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	<pubDate>Sun, 26 Apr 2026 01:51:59 +0000</pubDate>
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		<title>HOME</title>
				
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		<pubDate>Thu, 29 Nov 2018 19:54:06 +0000</pubDate>

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		<description> ︎︎︎ 30th anniversary tour continues March 27th at public energy &#124; The Art Gallery of Peterborough&#38;nbsp;with ︎ the village trilogy +&#38;nbsp;︎ Matryoshka Crush ︎︎︎ May 4th Karanfil/Carnation screening backstage at the National Arts Centre&#38;nbsp;︎︎︎</description>
		
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		<title>NEWS</title>
				
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		<pubDate>Thu, 29 Nov 2018 19:54:31 +0000</pubDate>

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		<description>︎︎︎&#38;nbsp;30th anniversary tour continues MARCH 27th at public energy &#124; The Art Gallery of Peterborough with ︎ the village trilogy + ︎ Matryoshka Crush ︎︎︎ MAY 4th  ︎ Karanfil/Carnation screening backstage at the National Arts Centre ︎︎︎CURRENT + UPCOMING
2025/26 is the 30th anniversary of the village trilogy&#38;nbsp;
please visit this page for updated listings of screenings and masterclasses
26.02.26 to 17.05.26
Karanfil/Carnation at the 2026 Karsh Continuum Exhibition
Karsh Masson Gallery
Ottawa, Canada
04.04.26
Karanfil/Carnation&#38;nbsp;screening and special unveiling
National Arts Centre
Ottawa, Canada

27.03.26
30th anniversary screening of&#38;nbsp;
the village trilogy with&#38;nbsp;Matryoshka Crush&#38;nbsp;at public energy
in partnership with The Art Gallery of Peterborough
Peterborough, Canada
28.03.26
30th anniversary Masterclass, public energy
Peterborough, Canada

MONAHAN public sound art&#38;nbsp;installed at the Monhan Wetlands in Ottawa wins public art award from the Creative City Network of Canada.

watch the village trilogy and the new linear version of THREE SONGS by subscribing to Canada’s newest Dance &#38;amp; Cinema streaming channel Regards Hybrides

in printphoto from THREE SONGS in Dagmar Morath’s new photo book&#38;nbsp;from the Women Behind the Camera series published by Edition Frölich in Berlin, Spring 2024
review of THREE SONGS by Rhiannon Voglin C Magazine issue 154, Spring 2023

interview about Karanfil/Carnation by Marianne Brown in&#38;nbsp;NosyMag
&#38;nbsp;dance dramaturg Guy Cools’ new book 
Performing Mourning: Laments in Contemporary Art I am thrilled that THREE SONGS is amongst the artworks included in this poetic and personal exploration of how we grieve.
Valiz Publications

my essay SPIEGELEI
 in Embodied Fantasies: From Awe to Artifice
Volume I  Art/Knowledge/Theory
Peter Lang International Academic Publishers

review of
bones kneel in company
in C Magazine issue 120with Maura Doyle and Juliana Pivatoat BLINK Gallery
Major's Hill Park, Ottawa

OUTGOING15.11.2530th anniversary screening of 
the village trilogy + performance and artist talkNew Dance Horizons + Moose Jaw Museum &#38;amp; Art Gallery
Moose Jaw, Canada
10.11.2530th anniversary screening of 
the village trilogy with Matryoshka Crush at The Cinematheque in partnership with FORM Festival and NewWorksVancouver, Canada
11.11.2530th anniversary Masterclass at CineWorks in partnership with The Cinematheque, FORM Festival, and NewWorks
Vancouver, Canada
01.06.25the village trilogy at Festival TransAmériquesas part of Cinédanse under the Stars&#38;nbsp;
Montréal, Canada
11.06.25 to 16.08.25
Matryoshka Crush installed at AXENÉO7 
Gatineau, Canada03.03.25 to 09.03.25
HEX:Begin Again screening at PHI  as part of Sentient &#124; Disobedient: about presence&#38;nbsp;
Montréal, Canada20.04.24 to 22.09.24&#38;nbsp;
Art School Confidential at the Ottawa Art Gallery 
Ottawa, Canada18.04.24
the village trilogy screening at des corps festival dance x cinémaBordeaux, France
HEX: Begin Again playing at the following festivals14.03.24 to 31.03.24&#38;nbsp; VIDEOFORMES, Clemont-Ferrand, France18.01.24 to 21.01.24 &#38;nbsp; Kino Tańca Online, organized with 
Mazowiecki Instytut Kultury, Warsaw, Poland03.11.23 to 05.11.23 &#38;nbsp; Dance On Screen, Graz, Germany

