Jenny Lion works with film and video in cinematic, participatory, and gallery installation contexts. Originally trained as a dancer, her moving-image work has screened at the Whitney Biennial, Rotterdam Film Festival, and the Banff Center, among others. She has received funding from the Jerome Foundation and Canada Council for the Arts, was a Bush Foundation Artist Fellow, and a resident at the Center for Land Use Interpretation. She frequently collaborates, in groups and with individuals, and often over long periods of time. In 2014 she and teen artists experiencing homelessness re-enacted Wendy Clarke’s historic participatory video project The Love Tapes, and she has been working with northern Nevada residents documenting military, settler, and Indigenous cultural sites in Churchill County since 2005. Her curatorial projects have focused on constructions of race in early performance video, avant-garde film, expanded documentary practices, and Canadian artists’ video, and have screened at venues such as the De Balie in Amsterdam, Taichung Arts District in Taipei, and the National Gallery of Canada. She was guest curator of film at the Walker Art Center in Minneapolis, curating the 47-artist retrospective touring series “Magnetic North: Canadian Experimental Video” and edited a book on the same subject for the University of Minnesota Press. She teaches at Macalester College. She received a BA from Hampshire College and an MFA from University of California, San Diego.
Photo: Steven Matheson
untitled (Nevada, Utah)
Jenny Lion works with film and video in cinematic, participatory, and gallery installation contexts.Artist Bio
untitled (Nevada, Utah) is a series of video installations and cinematic works which explore land-use, expansionist history, training rituals, and strategies of sustained witnessing at sites of historical resonance. The collaborative project includes a three-screen installation shot at nuclear sites, a video projection re-enacted by local actor/participants exploring the physical rituals of training, a split-screen feature-length film examining a remote valley where town ruins are used to simulate farther-away—but nevertheless very real—war zones, oral histories of women who were raised in these locations, and a visual archive of the many objects Lion has found abandoned in these contested landscapes.