Digital Carnival 2017

Digital Carnival 2017

Cinevolution’s Your Kontinent: Digital Carnival is back again! This time for a two-day extravaganza on September 1 & 2, 2017 as part of the Richmond World Festival.

Featured Artist Cindy Mochizuki anchors the show with Compass, a multi-media performance which takes as its starting point historical materials belonging to Cindy’s paternal grandmother, who owned and worked a strawberry farm in Walnut Grove before WWII and the internment of Japanese Canadians on the west coast. Winner of the City of Vancouver’s Mayor’s Arts Awards for Form and New Media in 2015, Cindy is known for her work with the histories of the Japanese-Canadian community, as well her innovative use of live-animation, found media, and performance in storytelling. Her work is just the beginning of Digital Carnival 2017’s exploration of LAND as a theme in response to Canada 150.

Featuring 15 works by 23 artists, each piece is a unique experience as diverse as the artists behind them. We invite you to think about questions of nation, land, and home as you learn to speak ocean, discover the Fraser River, write a love letter to land, or revisit the days of phone books and analog phones. Or simply relax and feast your senses on art that you can see, hear, touch, and taste!

Here you’ll meet some of the coolest artists from in- and out- of town, and see some truly innovative applications of technology. With works ranging from sound art to intimate performances to videos installations in the “chill tent,” from shadow puppetry to interactive play to community-engaged art, there is something for everyone at this one-of-a-kind festival.

Digital Carnival is co-produced by Cinevolution Media Arts Society and Curator Wynne Palmer.

All events will take place under the stars in Minoru Plaza and inside the Richmond Cultural Centre.

Wynne Palmer (CURATOR)

Curatorial Statement

According to statistics, there are 65.6 million people worldwide who are currently forcibly displaced, at a rate of approximately 20 people per minute. This is a daunting number, when among them are nearly 22.5 million refugees, over half of whom are under the age of 18 yrs. old! With such a high number of displaced people, how will this affect both current and future concepts of identity, place and belonging?

Through explorations of personal and cultural identity, connection to the land and our ideas about community and home, this year’s Digital Carnival shines a spotlight on LAND, and what that means to us both personally and collectively.

Digital Carnival will highlight the works of 23 local and national artists presenting 15 projects using current media technology, including:  performance art and theatre, audio/sound art, video projection, mixed media installations, projection mapping, generative work, shadow puppet theatre, a hands-on workshop and community-based work. ~ Wynne Palmer

Wynne Palmer is a Vancouver-based integrated media artist, independent curator, arts administrator and educator. Past professional experience informing her practice includes: government, corporate, non-profit and freelance graphic design and photography; the West Coast film and music industries; fine art, media and event curatorial and production; board experience and arts administration.

She draws inspiration from occupying intersections of seemingly contradictory ideas. Her personal art practice focuses on the threshold, where the natural and technological worlds converge, bringing into question issues of identity, concepts of location and the philosophy of language within the collective consciousness. She is a serial collaborator, interested in the dynamics of improvisation and participatory art practice, collective collaboration, social engagement and public art. She has an interest in non-traditional educational models, art practices and exhibition spaces. 

Wynne is currently a co-founder and member of the Vancouver Experimental Theremin Orchestra (VETO), a VIVO Media Arts Centre instructor and a NOW Society board member and secretary. She is an exhibitor with the digital eco-art group LocoMotoArt, and is an artist in residency with the Vancouver Park Board through the Fieldhouse Artists in Residency Program.

She has exhibited and performed internationally, and her work is in a number of public and private collections including Canada, Germany, UK and USA.

Featured Artist: Cindy Mochizuki

Show Times

Friday, September 1 – 8PM 

Saturday, September 2 – 8PM 

Get Tickets

*Tickets are free but seats are limited. Book early to avoid disappointment!

