尤物视频

Chelsea MacKay
REMnants of the Rave, 2025

The research for REMnants of the Rave is informed by postmodern theory, as presented by Linda Hutcheon, hauntology via Jacques Derrida and Mark Fisher, and critical explorations of sound and sociality in early electronic music, drawing on the work of DeForrest Brown Jr., Simon Reynolds, Paul C. Jasen, and McKenzie Wark. Using playful shifts of scale and aesthetics of nostalgia, the work asks history and futurity to converge in material form while employing irony to navigate this temporal dissonance.

Fantasia Field, 2025
Cement brick, eMac computer, edited found footage, moss. 3鈥� x 3鈥� x 3鈥�

Longing for the Future Promised by the Past, 2025
Found Mirror, silver enamel paint, chain, Nokia cell phones, acid etching. 3鈥� x 3.5鈥�

Birth of the Vibe, 2025
Plaster Ionic columns, plastic pacifiers, wall sconces, metal candelabras, black lighters, wax, printed quote, metal frame. 3鈥� x 5鈥�

Confessions from the Floor, 2025
Painted wooden church pew, original video shot on Canon Vixia. 6鈥� x 8鈥�

Klub, 2025
Laser cut mirrored acrylic, plywood, ceramic tiles, Schleich horses. 4鈥� x 4鈥� x 1鈥�

Mitsubishi Madonna, 2025
Antique wooden fire screen c1790, digital print on cotton rag paper, plaster cast pills. 4.3鈥� x 2.6鈥�

Credits

Graphic design layout: Kayla Pavelich
Video editing: Maximilian Brazeau
Technical Support: Avideh Saadatpajouh
Church Pew video participants: Kayla Pavelich, Maximilian Brazeau, Kimberly Stephenson, Rory Burns, Julia Robinson, Lindsay Gilroy. 

Biography

Chelsea MacKay (b.1980, Hornby Island; lives/works in Vancouver) is an artist of Anishinaabe and Scottish descent whose practice explores sculptural installation and video, often utilizing the screen as sculpture. Drawing on found objects that hold personal memory, alongside references to religious iconography and the Classical, Renaissance, and Baroque periods, the work is grounded in themes of nostalgia and shared experience. REMnants of the Rave engages with the aesthetics and affective residues of 1990s rave culture, colliding them with historical design languages to celebrate the subversive communities shaped by rave鈥檚 cultural impact.

Avideh Saadatpajouh

丕賱賵 丕賱賵 責 鈥� It Happened / Archive in Fragments, System in Ruins

鈥溫驰屭嗀з� 賲蹖丕丿責鈥�

This work begins from those broken transmissions: the moments when technology both connects and erases, when signals arrive distorted, when the system itself begins to show its ruins. What survives in these gaps is not silence, but a hum鈥攁n undercurrent of longing, observation, desire, and repetition. These works gather objects that act less as monuments and more as companions in conversation鈥攈olding gestures, gazes, and echoes of systems we are born into. They ask: how do we live inside the circuits we inherit? How do memory and media entwine with our bodies, our movements, our speech, and our desires?

This sculptural essay lingers in the unfinished, the glitch, the half-heard echo. It invites the audience to sense how ruins can still speak, and how fragments may reveal another way of telling history.

Born and raised in post-revolution Iran, Avideh Saadat Pajouh grew up among satellite dishes, copied VHS tapes, and the underground networks through which technology slipped into daily life. These early encounters with fragile transmissions and censored signals shaped her passion for tracing the ways bodies and technologies co-produce memory. As a new media artist and researcher, she brings these lived experiences into conversation with performance, sculpture, video and sound鈥攖reating art as both archive and activation.

CPU / Central Poetic Unit 
Mixed media sculpture 鈥� Foam, Metal, Copper wires, Copper Pipe, Magnifier, Vibration Generator, Exciter, Camera

Index of Desire
Kinetic sculpture 鈥� 3D printed object, Paper Clay, Wood, Electrical Gearbox, Metal Rod

Cultural Media Dealer / 丌賯丕 賮蹖賱賲蹖 
Suitcase with sound & speculative tapes 鈥� Base Shaker, Speaker, Exciter, 3.5鈥� Display, Raspberry Pi, Spherical Display, Foam, Printed Cardstock

FSU / Free Speech Unit
DIY microphone with Laser light 鈥� Mirror, Laser, Paper Cup, Electric Motor, Piezo, Battery

Gaze, Nazar, 賳丕馗乇
Dual video installation (eyes) 鈥� Wood, Spring, Raspberry Pi, 7鈥� and 5鈥� Display 鈥� Video by Taha Saraei

Signal Weaver & Motherboard Dreamer: Avideh Saadat Pajouh / 丌賵蹖丿賴 爻毓丕丿鬲 倬跇賵賴
Archive & Echo Catalyst: Samira Banihashemi / 爻賲蹖乇丕 亘賳蹖 賴丕卮賲蹖
Fabrication Alchemist: Ardeshir Bafkar / 丕乇丿卮蹖乇 亘丕賮讴丕乇
Guiding Satellites / Orbital Support: Judy Radul, Wladimiro Woyno, Laura Marks, Peter Dickinson
Thanks to: Shervin Zarkalam, Dave Biddle and Kaleb Thiessen