07.06.23 to 29.07.23&#38;nbsp;
Sebastian&#38;nbsp;part of AXENÉO7’s 40th Annyversary exhibiton XLGatineau, Canada
19.11.22 to 09.04.23&#38;nbsp;
HEX&#38;nbsp;as part of the group exhibition FACING CLAUDE CHAUN and MARCEL MOOREat the Peel Art Gallery Museum + ArchivesBrampton, Canada
November 23 2022 to January 19 2023durational performance for Nicoline van Harskamp’s CONTAGIOUS SPEECH
Galerie UQOGatineau, Canada
25.09.22 to 18.12. 22&#38;nbsp;
THREE SONGS installed at the Carleton University Art GalleryOttawa, Canada
25.11.22 to 16.23.22&#38;nbsp;
Carry Tiger to the Mountain and Experiments with Carry Tigerat Illuminights presented by Critical MassPort Hope, Canada
29.09.21&#38;nbsp;
the village trilogy screening at the historical Mayfair Theatrepresented by Ottawa Dance Directive
Ottawa, Canada07.09.21 to 12.09.21Karanfil/Carnationa National Arts Centre comissionpart of #DanceForthcreated with residency support from Ottawa Dance Directive
15.09.19 to 09.02.20
HEX:Begin Againas part of the group exhibition FACING CLAUDE CHAUN and MARCEL MOOREat the Ottawa Art GalleryOttawa, Canada
ARTIST TALK on DECEMBER 7th at 14:00

10.06.19 TO 29.06.19
EXPANDED PRACTICE
at Knot Project Space
Ottawa, Canada
June 27, 7pm, in dialogue with Gunnar Iversen
17.05.19 to 26.06.19Vicinity Unknown
Laura Taler and Jiri LadochaGallery 17/18Ottawa, Canada
26.04 to 02.06 (2019)Collage Works &#124; Thompson Corre Taler
Studio Sixty-SixOttawa, Canada

20.06 (2018) to 27.01 (2019) 
Thunderstruck
Âjagemô
Ottawa, Canada
10.11 (2019)
Artist Talk
Light Moves Festival of Screendance
Limerick, Ireland28.10 (2018) 


Ambivalence, Affect, Autonomy, In&#124;Action: Art
in Negotiation of Mixed Feelings&#38;nbsp;2018 Conference of the Universities of Art Association of CanadaWaterloo, Canada

24.10 to 29.10 (2018)
Carry Tiger ++
FAAS 6: À qui?
Subury, Canada12.09 to 27.09 (2018) Utopia as MethodRegartLévis, Canada

11.05 to 30.06 (2018) So So LovelyCentral Art GarageOttawa, Canada
12.10. to 15.10 (2017)&#38;nbsp;A Duet with the Camera: Dance and the Still and Moving Image2017 Conference of the Universities of Art Association of CanadaBanff, Canada04.02 to 01.04 (2017)&#38;nbsp;The soft and the pliable will defeat the hard and the strongGallery 101Ottawa, Canada
12.02 to 29.03 (2016)&#38;nbsp;
stillmovingstillmovingstillmovingstill
DAIMON Bandes Passantes/City ClipsGatineau, Canada
15.01 to 20.02 (2016)&#38;nbsp;
Sebastain + The Boxer
PAVED artsSaskatoon, Canada08 (2015)
elsewhere at
dança em foco – Festival Internacional de Vídeo &#38;amp; Dança
Rio de Janeiro, Brazil

08 (2015)
elsewhere at
d:mic/fac 2015
Toronto, Canada

02 (2015)
elsewhere at
Festival IDN
Barcelona, Spain

01.11 to 30.11 (2014)
elsewhere
urban screen dancefilms premiere on Pattison Onestop across Canada 
created by Heidi Strauss//Laura Taler//Jeremy Mimnagh
performed by Danielle Baskerville, Justine A Chambers, Luke Garwood, 
Molly Johnson and Brendan Wyatt
produced by Grimm Pictures Inc., in collaboration with adelheid dance projects, 
with support from the Canada Council for the Arts, Dance on Screen Production Projects Program
for more information visit  ArtInTransit.ca
04.02 7PM&#38;nbsp; (2014)

A Very Dangerous Pastime: the dancefilms of Laura Taler
as part of Dance Victoria's Dance Daysat Cinecenta
Victoria, B.C.

21.11 to 23.11 (2013)
7:30pm
The Goodbye
part of SERIES DANCE 10 #13with Heidi Straussat the Ottawa Dance Directive
2 Daly Avenue, Ottawa
08.08 to 18.08 (2013)
bones kneel in companywith Maura Doyle and Juliana Pivatoat BLINK Gallery
Major's Hill Park, Ottawa