Artist Statement

Compass is a multi-media performance that incorporates live-animation, ephemera and found media sources to tell a series of short stories based on the concept of directions, choices and paths that are forced upon us through the impact and effects of war.  The performance begins with historical materials belonging to Cindy’s paternal grandmother, who owned and worked a strawberry farm in Walnut Grove before WWII and the internment of Japanese Canadians on the west coast, and moves across a terrain of moments that intersects with the lives of other characters. The project was originally conceived as A Compass For Your Silence through a Media Art and Performance Series called Bearing Witness, commissioned by Media Net in Victoria, B.C

Performance by Cindy Mochizuki featuring Sound Design by Nancy Tam, Lighting James Proudfoot, Technical Assistance Asa Mori, Production Assistant Cherry Wen Wen Lu and Set Construction by Minoru Yamamoto.

Cindy Mochizuki is an interdisciplinary artist that creates multimedia installations, performances, animations, audio fictions, illustrations, and communityengaged projects. Her projects are sitespecific and engage with the ways in which we manifest and tell stories. A large body of her work looks at the intersections of fiction and documentary through the lens of family histories of dispersal and displacement in Canada and Japan. Cindy has exhibited and screened her work both nationally and internationally. In 2015 she was the recipient of the City of Vancouvers Mayors Arts Awards for Film and New Media. Cindy holds an MFA in Interdisciplinary Studies from the School For Contemporary Arts at Simon Fraser University and lives in Vancouver, B.C.

Alanna Ho + Nathan Marsh

Artist Statement 

Play Workshop is family friendly and inviting for youth of all ages.  We are presenting a panel of coded sounds, storyboard circuitry and collaborative activities!  There are three rules before you explore:

  • Open your listening ears!  Please be mindful of any sounds you hear all around you.
  • Ask as many questions as you like!  We are excited to listen to your ideas and wonderings.
  • If you would like to be a part of the Rainbow Forecast Project*, please drop off your sound prediction stories before you go!

*The Rainbow Forecast Project, is a non-profit art and community initiative founded by Alanna Ho. The project aims to share children’s stories, spirit and generate contemporary art discussions by constructing their own creative ideas into larger scale works.

Alanna Ho and Nathan Marsh are educators based in Vancouver, facilitating the creation of sound work and integrating new media in alternative early education.  As a team, we hold workshops inviting youth to play in sound, bridging school-aged children with contemporary art concepts and sound design.  Come play with us!  

Constantine Katsiris (aka. Scant Intone) + Ian Ross (aka. C130)

Artist Statement

Eye of the Storm is an integrated audio & video piece by Vancouver-based artists Scant Intone + C130. Inspired by avant-garde cinema, this work is ideally presented as a live performance in a theatre context in order to achieve the necessary visceral and synesthetic effects that can be experienced through surround sound coupled with large projections.

Alternatively, this work can also be shown in black box, art gallery, or other alternative spaces. The sound palette for this work incorporates raw data, digital sound synthesis, and live sampling of shortwave radio frequencies, while the video component consists of audio-reactive animations that are layered and mixed live.


Constantine Katsiris (aka. Scant Intone) – live audio processing

Ian Ross (aka. C130) – live video mixing

Constantine Katsiris has been active in exploring the electronic arts since the early 1990s. His work in the field of electroacoustics has its focus on researching psychoacoustics, perception of sound, and spatiality. As a composer of experimental electronic music with over two decades of experience he has developed an expansive and unique sound palette. Katsiris has brought his fixed media sound works and live audio performances to many notable venues, such as La Société des Arts Technologiques [Montréal], Whitechapel Art Gallery [London], Brut Konzerthaus [Vienna], and SESI Art & Cultural Center [São Paulo]. He is also passionate about showcasing, broadcasting, and disseminating audio art and experimental music as a programmer for CFRO community radio station, as a curator of exhibitions and concerts for festivals and galleries, and as the director of the Panospria record label for sonic experimentation.

Intent on immersing viewers in surreal spaces, Vancouver’s Ian Ross, aka C130, uses footage he shoots himself, 3D motion graphics, and found footage to craft multi-layered, music-reactive, geometrically patterned visuals. A notable fixture in Vancouver’s techno underground, he has created A/V shows for Orphx, Carl Craig, Dasha Rush, Efdemin, ASC, Chambers, Kafka, and several other producers and musicians since 2013.