Signal Test/ Activation

On September 25th, the installation will come alive through a performance: a child figure enters to assemble a 鈥淢otherboard鈥�

Alexis Chivir-ter Tsegba
Between the Lines

Between the Lines testifies to the cross-generational, cross-spatial and cross-temporal manifestations of queer Nigerian histories, and their persistence against social norms dictating what can and cannot be said, who can and cannot be named, seen, believed. Across sculpture, textile, and film, Between the Lines explores the sacred and mundane dimensions of (queer) testimony, as an act that marks one as a witness, a form of intimate narrative, and as residue of historical record, that insist on the longevity, fullness and multiplicity of queer presence.

In particular, it traces those interventions in speech and gesture, symbolism and song, myth and taboo, through which queer Nigerians have recognised, comforted, desired, defended, memorised and memorialized each other, and through which queerness suffuses everyday life in Nigeria. It attends equally to the charged silences of solitude, those quiet acts of self-preservation and private longing, as well as the fleeting, tender gestures of care and desire that bind queer lives together across distance and time.

As such, the project rejects attempts to define queerness as exterior to or separable from Nigerianness and instead insists on its entanglement with the textures of ordinary life. It seeks to hold space for the tenderness of a glance, the solitude of withheld speech, the desire carried in myth and memory: modes of queer self-knowledge, shared culture, and co-representation that exceed frameworks of legitimacy and legibility in Western gender discourses.

Area Scatter
Plywood, galvanised aluminium cones, speaker drivers, hand-woven raffia (Vuve man Cho), amplifiers, audio interface, fan.

Currents of longing
Hand-woven cloth (A葯o 脪ke), cotton, fibre, satin, thread, stainless steel rod, steel cable.

Between the Lines
16:9 video displayed on 55鈥� TV, media player.

Immense gratitude to the Spirits in dialogue

Tyoapine Tsegba, Kumasughun Alex Tsegba, Joshua Segun-Lean, Saan Tsegba, Aondona Stanley, Uro艧 艩anjevi膰, Kathy Slade, Miwa Matreyek, Justine Chambers, Stefan Smulovitz, Kate Hutchinson, Ajay Abalaka, Ngohol Yisa, Abdulhamid, Mr Bashiru (Mai Tailor), Mr Kabiru, The Divine.

Biography

Alexis Chivir-ter Tsegba (she/they) is a Nigerian visual artist whose practice is grounded in collage while expanding towards video, sculpture, sound and installation. Her work directly engages subjects such as Afro-futurism, queerness and gender expression, religion, spirituality and the exploration of the inner self. Tsegba is drawn to art forms that are characterised by experimentation and synthesis wary of borders limits and fixed genres. She holds a Bachelors degree in Law and a Masters degree in Creative and Media Enterprises. She was the recipient of the 2022 runner-up prize for Best in Illustrated Journalism by the Victoria and Albert Illustration Awards and her works have been exhibited in the UK, U.S., Germany, South Africa, Nigeria etc.

Sarah K. Finn
The Right Thing to be Doing
Thursday, September 4 at 7:00 PM & Friday, September 5 at 8:00 PM
Studio D 鈥� 149 W. Hastings St., Vancouver

The Right Thing to be Doing is a lecture performance, fungal-fantasy, and love story. Set mutably at an ecology conference, Finn plays a rotating cast of shapeshifting characters: a fumbling academic facing technical error, a lamenting cargoship, a keynote speaker-turned-mushroom, and themselves caught between facts and fiction. Each character/version of self grapples with the uncertain grief and hope of siloed living amidst disaster. Featuring wearable sculpture, miniatures, surreal storytelling and physical theatre, the work humorously questions humans鈥� entangled place in the world and asks what might we learn from the non-human networks growing beneath our feet, andcirculating around us. This performance is Finn鈥檚 final MFA project.

Content warning: Sexual content, flashing lights, profanity.

CREDITS

Created and performed by Sarah K. Finn
Sound Design: Samira Banihashemi (爻賲蹖乇丕 亘賳蹖 賴丕卮賲蹖) and Adam Smith
Lighting Design: Czarina Agustines and Alexandra Caprara
Cargo Ship Design + Fabrication: Marianne Gagnon and Sarah K. Finn
Design Consultants: Wlad Woyno and Andrew Curtis
Scenic Design + Fabrication: Hailey Gil
Tarp Suit Tailoring: Tara Cheyenne Friedenberg
Mushroom Costume Design: Rowan Adams and Sarah K. Finn
Stage Manager: Maddy Woodley
Assistant Stage Manager: Vania Ngok
Outside eyes: Joanna Garfinkel, Kira Radosevik, Tara Cheyenne Friedenberg
Supervisor/Committee: Miwa Matreyek and Justine Chambers

SPECIAL THANKS

Miwa, Justine, Wlad, Tara, Kira, Avideh, Joanna, Jason Wilbee, Puppetmongers for the shadow lamp, Neil, Lauren, Santi, Ben, Kyla, Miles, Rob, Sabrina, Stefan, Taha, Judy, Nadia, Judee, Alexis, Chelsea, Caroline, Risk/Reward, Boombox/Here for Now, Mama, Dude & Mo <3

Tara Cheyenne Friedenberg
Carry the One: a performance-lecture towards rewilding the self
September 11 鈥� 13 at 7:00 PM 
Progress Lab, 1422 William St., Vancouver 

Visit  for more details.