13.06 7pm and 14.06 8:30pm (2013)
orange floated a blossoming
choreography // Yvonne Coutts 
video installation // Jeremy Mimnagh + Laura Taler
Carleton Immersive Media Studio // Visualization and Simulation Building // Carleton University
co-produced by the Ottawa Dance Directive and the Canada Dance Festival
ticket info // ottawafestivals.ca
funding support // Ontario Arts Council, Community Foundation of Ottawa, City of Ottawa, 
The Trillium Foundation, and Canada Council for the Arts 
08.08 to 18.08 (2013)
Under New Management: Video StoreODD Gallery, Klondike Institute of Art &#38;amp; CultureDawson City, Yukon21.03 to 04.04 (2013)Today, from yesterday and tomorrowunmaking/making 2010at Gallery 918918 Bathurst Street, Toronto13.02 and 15.02 (2013)
GUTAI: SPLENDID PLAYGROUNDperformance with Shuji Mukaiat the Solomon R. Guggenheim Museum1071 5th Avenue (at 89th Street), New York02.05 to 02.09 (2013)
THE MOST TOGETHER WE'VE EVER BEENset installation for Ame Henderson/Public Recordings and Matija Ferlin/Provincijaat Arts Court ODD Studio2 Daly Avenue, Ottawapart of the National Art Centre's 2012/13 Dance Season: Face 2 Face11.01 (2012) to 01.27 (2013)
Hard Twist: Touch Me Feel Meat the Gladstone Hotel1214 Queen Street West TorontoBraid I (2010)12.05 (2012)FEEDBACK&#38;nbsp;at Club SAW67 Nicholas, Ottawawith VJ Bear Witness10.25 to 10.28 (2012)The Annualat the Gladstone Hotel1214 Queen Street West Torontonew installation09.22 (2012)Nuit Blanche Ottawastillmovingstillmovingstillmovingstill (2010)projected on the wall of the Rideau Centre, corner of Nicholas Street and Daly Avenuesupported by Gallery 101, Saw Video, Saw Gallery, Artengine, The Rideau Centre09.20 to 09.23 (2012)Cinedanse Montréalstillmovingstillmovingstillmovingstill (2010)installed at the Cinéma Impérial, Montréal09.07 to 09.17 (2012)Toronto Urban Film FestivalForsaken and The Sorcererscreening in the Toronto Subway System06.20 to 07.01 (2012)Sincerely Yours Propeller's 15th Annual Curated ExhibitionCurated by John KissikPropeller Centre for the Visual ArtsToronto, Canada05.05 to 05.06 (2012)Running with Concepts Blackwood GalleryToronto, Canada02.23 (2012)Taler at CIMS Open Studioartist-in-residence 
at Carleton Immersive Media StudioOttawa, Canada10.28 to 10.30 (2011)Embodied FantasiesSchool of Visual Arts New York, U.S.A.  </description>
		
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		<pubDate>Sun, 26 Apr 2026 01:51:59 +0000</pubDate>

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		<title>ABOUT</title>
				
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		<pubDate>Thu, 29 Nov 2018 19:54:38 +0000</pubDate>

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	&#60;img width="7200" height="4800" width_o="7200" height_o="4800" data-src="https://freight.cargo.site/t/original/i/c0eded578a308409b3a480296122f3fdcc8d4d95dcc94d56effb552a2cc53257/LTaler.jpeg" data-mid="164889258" border="0"  src="https://freight.cargo.site/w/1000/i/c0eded578a308409b3a480296122f3fdcc8d4d95dcc94d56effb552a2cc53257/LTaler.jpeg" /&#62;
	Romanian-born Canadian artist Laura Taler works across
a range of media including performance, film, sound, sculpture, and
installation. Her work explores how memory and history are linked to movement
and how the body is able to carry the past without being oppressed by it. Taler
began her career as a contemporary dance choreographer before turning her
attention to filmmaking and visual art. Her work has been praised for its
unique combination of emotional resonance, wit, and striking visuals.&#38;nbsp; She
has been a resident at the Banff Center for the Arts, Centro Cultural Recoleta
(Buenos Aires), Carleton Immersive Media Studio (Ottawa) and a fellow at the
Institute for Cultural Inquiry (Berlin). Awards include a Gold Hugo from
the Chicago International Film Festival, the Best Experimental Documentary
award from Hot Docs!, and Best of the Festival from New York’s Dance on Camera
Festival.&#38;nbsp;&#38;nbsp;Publications include Tension/Spannung(Turia+Kant, 2010), Revisiting Ephemera (Blue Medium Press, 2011)
and Embodied Fantasies (Peter Lang Publishing, 2013).&#38;nbsp; In
2020/21 she was artist-in-residence at the Ottawa Dance Directive.&#38;nbsp; Taler is the most recent recipient of Galerie
SAW Gallery's Dennis Tourbin Prize for New Performance.&#38;nbsp; Her public art audio work MONAHAN was&#38;nbsp;awarded the 2024 Creative City Network of Canada’s Public Art Legacy Award.