Ian’s work has been showcased at Mutek’s A/Visions series in Montréal and New Forms Festival 16 in Vancouver, The 2nd Annual DAT Conference in Missoula, MT and the 2015 Big Joy Fest in Vancouver.

Ella Cooper

Artist Statement 

‘V-Formation’ represents a changing flock of women all unique in their experience of what it means to be Black in Canada today and the diasporic migrations that are inherent in all our histories.

V-Formation’ is part of BODY LAND IDENTITY, a photographic series, video installation and empowerment created by Ella Cooper that investigates representations of the Black female body in the Canadian landscape. ‘Land’ serves as a metaphor for Canadian national identity, dominant society, First Nations territories and the place of Black women within it.

This piece was created with support from the Canada Council for the Arts, in collaboration with inter-generational groups of women of Canadian African/Caribbean descent from Vancouver, Toronto, Montreal and Halifax.  Featuring : Josiane A Anthony, Vanessa Richards, Ruby Tierra Negra, Diane Roberts, Claire Campbell Williams, Tiya Zulu, Idel Mire & Dorla Harris.

Ella Cooper is an award winning interdisciplinary artist, photographer, filmmaker, impact producer and community programmer based in Toronto. Her creative work explores themes of identity, Canadian diaspora, reclamation, embodied landscapes, ecstatic nudes and representations of the Black female body in Western visual culture. Her work has been presented in galleries, public spaces, festivals and for broadcast across Canada, with recent screenings and shows in Berlin and Los Angeles. She receives continued support from the Canada Council and Ontario Arts Council, as well as being a recipient of a City of Vancouver award, a 2017 Toronto Arts Council Cultural Leader and a recent artist in residence at the Banff Centre for the Arts.

Ella is a part-time lecturer at the University of Toronto and is known for creating and facilitating transformational arts empowerment programs for diverse communities in Canada, US, Jamaica and South Africa. 

Isabelle Hayeur

Artist Statement

Mirages was filmed in a residential development on Montreal’s South Shore and in the surrounding agricultural lands. We are gradually transported from one site to another, going from a fertile meadow to a desolate construction site. Transitory spaces appear ephemeral places are set up; these metamorphoses evoke the urban sprawl that replaces rural life with suburban conditions. Those landscapes in mutation reflect the upheavals affecting our living environments and our ecosystems. They hold a mirror to the illusion of having the capacity to build when we do not even have the ability to dwell.

Born in 1969, Isabelle Hayeur lives and works in Rawdon, QC, Canada. As an image-making artist, she is known for her large digital montages, videos and site-specific installations. Her work is situated within a critical approach to the environment, urban development and social conditions. She is particularly interested in the feelings of alienation, uprooting and dislocation. Her artworks have been shown in the context of numerous exhibitions and festivals.

Katharine Yi

Artist Statement

I Know the Way to What You Are Looking For is two channel videos installation. When words are defined, route directions precisely instructed, they lose all other possibilities in the confined specificity. Distinguishable landscapes of China and Canada are chosen, together with the absurd disembodied hand fused with Chinese socialist connotations direct toward the yearning of an ideal, the ultimate land of belonging, the ambiguous cultural identity, and the in-between “third space” of culture, history, emotions and memories. The body gesture of pointing as a sign has become a guide to evoke diverse reactions as it constructs limitless possibilities in narration and interpretation. Visual elements form into evocative images that act as a portal, which opens up an ultimate space existing only in the spontaneity of the moment as they are seen.

Katharine Meng-Yuan Yi is a visual artist whose practice seeks to transform generally rationalized presumptions into works that evoke of sentimentality, identity, and belonging that are inextricably linked to her personal experience of growing up as an immigrant to Canada. Recent exhibitions include A Distant Place, N9 Art Center, Suzhou (2017), Precarium—Right Until Revocation, Plaza Art Project, Richmond (2016), Cabinet of Curiosity, Newton Art Walk, Surrey (2015), and In Spite of the Abyss, Yactac, Vancouver (2015). Yi holds a Bachelor of Fine Arts in Visual Arts from the University of British Columbia.

