Community Group

New Toronto Works

AFCOOP and Pleasure Dome present New Toronto Works , an online screening of short films and a Q&A with the filmmakers.

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AFCOOP in partnership with the Pleasure Dome in Toronto presents an online screening of a collection of short films titled N ew Toronto Works . The screening will be presented through AFCOOP’s online screening platform and will be free and open to the public throughout Nova Scotia for the duration of Nocturne. A Zoom Q&A hosted by a local programmer (TBD) and including 3 of the featured artists will be presented during the festival (date and time TBD). The Q&A will be presented live and will also be recorded and made available for broader engagement.


Pleasure Dome’s New Toronto Works is a high voltage programme of new media artworks: a cinematic screening stitched together by a live wire. In an exhibition that combines emerging and established artists; and features works that range from glitch art to animation, essay films to archival interventions, ‘newness’ describes the conceptual and aesthetic intensity that links these ten experimental pieces. Here, this programme’s refusal of a singular connective thematic tissue makes for a pulsating trip across works that are truly distinct from one another. As each short film begins, our spectatorial experience is refreshed by the incisive imaginations of these Toronto-based creators who probe urgent and unexpected questions.


Disembodied Beings, Freya Björg Olafson, 2019 (Digital, 6:49)
The Bathers, Sonia Beckwith, 2019 (Digital, 1:19)
Little Boshkung (“lake of many echoes”), Andrew Lennox, 2019 (Digital, 9:43)
Aches, Nikole Hidalgo McGregor, 2019 (Digital, 2:49)
Not Moldova, 1937, Madi Piller, 2019 (16mm, 13:57)
Memory & Distortion, Cody Rooney, 2019 (Digital, 4:24)
Coherence (or maybe not…), Bo Fan, 2019 (Digital, 9:13 min)
Here You Can Only Gain Respect by Killing Other Men, Renee Lear, 2019 (Digital, 6:24)
Unquiet on the Western Front, Sophie Jaworski, 2019 (Digital, 3:12 min)
CRACKERS a brief history of code, Jan Swinburne, 2019 (Digital, 4:23)