&#38;nbsp;


COLLABORATORS:STACY CLARK BAISLEYSOPHIE GIRAUDMELANIE GORDONJEREMY MIMNAGHMARK SHAUBJUSTIN WONNACOTTBEN WELLANDMINDY WILTSHIRE-GIBSONMEREDITH SNIDERKRISTY KENNEDYDAVID BARBOURJULIA MARTINMAUDE BOURASSA FRANCOEURCHRISTIAN BUJOLDMICHEAL SPICERD. GREGOR HAGEYMARCUS ELLIOTVLAD CARPNORAYR KASPERROLAND SCHLIMMEROBERT BENSONNEVEN LOCHHEADVENSA SVILANOVICANNA PAFOMOWMARK HAMMOND LOUISE GARFIELDDANNY IRONALLISON LEWIS FORTIERSTEPHANIE TRELOARJOSE NAVASLUC OELLETTETRACEY GLASHEATHER MACCRIMMONDAGMAR MORATHDAGIE BRUNDERTMARIA ANGERMANKIM FRANKJIM ALLODIJANE TOWNSENDDARCEY CALLISONDONALD HIMESBILL COLEMANWALTER HAMANTRACY SMITH BESSETTEHEIDI STRAUSSTEDD ROBINSONYVONNE COUTTESAME HENDERSONJESSICA BELLTOM MCCAMUSMICHELLE MONTEITHJACK DUFFYPHILIP STRONG
WASSIM NORAH
CONNOR DEVRIES
MARISA GALLEMIT
MÉLANIE MYERS


	Laura Taler greatfully acknowledges the support of the Canada Council for the Arts, the Ontario Arts Council, 
the City of Ottawa, the Toronto Arts Council, the Laidlaw Foundation, the Banff Centre for the Arts, the Institute for Cultural Inquiry, and Telefilm Canada.&#38;nbsp;

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&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;</description>
		
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		<title>THUMBNAIL INDEX </title>
				
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		<pubDate>Sun, 24 Feb 2019 17:26:38 +0000</pubDate>

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		<pubDate>Mon, 01 Jun 2020 14:58:27 +0000</pubDate>

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		<title>2025 Matryoshka Crush</title>
				
		<link>https://laurataler.ca/2025-Matryoshka-Crush-1</link>

		<pubDate>Tue, 27 May 2025 23:14:29 +0000</pubDate>

		<dc:creator>laurataler</dc:creator>

		<guid isPermaLink="true">https://laurataler.ca/2025-Matryoshka-Crush-1</guid>

		<description> &#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/0e09fd5efe4962337bd58dffc8194e89f8642ecf211c92ab0a622e5c38369176/18_TALER_MC_HFM.jpg" data-mid="233810373" border="0"  src="https://freight.cargo.site/w/1000/i/0e09fd5efe4962337bd58dffc8194e89f8642ecf211c92ab0a622e5c38369176/18_TALER_MC_HFM.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/a9221782411126b88c4b5bc82b278cf5a137d6dab748d577b4c6bc13c6ca9a9e/02_TALER_MC_KUKERI.jpg" data-mid="233810360" border="0"  src="https://freight.cargo.site/w/1000/i/a9221782411126b88c4b5bc82b278cf5a137d6dab748d577b4c6bc13c6ca9a9e/02_TALER_MC_KUKERI.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/8760bbcea6b98236fc9ec1360902a6f19f1ebc708754acfe0760decf2613c223/09_TALER_MC_BH.jpg" data-mid="233810366" border="0"  src="https://freight.cargo.site/w/1000/i/8760bbcea6b98236fc9ec1360902a6f19f1ebc708754acfe0760decf2613c223/09_TALER_MC_BH.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/6479c49b53fa21ccbdfbf3284e0d5076614a865fa419ff741f0125c69d62a3db/17_TALER_MC_HFM.jpg" data-mid="233810372" border="0"  src="https://freight.cargo.site/w/1000/i/6479c49b53fa21ccbdfbf3284e0d5076614a865fa419ff741f0125c69d62a3db/17_TALER_MC_HFM.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/bf881df4ee172b896eb2db75a47c1a474cb1222a5162058231ce5615d7c6b0ac/21_TALER_MC_ANERA.jpg" data-mid="233810375" border="0"  src="https://freight.cargo.site/w/1000/i/bf881df4ee172b896eb2db75a47c1a474cb1222a5162058231ce5615d7c6b0ac/21_TALER_MC_ANERA.jpg" /&#62;

	Matryoshka Crush&#38;nbsp;(installation version) 2025single channel video installation with stereo sound
60 minute loopMatryoshka Crush (screening version) 2025
HD, colour
47 minutes
June 11 to August 16, 2025 at&#38;nbsp;AXENÉO7
photos: ©Melanie Mathieu


Poison,
exorcism, gender trouble, song and dance intermingle in this darkly funny and
disturbing tale of intense yearning.&#38;nbsp; When a
series of adorable monsters reveal themselves near an old tavern, their
ordinary acts transform into a chain of micro-disobediences.&#38;nbsp; 


Matryoshka
Crush,
a film set inside a makeshift cinema, plays on a loop, while across the centre’s galleries, a series of
activations illuminate the allure of theatricality. Moving seamlessly between banal reality and
absurdist fantasy, Matryoshka Crush straddles installation, contemporary
video art, dancefilm, and personal narrative.&#38;nbsp; 


