The names Atom Egoyan and Arsinée Khanjian are often linked and most certainly mentioned whenever the topic of International Film success is discussed. The husband and wife team have frequently worked together and have, independently, been widely recognized.
Egoyan has produced a body of work in film, television, and theatre, winning numerous prizes at international film festivals, including the Grand Prix and International Critics Awards from the Cannes Film Festival and two Academy Award© nominations. His films have been presented in major retrospectives around the world and a number of books have been written about his work. Egoyan's installations have been exhibited at museums and galleries in Canada and abroad, including the Venice Biennale. He was President of the Jury at the 2003 Berlin International Film Festival, and his production of Wagner's Die Walküre, performed by the Canadian Opera Company in April 2004, will be remounted in Autumn 2006. His latest film, Where The Truth Lies, had its world premiere in Official Competition at the 2005 Cannes International Film Festival.
Khanjian most recently appeared in the title role of the widely acclaimed romantic comedy, Sabah, by young Canadian director Ruba Nadda. In 1999 she won a Gemini Award for best actress in a series (Foolish Heart) and in 2003 she received a Genie for best actress in a feature film (Egoyan's critically acclaimed, Ararat) and was also awarded best actress by the Durban International Film Festival in South Africa. In addition to her extensive roles in film, both Canadian and International, Khanjian has many prominent stage and television roles to her credit. She is an activist, a community-minded volunteer and an experienced administrator and board member of not-for-profit, arts-related organizations. In particular, she was the first person to hold the post of Associate Officer in the Film, Video and Photography office of the Ontario Arts Council, has been Bilingual Community Heritage Advisor for the Ontario Ministry of Culture and Communications and is on the Board of The Power Plant, Canada's leading contemporary art gallery.
This year's reading features Jane Urquhart, the award-winning, internationally-renowned novelist and poet.
Music by Nathan Coles Outfit and Ambre McLean.
Each year The Guelph Lecture - On Being Canadian inspires a community conversation on what it means to be Canadian and what role our country could and should play in a changing world. Through the arts, and film in particular, we share experiences with people all over the world, making possible the exploration of various perspectives, which revitalize us and awaken us to possibilities in our lives.
The Guelph Lecture - On Being Canadian is an offering of the Eramosa Institute, a not-for-profit, Charitable Organization (86498 9207 RR0001) that exists to promote and foster public dialogue on, and greater understanding of, ideas and issues of concern to Canadians.
Thursday, 12 January 2006
River Run Centre
Guelph Ontario
7pm
Robert Enright C. M. is a renowned cultural journalist, known as one of the country's most eloquent and prolific thinkers on contemporary culture. He spent 25 years as an art critic for CBC and regularly contributes to the Globe and Mail and international art magazines Art News, Modern Painters and Art Review.
He is University Research Professor in Art Criticism in the School of Fine Art and Music,and was honoured with an Order of Canada for his contributions in communications. He is the author of Eric Fischl: 1970-2000 and has contributed to several other books on artists, including Tony Tascona: Resonance and Don Reichert: A Life in Work. A collection of Enright's interviews were published in a 1997 book called Peregrinations: Conversations With Contemporary Artists.
In addition to writing about visual artists, he has conducted interviews and reviewed works in the theatre, dance, film and performance art worlds. He is the founding editor and now Senior Contributing Editor of Border Crossings, (Meeka Walsh is editor), a magazine Robert Fulford says "has become indispensable without becoming really well known. ..... It tells us not what we should think but what we should consider thinking about."