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Series scope to be completed at a later date

This sub-series consists of one copy and one master of the work “Ruling Fictions” which was part of the Vestiges of Empire group show at the Camden Arts Centre, London, curated by Zuleika Dobson.

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.

This project is a six channel work, each part being six minutes in length. The work is in both English and German with English sub-titles. The piece builds upon “…from the Transit Bar”and is often referred to as the final part in the Transit Bar cycle. It is comprised of conversations overheard in the Transit Bar which lead to an inquiry into the Kunstraub (art theft) policy of the Third Reich and the fate of missing artworks brought secretly to Hitler’s boyhood hometown, Linz, and destined for his proposed Fuehrermuseum there. The story unfolds through the juxtaposition of archival lists and photographs, bar talk, transcriptions of interrogations and the memories of people who witnessed the events. The sub-series is comprised of both audio-visual and textual components created in the process of meaking this video work.

The sub-series consists of files pertaining to the sequencing of this slide projector work. The work was a slide cycle of six projectors on 3 walls, 1973.

The sub-series consists of correspondence, notes, mock-ups, drafts, and photocopies of Lies & Truth catalogue, a mixed format exhibit put on at the Vancouver Art Gallery in 1978.

Mad for Bliss was a multi-disciplinary performance piece commissioned by Cultural Desires Projects. It took place at The Music Gallery, Toronto in 1989. The executive producer was Elizabeth Chitty.The sub-series contains both textual record around the creation of the work as well as videotapes of the performance.