The film
centers around four characters.&#38;nbsp; Wearing
a series of masks, one layered upon the other like Matryoshka nesting dolls,
Laura Taler plays KUKERI, BIG HEAD, HAIRY FACE MEDUSA, and LITTLE HEAD.&#38;nbsp; Each recall, respectively, nature and magic,
the old world, female rage, and childlike wonder.&#38;nbsp; The result is a
visceral and material-based performance that tells an unmoored story of bodies
out of place, with fuzzy, penetrable boundaries. Hilarious, lusty, and
troubling, the actions of the characters orbit around an old tavern, an
in-between place to rest, clean, feed, pleasure, and entertain.&#38;nbsp; 


Like the history of the Matryoshka doll, a symbol of Eastern
European culture that can be traced back to the Japanese Fukurama doll,&#38;nbsp;Matryoshka Crush magnifies the desire for translation and transformation. &#38;nbsp;It’s a lament to the old world and how we are
enmeshed in one another. Ancient stories linger, but Matryoshka Crushcrushes our crush on narrative conventions, leading to liberation and
self-invention.
Credits in alphabetical order:
AYLIN
ABBASI Assistant Editor
&#38;amp; Data Management &#124; VICTOR ANASTACIO Guitarist &#124; JORDY
BELL Sound Mix &#124;SCOTT BROWN Key Grip &#124; YVONNE COUTTS Associate Producer &#124; CONOR
DEVRIES Camera Operator &#124; DAVE DRAVES Recording Engineer &#124;&#38;nbsp;MIKE DUBUE
Sound Design &#124;&#38;nbsp;ELIA EL
HADDAD&#38;nbsp;Sound Recordist
&#124;&#38;nbsp;MELANIE FORDHAM Colour Correction &#124;&#38;nbsp;MARISA GALLEMIT Costume
Assistance&#38;nbsp;&#124;&#38;nbsp;SANDY HARRIS Wig Construction &#124;&#38;nbsp;STEPHANIE KUSE
Credit Design + Special FX &#124;&#38;nbsp;JORDAN MACDONALD On-set Production Manager
&#124;&#38;nbsp;ROLAND MARCKWORT Gaffer &#124; MELANIE MATHIEU Stills Photographer&#38;nbsp;&#124;
MÉLANIE MYERS Costumes &#124; WASSIM NOHRA Director of Photography &#124; LAURA SCHNEIDER
Swing &#124; KELLY SPINELLI Production Manager &#124; LAURA TALER Producer, Director,
Performer &#38;amp; Editor &#124;&#38;nbsp;COLLEEN WILLIAMSON Set Decorator &#124;&#38;nbsp;A GRIMM
PICTURES production created with the support of OTTAWA DANCE DIRECTIVE,
AFFINITY PRODUCTION GROUP, CITY OF OTTAWA, &#38;amp; CANADA COUNCIL FOR THE ARTS


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		<title>2024 MONAHAN</title>
				
		<link>https://laurataler.ca/2024-MONAHAN</link>

		<pubDate>Fri, 07 Jun 2024 12:50:08 +0000</pubDate>

		<dc:creator>laurataler</dc:creator>

		<guid isPermaLink="true">https://laurataler.ca/2024-MONAHAN</guid>

		<description>&#60;img width="1670" height="1001" width_o="1670" height_o="1001" data-src="https://freight.cargo.site/t/original/i/967adf9038f4ff0a47e6a7de361dec352111916591e11b13ab733be280b13e80/Screen-Shot-2024-06-07-at-8.56.01-AM.png" data-mid="212479927" border="0"  src="https://freight.cargo.site/w/1000/i/967adf9038f4ff0a47e6a7de361dec352111916591e11b13ab733be280b13e80/Screen-Shot-2024-06-07-at-8.56.01-AM.png" /&#62;

	MONAHAN&#38;nbsp;(2024)public sound art

AWARDED the 2024 Creative City Network of Canada’s Public Art Legacy Award

MONAHAN a sound piece for curious ears

Commissioned by the City of Ottawa for the Monahan Wetlands, MONAHAN is a generative sound piece you listen to on your smartphone.&#38;nbsp; The work is accessed via a QR code installed on specially designed signposts, strategically placed along existing pathways.&#38;nbsp; 


Each time you listen to MONAHAN you’ll hear a unique sound piece that lasts approximately 20 minutes, collaged by MONAHAN’s algorithm from 173 sound chapters, created by a diverse group of over 30 contributors. 


You’ll hear everything from songs and poems to nature sounds, interviews and stories. There are stories about caterpillar rap battles, talking with trees, deep listening, the bee’s waggle dance, and butterfly ears. There are Turkish, Macedonian, English, Arabic, Greek, French, and Algonquin songs.&#38;nbsp; There are poems that speak of protest, translation, migration, the natural world, and wisdom. There are birds singing, insects calling, otters splashing, and dogs barking. There are grasses swooshing, icy snow crunching, water swishing, and branches creaking.


