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This sub-series consists of video components, computer programming components, source tapes and language dubs used in “from the Transit Bar” as well as a wealth of documentation reflecting the enormous undertaking of the project in all of its’ numerous exhibitions and iterations. Included is: correspondence, programming notes, construction diagrams, budgets and catalogues for both phase one “…from the Transit Bar” and phase two, an exhibition at the Art Gallery of York University in 1993.
The work is a six-channel videodisk installation initially made for six monitors. The piece is concerned with the notion of displacement that is as axiomatic as trust between strangers and bar disclosures. Fourteen narrators tell fragmented tales of their experiences of deracination, love, exile and the bar where they meet, and these are interwoven to become a collective telling. Initially taped for documenta IX (Kassel, Germany) in the year the Berlin Wall collapsed, the recounted experiences are fragmented through different languages, with voice-over in either Yiddish or Polish, and sub-titles in alternating English, French or German. An edition of the work (as an “artwork”) was purchased by the National Gallery of Canada.

Series scope to be completed at a later date

Series scope to be completed at a later date

Series scope to be completed at a later date

This sub-series consists of video components, masters, source tapes and resource material used in the piece “Cornelia Lumsden, Parts I and II” as well as textual and audio recordings. The premise for the piece is as follows: Part I – Her Room in Paris: Cornelia Lumsden is a little-known but brilliant Canadian writer who lived in Paris between the two world wars and wrote a controversial novel, The Alleged Grace of Fat People, in 1934. Her mysterious life and disappearance are recounted through the eyes of a friend, a rival, an expert and a CBC reporter, all played by Frenkel. Tim Whitten plays a member of the audience, the friend’s confidant and Lumsden’s lover. Each of their characters bears witness to a different truth regarding the writer’s work and fate; Part II – And Now the Truth (A Parenthesis): An unexpected confrontation during Frenkel’s research into the Cornelia Lumsden mystery occurs when Frenkel meets the “real” Lumsden. During a lecture Frenkel presents in Montreal on the subject of “Art and Artifice”, a woman in the audience claiming to be the missing novelist accosts her and demands to know “By what right are you using my name in your art?” The video explores the consequences of this surprising turn of events. Part I of this piece (as an “artwork”) has been purchased by the Agnes Etherington Art Centre, Kingston, Ontario.

Series scope to be completed at a later date

Series scope to be completed at a later date

Series scope to be completed at a later date

This sub-series is comprised of original footage, various dubs, stills and titles (on video) and masters of the piece. This work features a cycle of stories drawn from and recorded following a visit to the Western Front, an artist-run production centre in Vancouver. Each story forms a thread in a larger collective narrative

Series scope to be completed at a later date