants will not be held to their original proposals, as ideas are expected to shift during the research and viewing processes. However, it is important that you communicate a clear idea of your starting point to the jury, so that they can understand what kind of work you will be looking for.

Direct applications by email or by post to:

Curatorial Incubator Application
401 Richmond St. West, suite 452
Toronto, ON M5V 3A8
admin@vtape.org

If submitting by email, please put “Curatorial Incubator Application” in the subject line of your message.

 

Image credit (home page): The Fourth Corner of the World, by Randy & Berenicci (1992)

RETURN OF THE BRIGHT NIGHT, by Sophie Sabet

RETURN OF THE BRIGHT NIGHT, by Sophie Sabet

April 9 – 25, 2026
Bachir/Yerex Presentation Space, 4th floor, 401 Richmond St. West
Tuesday, Wednesday & Saturday, 12:00 p.m. – 5:00 p.m.
Thursday & Friday, 12:00 p.m. – 6:00 p.m.

Opening reception: April 11, 11:00 a.m. – 12:30 p.m.

 

Return of The Bright Night
Sophie Sabet (Canada, 2025, digital video, 10:00, Farsi w/English subtitles)

Curated by Jaclyn Quaresma

Revisiting a moment of political and familial rupture to investigate how structures of power in political crises cause residual alienation across bodies, temporalities, and geographies. Return of the Bright Night mines the gaps and fissures within memories and migration, tracing the past in order to negotiate the present.

Please join us for a reception followed by a tour with artist Sophie Sabet on Saturday, April 11, 2026, 11:00 a.m. – 12:30 p.m.

Presented in partnership with the Images Festival