Although MONAHAN was created for a specific site, the artwork can be listened to anywhere (ideally outside).&#38;nbsp; MONAHAN lives on a dedicated website that is accessed by scanning a QR code or by navigating to www.monahanpublicart.ca.&#38;nbsp; You can continually return to MONAHAN knowing that each listening experience will bring you something different. You may hear a chapter you’ve heard before, but this time it’s next to something new.&#38;nbsp; Like the landscape that inspired this artwork, MONAHAN is always changing.&#38;nbsp; 


Visit MONAHAN to find a full list of the amazing contributors, the production team, and the artwork! &#38;nbsp;


&#60;img width="385" height="116" width_o="385" height_o="116" data-src="https://freight.cargo.site/t/original/i/34ede2f8d5fde25c8708208c75342aa817ac515e37fa62693bcdc14cb8927e16/Screen-Shot-2024-06-07-at-9.08.41-AM.png" data-mid="212479979" border="0"  src="https://freight.cargo.site/w/385/i/34ede2f8d5fde25c8708208c75342aa817ac515e37fa62693bcdc14cb8927e16/Screen-Shot-2024-06-07-at-9.08.41-AM.png" /&#62;
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	<item>
		<title>2022 THREE SONGS</title>
				
		<link>https://laurataler.ca/2022-THREE-SONGS</link>

		<pubDate>Sun, 30 Oct 2022 22:48:13 +0000</pubDate>

		<dc:creator>laurataler</dc:creator>

		<guid isPermaLink="true">https://laurataler.ca/2022-THREE-SONGS</guid>

		<description>
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bfc0fc23fd1090d1078fb813e74b5954fb12af44a031a32da36b3698135a2917/Taler_Song1.jpg" data-mid="157413027" border="0"  src="https://freight.cargo.site/w/1000/i/bfc0fc23fd1090d1078fb813e74b5954fb12af44a031a32da36b3698135a2917/Taler_Song1.jpg" /&#62;
&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/471906ccc39fa8a0ee43a2de0e02185ede1c4ce0208eab56984775c2c3cc37d8/Taler_Song2_table.jpg" data-mid="157413029" border="0"  src="https://freight.cargo.site/w/1000/i/471906ccc39fa8a0ee43a2de0e02185ede1c4ce0208eab56984775c2c3cc37d8/Taler_Song2_table.jpg" /&#62;
&#60;img width="1616" height="921" width_o="1616" height_o="921" data-src="https://freight.cargo.site/t/original/i/53e864d72b822510bb0568afc2ffca9ca8cf4f4c2e6679caf90b59712c1f7570/Taler_Song3.1.jpg" data-mid="157413033" border="0"  src="https://freight.cargo.site/w/1000/i/53e864d72b822510bb0568afc2ffca9ca8cf4f4c2e6679caf90b59712c1f7570/Taler_Song3.1.jpg" /&#62;


	THREE SONGS 2022multi-channel installation with stereo sound

Song #1&#38;nbsp; &#38;nbsp;2015-2019
two-channels with stereo sound

Song #2&#38;nbsp; &#38;nbsp;2017-2019
five-channels with stereo sound

Song #3&#38;nbsp; &#38;nbsp;2019-2020
three-channels with stereo sound
photo: ©Dagmar MorathSeptember 25 to Dec 18 2022 at the Carleton University Art Gallery curated by Heather Anderson

“ …never before our time have so
many people been uprooted.&#38;nbsp; Emigration,
forced or chosen, across national frontiers or from village to metropolis, is
the quintessential experience of our time.“
—John Berger (And Our Faces My Heart, Brief as Photos 1984)
In the trio of
video installationscomprising THREE SONGS, Laura Taler braids
singing, gesture and the language of filmmaking in an immersive, non-narrative approach
to storytelling. THREE SONGS is rooted
in Taler’s personal history of leaving Romania as a child and eventually
settling in Canada. It explores such themes as familial ties, loss,
displacement and experiences of duality—of being caught between places—that are
familiar to those creating new lives in different countries. 


Producing&#38;nbsp;Song #1, Song #2 and Song #3 sequentially over
six years, Taler learned to sing in languages other than English and performed
as a series of doppelgängers—fictional characters that look like her—for the
camera.&#38;nbsp; Interweaving her vocal performances
with cinematic attention to the surrounding site and contemplation of how
gestures can express the histories and experiences the body carries, THREE SONGS&#38;nbsp;contains both joyful tribute and elegy.


In Song #1, we encounter
Taler’s doppelgänger in a sunlit German forest, alone among tall pines as she
sings Uite asa as vrea sa mor (This
is how I’d like to die), a Romanian drinking song. Her performance of the song
alone, in nature, creates a dislocation with where and when this song might
typically be sung—at a boisterous party or in a bar—and shifts the register of
the song’s lyrics, which call for a celebration, music and drink. 


