Antitube at the Manif d'art 6

Antitube, in collaboration with the Manif d’art 6, will be presenting two film programmes at the Musée de la civilisation’s auditorium on the evenings of May 24th and 27th. Audiences are invited to discover the cinematographic work of two pioneers of experimental cinema whose films will be presented in Quebec City for the first time.

The first evening will be dedicated to the work of Toronto filmmaker John Porter, who is known for his performances with a Super 8 projector. The evening will be directed by Nicole Gingras, curator of the Manif d’art 6. The second evening will feature the work of American filmmaker Larry Jordan and will be directed by Antitube’s Guillaume Lafleur.

John Porter is a filmmaker, performer, photographer and author. He is an ardent defender of Super 8 and low-budget ( or less) films. Since 1968, he has created over 300 films, the majority of which use Super 8, and his work has been shown to international audiences over a hundred times. 

Larry Jordan is an independent American filmmaker based in California and he has been making films since 1952. He has created over fourty experimental and animated films and is one of American cinema’s most important post-war avant-garde filmmakers

Event program

May 24th, 7:30pm
%u201CSurround%u201D Super 8 According to John Porter

%u201CSurround%u201D Super 8 According to John Porter

Using 8mm projectors, John Porter will project several of his films on the screen and elsewhere, covering all of the surfaces of the Musée de la civilisation’s movie theater. This technique will allow him to express the unique texture and sensitivity of Super 8 film.

Since 1978, Porter has been active as either a member or programmer of various artist centers in Toronto, such as The Funnel Experimental Film Theater (1977-1989), Pleasure Dome: Artists Film Exhibition Group (since 1989) and Cinecycle (since 1991). In 1998, Pleasure Dome published an important monograph on his work. 

May 27th, 7:30pm
The Strange Machine-Movies of Larry Jordan

The Strange Machine-Movies of Larry Jordan

As if often the case with different experimental filmmakers, Jordan’s work features a heightened visual sense and ambiguous narratives, both qualities that are often found in the visual arts. But beyond the films’ appearances and within the alchemical mystery of its representations, a dialogue of the deaf takes place amongst the obscure machinations that organize our world and the mechanical objects of our everyday lives. Jordan secretly tries to deconstruct the comfort of the contemporary Western world at all costs, using tasteful, and sometimes worrisome, irreverence. In doing this, the filmmaker touches upon the preoccupations of contemporary American art, which often seeks to reduce the unique traits of our world and material lives to simple derisive signs. He uses complex techniques like photogenic disintegration and the type of collage art that is usually found in animation films. Jordan’s work is still relevant today, and it deserves our full attention.

VISION OF A CITY / 10 MIN / 1957

Poet Michael McLure appears as a reflection in a car mirror and window shop. The reflection intermingles with images of San Francisco in 1957. The film is a study of rhythm where McLure’s face is simultaneously interspersed with images of the Californian city.


This film is a hypnotic object dance, where demented dolls meet antique clocks.


This film questions the makeup of “mental images” and it demonstrates the filmmaker’s unique vision. It is a guide to photogenic qualities that clashes with the film’s sound, which is destabilizing and voluntarily incongruous. The result is a dense and superb work of animated photos.


This animated film pays tribute to the illustrator Poyet and is reminiscent of Dadaism. It takes place in a castle where weapons fire at spherical forms.


“Our Lady of the Sphere” is Jordan’s absolute classic that received rave reviews from critics the world over. It tells the story of a mystical outer space conquest with kitsch and anachronistic undertones, using child-like collage techniques.


This work pays a double tribute to both Coleridge and Gustave Doré. It is magnified by the voice of narrator Orson Welles and is one of Jordan’s key works. It tells the sublime, idealized tale of a mariner who tries to kill an albatross to no avail. It is pure poetry. Jordan is an artist who is sensitive to the materiality of film. He recently said of this unique 16mm copy of the film that will be projected during our event: “The film has now turned magenta, but it’s the best thing that could have ever happened to it”.

All of the films are projected in 16mm format. 

Coming soon


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