Survival of the Delirious

Andy Fabo and Michael Balser

1988, 15:00 minutes, colour, English


A collaboration between a video artist and an artist who works primarily in painting and drawing. This collaboration has produced a mix of narratives which receates the delirium of the AIDS epidemic. The Cree myth of a cannibalistic demon (Windigo) becomes a macabre metaphor for the virus and its psychological affects.

Rental and Sales

Single Screening Rental


Educational Purchase DVD (Bluray +$15)


5 Year Educational Streaming License, Digital File with DVD Circulation Copy


Gallery Exhibition and Installation, complete Media Request form for quote

Institutional Archival Acquisition, complete Media Request form for quote

Curators and programmers, please contact to receive a login and password to preview Vtape titles online.

Screening and exhibition rentals and archival acquisitions include public performance rights; educational purchases or licenses include rights for classroom screenings and library circulation. When placing an order the customer agrees to our general online terms and conditions. Payment (or a purchase order number) and a signed licensing agreement must be received before media can be shipped to the client.

Critical Writing

After AIDS: Michael Balser and Andy Fabo's "Stamina"
by Darien Taylor. Fuse, Apr. 1999, v. 23, no. 1.
Fabo, Balser to receive arts award for influence
by Val Ross. The Globe and Mail, Sept. 14, 1995.
The Wedding Album: Part 1 - The Ed Nasello Story
by Michael Balser. foreground, 1992.
The Video and Film by Artists series: Recent Acquisitions
by Susan Ditta. National Gallery of Canada, 1990.
Focus on Michael Balser
by Andrew J. Paterson. Canadian Art, Spring 1989, v. 6, no. 1.
Canadian Countercurrents: The Images '89 Festival
by Helen Lee. The Independent, Aug. 1989.
Images '89
by Donna Lypchuk. Cinema Canada, Sept. 1989.
Portrait of an artist in the age of AIDS
by John Bentley Mays. The Globe and Mail, May 6, 1989.
Recasting images of AIDS to counter media distortions
by Cameron Bailey. Now, Oct. 20, 1988, v. 8, no. 7.