Laura Lee Coles + Rob Scharein

Facium Terrae is an interactive Installation. We often collaborate to create installation works with a focus on human, technology and Nature interaction. We are drawn to the sensorial interconnection we find in natural settings and digital technologies. Our arts practice is multidisciplinary. While we use concentrated planning and mathematical methods we also rely upon exploration, randomness, and spontaneity to guide our creative flow. We fuse sound, visuals and computer generative processes, gesture control, 3-D anaglyph and stereoscopes in our interactive installations. We use proprietary software designed specifically for our creative works. Our arts-based research interests and publications can be found at and Within these processes we create installations that offer the spectator unusual experiences, playfulness and a sense of awe.

For Digital Carnival we offer an interactive media artwork and 3-D anaglyphs created from the “rock faces” we photographed while exploring various lava fields in Volcano National Park on the Big Island of Hawai’i. We hiked in Kalapana, once a popular black sand beach, which overtaken by a lava flow in 1990. We also explored Holei Pali and the Pu’u Loa Petroglyphs (lava flow 1972 and Naulu (lava flow 1969-1972). There we found faces in the rocks that appear abstract and otherworldly.

Laura Lee Coles is an arts-based researcher, published author and practicing interdisciplinary artist, working in performance art, music, installation [both gallery and site-specific] photography and video. Lee’s interest in the interconnected relationships between human, technology and Nature, drives the inspiration of her interactive, contemplative and site specific video installation practice. She is the founder of LocoMotoArt, and artist-in-residence with Vancouver Park Board (2013-2018).

As a former Astrophysicist, Rob Scharein is keenly interested in the interplay between Science and Art. He is a developer of high performance graphics software, that draws from the beauty of Nature to create engaging interactive art pieces. His arts practice interests include computer generative, gesture control and interactive installations that have been exhibited in Vancouver, London and San Francisco.

Marina Szijarto + Glen Andersen

Artist Statement

The Voice of the River is a project employing an array of artistic forms to promote expanded appreciation and understanding of the Fraser River as B.C’s “lifeblood”. A community-engaged creative component is the crowdsourcing of 15 second microfilms from the general public across the province, submitted via email from smartphone or other devices, curated (but unjuried) and edited into a longer film montage. This long-form collage is then projected onto sculptural fabric and driftwood screens at public “happenings” in outdoor locations, involving environmental art, light-based art installations and performative elements, including live music, ritual and soundscape composition.

This project takes advantage of the fact that almost everyone carries a camera these days and can shoot and post a movie in minutes. The intent is to harness/focus all of that visual creative capacity in the service of a broad but singular theme: to foster an increased awareness of the Fraser, its history and presence, including its shorelines, from headwaters to estuary.

The montage film, of which multiple versions can be projected simultaneously, has no linear fixed narrative. We will be accepting contributions into September 2017, culminating with a presentation on World Rivers Day.

Living on the Fraser River, Marina Szijarto is a professional visual and installation artist with a diverse interdisciplinary arts practice, working with community-engaged rites and celebrations, theatre, dance, performance, public and visual art. Much of her work is site-specific, being created for, and with a particular landscape, community or season. Her Harvest Full Moon Project in Richmond invites the city’s diverse population to participate in maker workshops, crafting natural materials into artworks/props, culminating in an evening of procession, performances, and tea.

Glen Andersen makes public art, often with communities. Recently he has created digital multimedia and documentary projects, re-kindling a slow-burning fuse from film school (1980s SFU), when editing involved pieces of celluloid on huge mechanical tables and multiple reels of sound and picture fastened with tape splicers! It took longer to finish a project then. Now that everyone is a filmmaker, we find other ways to spend the saved-up time –like sending 15 second art-films to: THEVOICEOFTHERIVER.COM

Milton Lim

Artist Statement

I posit the phone book as an archive, a time capsule of human migration.