Song # 2&#38;nbsp;transports viewers to Taler’s late grandmother’s small farm in the Romanian
countryside. Village neighbours and Taler’s mother are assembled in the
courtyard, audience to Taler’s performance of El adiós (The
Goodbye). Taler chose this beloved Argentinian song, trusting its sentiment would
cross language barriers. Her choice to sing in Spanish, a language she learned
as an adult, highlights the gulf separating her from her mother tongue, from
Romania and from the people she left behind. 
Inside the farmhouse, dressed in a wig and peasant clothes, Taler’s
doppelgänger contemplatively performs quotidian activities interspersed with
dance steps and moments of stillness. Through these repeated acts, Taler
attempts to channel a connection with her long-dead grandmother and evokes the
processes and labour of mourning. 


The side-by-side
videos comprising Song #3 are
set in Berlin, in the Gipsformerei, the
world’s largest
plaster cast replica workshop, and the Theater im Delphi, a beautiful,
century-old silent film theatre. Scenes of Taler, dressed in coveralls and
working among plaster cast figures, are intercut with footage of her on stage,
sharply dressed in a suit and rehearsing a song and dance. Her performance of Romania Romania, a Yiddish song celebrating the
flourishing of Jewish and Romanian culture between WW I and WW II, at once
embodies joy, nostalgia and mourning. Taler’s tribute to this golden past also gestures
toward the destructive forces that transformed Romania and led many to leave
the country.


The plaster Janus-head sculpture Taler
crafts in Song #3 references the
Roman god Janus, deity of beginnings,
transitions, duality, passages and endings. Perpetually looking
backward and forward, the Janus-head expresses
the feeling of doubling—or being split in two—that Taler describes as intrinsic
to her experience as an immigrant. Duality and untranslatability are woven
through THREE SONGS in Taler’s performances
and meditative cinematography, which reflect on the dislocations and
relocations of immigration, and on how movement blurs endings and beginnings.
 

 —Heather
Anderson


THREE SONGS is exhibited as three, multi-channel video installations
that play on continuous loops. 


English and French translations of each song’s
lyrics scroll on three monitors.


THREE SONGS
&#124; credits


Song
#1 2015-2019


HD video with stereo sound &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


2 continuous loops, 8m 45s


director &#124; choreographer &#124;performer &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Laura
Taler
camera &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Maria Ångerman


production assistants &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Dagie
Brundert


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Heather
MacCrimmon
&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Dagmar
Morath


edit &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  Laura
Taler
sound mix &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Jordy
Bell
colour correction &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Melanie
Fordham


Uite asa as
vrea sa mor &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


Music by &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Elly
Roman 


Lyrics by &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Nicu
Kanner


Filmed in July 2015 on location in Germany at the Nationalpark Vorpommersche
Boddenlandschaft (Western
Pomerania Lagoon Area National Park).


 Song
#22017-2019


HD video with stereo sound &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


5 continuous loops, 21m 24s


director&#124;choreographer&#124;performer&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Laura
Taler
camera &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Vlad
Carp
sound &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Andrei
Botnaru
second camera&#124;drone &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;&#38;nbsp;George
Păvăloaia
makeup&#124;production assistant &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Carmen
Adriana Stavarache
edit &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;&#38;nbsp;Neven
Lochhead and Laura Taler
sound mix &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;Jordy
Bell
colour correction &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Melanie
Fordham
sound recording &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;&#38;nbsp;David
Bignell
singing coaches &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Kellylee
Evans, Amanda Mabro, &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Megan Jerome
Argentinean Spanish consultant &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Carlos
Boeri


El Adios &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp;
Music by &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Maruja
Pacheco Huergo&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 
Lyrics by &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;Virgilio
San Clemente


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

Filmed in October 2017 on location in Rebricea, Romania, in the house
where the artist’s grandmother lived.


Song
#3 2019-2020
HD video with stereo sound &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 
3 continuous loops, 21m 37s


director &#124; choreographer &#124;performer &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Laura
Taler
camera &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Marcus
Elliott
sound &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Joscha
Eickel
camera assistant &#124; second camera &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Kleber
Nascimento
grip &#124; gaffer &#124;second camera&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Lucas
Heinze
theatre technician &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Tilman
Agüeras Gäng 
makeup &#124; hair &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Caterina Veronesi
costume design &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Tracey
Glas
wardrobe &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Heather
MacCrimmon
production manager &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;Angela
Stiegler
assistant director &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Emma
Howes
stills photography &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;Dagmar
Morath
edit &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Kim
Frank and Laura Taler
sound design &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Phil
Strong
trumpet &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;David
Buchbinder
sound mix &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Jordy
Bell
colour correction &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Melanie
Fordham
sound recording &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Jeremy
Darby, Canterbury Music Company
singing coach &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; Fides
Krucker
Yiddish consultants &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;&#38;nbsp;Floralove
Katz, Lorin Sklamberg
sculpture creation &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp;Rosemary
Breault-Landry, &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;David McDougall, Deborah
Margo, &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
John Ancheta, Erin Armstrong


Romania,
Romania&#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 
Music &#38;amp; Lyrics &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Aaron
Lebedeff


Filmed in October 2019 on location in Berlin at the Gipsformerei and
the Theater im Delphi.