Carry the One: a performance-lecture towards rewilding the self.

Through performative practical exploration of emotional labour filtered through a middle-aged femme body in the process of trying to shed the chronic debilitating imposition to take care of; mood, atmosphere, inventory, preemptive alleviation of needs, anger suppression, equations of potential鈥︹��.this invisible labour that enables the 鈥榲isible鈥�, the important labour.

Universal pleasantness = survival

We monitor, measure, and respond, thus paying for the air we breathe. Can I make you a sandwich?

The research-creation of Carry the One is an experiment into what exactly emotional labour is beyond the service industry, as a gendered form of labour with intersections of race, class, status etc. What is emotional labour in my body, my voice, in myself as a parent, artist, individual in the world? What is this labour in your body? Does the fish ever know about the waters it swims in?

Through experiments in improvisation, creating the conditions that allow me to be 鈥榦ff leash鈥� I stumble to rewild* myself and actively (painfully but joyfully) leave the familiar structures and approaches to performance making behind. Can I immerse myself in a performative excavation of the ever present emotional labour active in us and for us?

*By 鈥榬ewild鈥� I mean to return to that place where we have direct access to our needs, desires and impulses without the cultural/societal impositions that force us to be alienated from ourselves.

CREDITS

Creator Performer:Tara Cheyenne Friedenberg
Dramaturg: Joanna Garfinkel
Associate dramaturg: Sarah Finn
Outside eyes: Josh Martin, Kate Franklin, Daisy Thompson
Lighting Design: James Proudfoot
Assistant Lighting: Maddy Woodley
Sound Design: Samira Banihashemi (爻賲蹖乇丕 亘賳蹖 賴丕卮賲蹖)
Costume design: Tara Cheyenne Friedenberg
Costume consultant: Alice Mansell
Set consultant: Ryan Land
Stage Management: Maddy Woodley
Production Management: Maddy Woodley
Video Documentation: Dan Loan

Co-produced with Playwrights Theatre Centre and Tara Cheyenne Performance

Thanks to: Justine A Chambers, Peter Dickinson, Ryan Tacata, Lisa Gelley, Hannah Meyers, Marc Stewart, Jasper Friedenberg Stewart, Electric Company Theatre, Caroline Liffmann, MFA badass class of 2025

Caroline Liffmann
ish
Thursday, September 4 at 3:00 PM & Friday, September 5 at 6:30 PM
Studio T 鈥� 149 W. Hastings St., Vancouver

Note: Limited seating, both showings are for invited guests only

ish is a devised performance solo exploring opacity, identity, hide and reveal.  Themes and references may or may not include: things that roll, a television set, my cat, Kevin Bacon, police brutality, Judensau, occupation, sexual violence, chairs, cultural dances, cultural erasure, argument culture, war crimes, Donald Trump, Pat Benetar, Miss Piggy, Pigs in Space, a top Russian journalist, a shampoo commercial, Coastal Gas Link, yiddish folk songs, white noise sleep sounds, White Nights, and/or a foley station.

CREDITS

Creator and Performer: Caroline Liffmann, with
Composer: Stefan Smulovitz
Lighting Design: James Proudfoot
Dramaturg: Melanie Yeats
Stage Managers: Kady Brandel, Sara van Gaalen
Assistant Stage Manager: Hannah Azam
Technicians: Darryl Strohan & Jean Routhier

Huge thank yous to all my collaborators, plus outside & wise eyes: Tara Cheyenne Friedenberg, Naomi Brand, Peter Dickinson, Kyla Gardiner, Ryan Tacata, my Isadora Hotline Wladimiro Woyno Rodriguez, and wonderful cohort members Alexis Chivir-ter Tsegba, Chelsea MacKay, Sarah Finn, and Avideh Saadatpajouh.

Biography

Caroline Liffmann is a performance maker, choreographer and educator with a home base in contemporary dance. Her work is influenced by over 20 years of dance practice and performance, as well as training in facilitation, conflict transformation and trauma-informed practice. Guided by relationships and a sense of play, Caroline is interested in absurdity, humour and delight. Her approach is collaborative, grounded in improvisation, and often embraces a DIY ethos, creating for the stage, the screen, outdoors and neighborhood spaces. Caroline bridges her creation and facilitation practices through community-engaged dance, and has worked extensively as a dance, arts and museum educator with children, youth and families. Originally from the prairies, Caroline lives and works on the traditional and unceded territories of the Squamish, Musqueam and Tsleil-Waututh Nations.