Co-organized by MOCCA and the 26th Images Festival
Duane Linklater in collaboration with Tanya Lukin Linklater respond to two films, Robert Flaherty’s seminal documentary, Nanook of the North (1922) and Hiroshi Teshigahara’s fictional narrative The Woman in the Dunes (1964) with a new work composed of dance, sound and image. The artists selected these films as source material as they both centre on expedition and engage with “indigenous” populations (the “Eskimos” of the east coast of Hudson Bay in Quebec, and a fictional population who reside at the bottom of sand dunes in Japan), and their respective relationships to the natural world. While Teshigahara’s work is decidedly fictional, one could aruge that Flaherty’s narrative surrounding “Nanook” and his family (over the course of one year) is also constructed.
The artists are compelled by questions surrounding being-ness, performance, and the Other in both films as well as notions of captivity. Tanya Lukin Linklater has developed a physical score derived from gesture, body and subtle movement from both films, accompanied by an interpretation of musical sections chosen from the respective film scores. The editing of select landscape shots from each film (Hudson Bay tundra/sea ice and Japanese sand dunes/ocean) by Duane Linklater provides the backdrop for an installation that investigates questions surrounding authenticity, ethnography, and appropriation.