This body of work was created with significant support from all the
collaborators. 
Thank you to: Miguel Helfrisch and the team at the Gipsformerei; Nikolaus
Schneider and the team at the Theater im Delphi; Ron Gallant and the team at
Affinity Production Group; Yvonne Coutts and Lana Morton at Ottawa Dance
Directive; Annette Hegel, Daniel Kaunisviita and the team at DARC; Sandra Dyck, Heather Anderson, Patrick Lacasse,
Fiona Wright, Danielle Printup and Victoria McGlinchey at CUAG; along with Walter
Zanetti, Odessa Boehm, Markus Lemm, Andrew Rose,Aaron Pollard,
Andrew Johnston and Patrick Côté. 

I am grateful for warm conversations with Guy Cools, Melissa
Bull, Aboubakar Sanogo, Cornelia Principe, Megan Jerome, Marc-Alexandre Reinhardt, Deborah Margo, and Maura Doyle. Thank
you to Minodora Taler, Laurian Taler, Xenia Taler, Nicu Spataru, Stanley
Frankentaler, Charlotte Frank, Mitchell Frank and Saul Frank Taler for always
standing by me.


A huge thank you to all those who donated to CUAG’s THREE SONGS Future
Funder campaign. I also thank Migration and Diaspora Studies at Carleton
University, the Canada Council for the Arts, the Ontario Arts Council, the City
of Ottawa, Ottawa Dance Directive and DARC for their generosity in supporting
this project. 


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	<item>
		<title>2021 Karanfil/Carnation</title>
				
		<link>https://laurataler.ca/2021-Karanfil-Carnation</link>

		<pubDate>Fri, 20 Aug 2021 23:16:58 +0000</pubDate>

		<dc:creator>laurataler</dc:creator>

		<guid isPermaLink="true">https://laurataler.ca/2021-Karanfil-Carnation</guid>

		<description>
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/2ab007e84409b00ce5419e82388673f2bdc6a5e7c2da85ad60ac721a889a3f77/Karanfil-Carnation_2021-67-of-114.jpeg" data-mid="116970459" border="0"  src="https://freight.cargo.site/w/1000/i/2ab007e84409b00ce5419e82388673f2bdc6a5e7c2da85ad60ac721a889a3f77/Karanfil-Carnation_2021-67-of-114.jpeg" /&#62;
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/7a2cd5463bb6200243824100ccfa0bca2700ba0ade74238b20cd7da14540e495/Karanfil-Carnation_2021-18-of-114.jpeg" data-mid="116970455" border="0"  src="https://freight.cargo.site/w/1000/i/7a2cd5463bb6200243824100ccfa0bca2700ba0ade74238b20cd7da14540e495/Karanfil-Carnation_2021-18-of-114.jpeg" /&#62;
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/ea9f2eae22e6986f5efd9fcf49e89049e1029922dde8e320f4c967ef704a3395/Karanfil-Carnation_2021-24-of-114.jpeg" data-mid="116970456" border="0"  src="https://freight.cargo.site/w/1000/i/ea9f2eae22e6986f5efd9fcf49e89049e1029922dde8e320f4c967ef704a3395/Karanfil-Carnation_2021-24-of-114.jpeg" /&#62;
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/cfca4f61ae786af50487be62dc142272165a5a37ae9f897c44b26b65db272db9/Karanfil-Carnation_2021-50-of-114.jpeg" data-mid="116970457" border="0"  src="https://freight.cargo.site/w/1000/i/cfca4f61ae786af50487be62dc142272165a5a37ae9f897c44b26b65db272db9/Karanfil-Carnation_2021-50-of-114.jpeg" /&#62;
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	Karanfil/Carnation 2021performance film
46 minutes

photos: ©Melanie Mathieu
Screening MAY 4, 2026 at the National Arts Centre


“To perform yourself
inside a role is very strange.&#38;nbsp; The
clothes, the words, prod you into nameless areas and then you stretch them out
in front of other people...”&#38;nbsp; &#38;nbsp; —Chris
Kraus, I Love Dick


Laura Taler brings us on a site-specific cinematic
journey through the National Arts Centre’s theatrical underworld where the art of crafting
private dreams is made public. While conjuring a ninety-nine-year-old photo of
Bronislava Nijinska, Taler poses a series of questions about performance, the
fallibility and concreteness of language, and the practice of turning the self inside
out.&#38;nbsp; Featuring musical performances by Megan
Jerome and Expanda Fuzz, music by Turkwaz and Demetrios Petsalakis, performance
and costumes by Marisa Gallemit, wet plate photography by Christine
Fitzgerald, and cinematography by Wassim Nohra. 


 a National Arts Centre commission 


created with residency support from Ottawa Dance
Directive


production and post-production support from Debaser, Digital
Arts Resource Centre, and Affinity Production Group


a Grimm Pictures production
 click the title below to read about the creation in Nosy Mag
Time Well Spent Togeteher, Carnations, &#38;amp; Making Friends with Your Demons: An Interview with Laura Taler


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