In BC’s Lower Mainland, the late 80’s to the early 2000’s were marked by a distinct influx of Chinese migration following global events and shifts in foreign policy. These migratory shifts were felt and recorded in local telephone directories, serving as a testament of who was permitted to own land and who was recognized according to the government. Phone books become a tangible artifact by which we can examine names, phone numbers, addresses, and their ongoing relationships to Chinese diaspora as citizens and as settlers on this land.

The whitepages series is an extension of my inquiry into the ways in which language is organized and utilized in formal policy and cultural space-making. Moreover, I am interested in text and data visualization as an emblem for written language as a visual, affective medium. Over the last two decades, we’ve witnessed the transaction of public ‘information’ into the currency of public ‘data’. This digital material has been made immediate, direct, and accessible. The phone book offers an alternative perspective, one that holds the complexities and weight of the decisions that brought us here.

Milton Lim is a Vancouver-based director/designer and multi-disciplinary performer. His work utilizes digital media and various modes of live performance, often employing game mechanics, typography architecture, and high-frequency readability. He is a Co-Artistic Director of Hong Kong Exile, Artistic Associate with Theatre Conspiracy, and Artist-in-Residence with the PuSh International Performing Arts Festival. 

Minah Lee + Marcelo da Silva

Artist Statement

How to Ferment Love Letters is an interactive performance. Here’s a message jar for you. Please help us write a love letter to the land. We will store it under the ground, with cabbage, salt, and spicy memories of our bodies, to keep you warm and full throughout the winter. My grandmother used to bury it under the old family tree in our yard. Or you may pickle your sorrow and longing in a colourful Brazilian sweet jar so you can taste the fruit before it gets too bitter with somebody’s hidden history of crystallized slavery melting in you.   

The artist duo of Minah Lee and Marcelo da Silva celebrates both 150 year old Canada and Minah’s 10th year of living in the land as one of the Unlanded. How to Ferment Love Letters attempts to manifest our love beyond national boundaries. The project evolved from their multimedia project in 2016 called Stranger in a tenirjar, produced during Minah’s immediate immigration limbo. Lee observes how Canada’s immigration system reduces her flesh and blood into something she cannot touch or reach. Since she turned 29, She has been losing 5 or 6 points every year because she is aging. 

For this collaboration, the duo reclaims values of exchange, reciprocity, and share, grounded in the realm of emotions and consent that are often trivialized by systematic logics. The migrant artists display images of fermented ethnic food that has been gaining popularity in global markets, to rediscover meanings of community, communication, and creativity.

Minah Lee is a world citizen who was born and raised in South Korea. She is one of the Unlanded on this land. Nevertheless, she is a proud member of the eco-army called ESL poetrees planted in the soil of the unceded traditional territories of the Coast Salish peoples of the xʷməθkwəy̓əm, Skwxwú7mesh, and Səl̓ílwətaɬ Nations.

Marcelo da Silva is a Brazilian interdisciplinary artist working in diverse areas such as music composition/production, video art/performance, poetry and script writing, etc. My research interest is the study of digital video-performances (VJing, Live Cinema, Video Mapping, etc), their creative processes, the experimental uses of narrative and their connections with other areas and artistic expressions such as music, dance, drama and computer programing.

Mind of a Snail Puppet Co.

Artist Statement

Shadow Forest is an interactive installation. Shadow puppet duo Mind of a Snail (Chloé Ziner and Jessica Gabriel) presents an interactive shadow landscape inspired by the forest paintings of Emily Carr. The public is offered a range of materials to experiment with hands-on using the overhead projector.  Zoom in and take the time to go slowly and notice how both projector images blend together and transform. Create your own stories and compositions in the moment. 

Mind of a Snail is a shadow puppetry duo currently based out of Vancouver BC. Since 2003, Chloé Ziner and Jessica Gabriel have been developing a multilayered style of visual storytelling using overhead projectors as their main light source. Mind of a Snail have designed interactive installations for the Vancouver Art Gallery, Surrey Art Gallery, Telus World of Science, Museum of Vancouver and more.

