Published in the Spring 2005 401 Richmond Update
Trinity Square Video (studio 376) is in the midst of an exciting transformation. The first change was geographical when the centre took over new digs at 401 Richmond in 2002 and joined a community they worked with regularly but could now call neighbours. A more significant change has been structural as Trinity modifies its practices and services ensure vitality in the art and video-making community. This brings promising new beginnings and renewed vibrancy to Trinity’s projects but also requires a lot of work on the part of its staff and board to ensure that the needs of its members and the community are being met on all counts. This kind of transformation is really nothing new for Trinity – its history has been one of constant shifts as video-making practice and particularly technology have developed over the years. As Trinity morphs into 2005 it is taking on what Executive DirectorRoy Mitchell refers to as a more holistic approach moving away from a concentrated focus on equipment rentals to cultivating a slate of seasonal workshops and an activated gallery space. Mitchell says “it lends itself to a lot of screw ups because we are trying to invent things but I’m really excited as I think we’re where we’ve never been.”
Trinity Square Video was founded as a collective in 1971 by a group of activists who needed both equipment and space to create video works that spoke from and to communities that were under-represented. As Roy explains “video has a political history of showing what the world is all about…these were artists who wanted to show what was not in the mainstream.” Trinity provided collective use of expensive, and therefore fairly inaccessible, production and post-production equipment to members and quickly became an invaluable tool to artists and community groups who yearned for the opportunity to express their own social and cultural experiences. In order to meet the demand of its members the non-profit centre focused on equipment rentals and related support and services, but gradually this mandate is being reassessed. “It’s an interesting time historically for us because if you’re a professional, you probably have an “at home” editing system…we tell people its great to edit at home, I edit at home but what else do you get from an organization like Trinity? The biggest challenge for Trinity is figuring out how to stay vital in an age where technology is so accessible?” The answer to these questions lies in a staff and board, all practicing artists, who are dedicated to creating a new vision for the centre that brings education and exhibition to the forefront.
This does not mean that Trinity has lost touch with its roots, “Trinity has changed, but the essence is still there as far as an access centre providing the tools to make videos to artists. We target emerging artists but not exclusively as a lot of established artists are now moving to video so you can have a painter, dancer or performance artist that sees video as part of their practice.” Roy is also careful to address the fact that access to the technology remains a relevant issue for individuals and community groups and Trinity’s equipment and editing suites will remain a central part of their services. “I don’t think anyone should have the impression that Trinity is cutting edge, we can’t be because it would simply cost too much and that’s not what we make – what gets made a Trinity are short experimental videos, documentaries…really personal work that you might see at festivals and galleries.” The centre is closely connected to the festivals put together under 401’s roof including, the TorontoReel Asian International Film Festival (studio 309), Inside OutLesbian + Gay Film + Video Festival (studio 219), Images Festival (studio 448), and ImagiNATIVE (studio 417) assisting them to make festival trailers.
These services are supplemented with a comprehensive workshop series taught by IanJarvis and members of Trinity’s board of directors. Trinity’s new space at 401 has also outfitted them with a beautiful new gallery space that is programmed by Aubrey Reeves to include screenings, artists’ talks, and presentations - a place to both exhibit and discuss video art. The board of directors plays a key role in strategically planning for weathering these waves of change, “the board is really good at running the place – often people think I’m the boss and forget that artist-run centres have boards. I think that it’s commendable that there are people who are willing to be on a board and talk about things like personnel policy or sick days because they believe in video art, or a gallery or community group.” Roy also speaks highly of the dedication of his staff (including Production Manager, Jason Ebanks and Office Manager, Milada Kovacova) some of which have been with the organization for over five years.
Trinity is also very proud of the fact that “work gets made there” and they have a long-standing tradition of ensuring that artists get paid for their work. Originally this took the form of a purchase collection, which has been painstakingly archived by Reinaldo Jordan (who also curated a screening of the archive on Jan. 20, 2005 to benefit victims of the tsunami) and has grown into an annual themed commission. Trinity selects five people from a call for submissions who work over three months to create a five to seven minute video based on the theme. The Affection themed commission, which was screened on Feb. 9 at Cinecycle, is the final part of a trilogy of themes loosely based on Maslow’s hierarchy of needs (Space and Eat came before). Trinity provides each artist equipment rentals, an editing workshop, editing services, an artist fee and lots of assistance both technical and artistic. This collective support is precisely what sets Trinity apart from other technical facilities. “Some organizations in Toronto you just go in, you shut the door, you work and then you leave. We want it to be a different atmosphere here, a place that is social where people come to talk about video. We believe that there should be a space for discourse and you should get to know people by their name.”
Trinity Square Video Executive Director Roy Mitchell with Chandra Bulocon of Puppy Machine Productions.