Sara Gold

Artist Statement

Mastic is a video installation. With subtle symbolism connecting this short piece together, Canada is in a particular spotlight, with visual references to the industrial revolution through to peak oil, an addiction to and abuse of resources, as well as a failed war on drugs. These elements swirl together in a beautifully composed short music video, backed by driving, yet sludgy experimental techno, reflecting the consistency of the main focus of the piece, a coal tar resin: Mastic. 

Sara Gold currently focuses her New Music practice towards live performance, studio recording, installation, high concept audio/visual works, teaching workshops and intersecting history, fashion, and sound with art.

Sarah Shamash + Gabriela Aceves Sepúlveda

Artist Statement

Acá Nada / Acá Elsewhere is a video work. Working with the visual language of the triple sign rotating billboards, Acá Nada / Acá Elsewhere is a short film portrait of the aka artist collective. Founded by Manuel Piña, a Vancouver based Cuban artist and university professor, the collective started as a group of contemporary Latin American artists living in Vancouver.

Direction and Camera: Sarah Shamash, Gabriela Aceves Sepulveda | Editing: Sarah Shamash | Cast: Aka Collective | Producers: Gabriela Aceves Sepulveda, Sarah Shamash, Osvaldo Ramirez Castillo

Sarah Shamash is a Vancouver based media artist and PhD student. Influenced by cinema, her projects typically explore identities and geographies as personal, political, feminine and dynamic. Since the 2000s, she has exhibited her work internationally while working as a film programmer and film studies instructor. Her work as an artist, researcher, educator, and programmer can be understood as interconnected and whole; they revolve around a passion for cinema.

Gabriela Aceves Sepúlveda is an interdisciplinary media artist and cultural historian whose research and art practice focuses on Latin American feminist media and the histories and practices of contemporary art.  She is currently an assistant professor in the School of Interactive Arts and Technology at Simon Fraser University, where she directs cMAS, an interdisciplinary research and media production studio.

Born in El Salvador, Osvaldo Ramirez Castillo immigrated to Canada in 1989 at the age of 11. He attended the Ontario College of Art and Design (Toronto 1998-2001) and received an MFA from Concordia University (2004-2007). A previous resident of Montreal, Castillo relocated to Vancouver in 2013.

Patrick Blenkarn

Artist Statement

Speaking Ocean: Basic Expressions is part of an ongoing series that imagines the natural world through linguistic structures. Speaking Ocean: Basic Expressions is a series of audio language lessons that teach the listener to speak the language of the ocean. By reframing the ocean as a speaking being, one with a language that has been forgotten by many of us, this work explores the idea of what constitutes an international language and questions the kinds of language we need to be fluent in order to exist together.

Patrick Blenkarn is a Vancouver-based artist frequently working in performance, video, and bookmaking. His recent projects have explored themes of multilingualism, critiques of nationalism, and the history of philosophy. He is currently a Master of Fine Arts student at Simon Fraser University.

Sonny Assu

Artist Statement

The impetus behind my work is to bring to light the dark, hidden history of Canada’s actions/inactions against the Indigenous people. I often infuse my work with wry humour in an attempt to foster a dialogue; to speak to the realities of being an Indigenous person in the colonial state of Canada. 

Within this, my work deals with the loss of language, loss of cultural resources and the effects of colonization upon the Indigenous people of North America.

Sonny Assu’s (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) art practice is diverse: exploring multiple mediums and materials to convey meaning and to negotiate Western and Kwakwaka’wakw principles of art.

Assu received his BFA from the Emily Carr University in 2002 and his MFA from Concordia University in 2017. He currently resides in unceded Liǥwildaʼx̱w territory (Campbell River, BC).


Cinevolution wishes to thank our generous sponsors and funders, whose support is so instrumental to the continued success of Digital Carnival year after year: British Columbia Arts Council, City of Richmond, Richmond World Festival, and VIVO Media Arts.

Illustration by: Lynn1 Chen12