Born in London, England, Gisèle Gordon is a Canadian media artist who lives and works in Toronto, Canada. Drawn to memory’s enigmatic connections, curiosity and exploration drive her work.
Her work includes media-based installation and single channel video projects. More
Crosscurrent is a two-channel video installation commissioned for the Moscow Biennale in 2013 that explores the spaces where western science and Indigenous ways of understanding the world intersect. The viewer is positioned in a liminal space between two facing screens allowing a glimpse into Indigenous communities within the world’s largest terrestrial biome. One side is Cree on the edges of the boreal forest in Saskatchewan, Canada. The other is Evenk reindeer herding territory, deep in the taiga in central Siberia, Russia. Although 13,000 km apart, these worlds share connections to the land and language and ongoing conflicts between traditional ways of life and modern industrial exploitation. High above them in the troposphere, global wind systems carry air masses, weather systems and unknown forces as they encircle the globe. The wind carries messages from the other side, for those who will stop to listen.
Listening to the City is an experimental, reality-based meta-narrative of the urban experience constructed from fragments of overheard conversations and visuals of extraordinary moments in Toronto's public spaces. Currently in production with generous support from the Canada Council, Ontario Arts Council, Toronto Arts Council and the Liaison of Independent Filmmakers of Toronto. More
Commissioned for Toronto’s Nuit Blanche, 2010, and conceptualised and executed by Gisèle Gordon and Kent Monkman, Iskootāo was a site-specific sound and light installation with live performance that transformed a 650-tonne billion-year-old chunk of the Canadian Shield in Toronto’s Yorkville Park into the pulsing heart of the earth. More
The Land That Dreams was a performance projection taking participants through the 12,000 year old dreams of the land beneath them developed for Hanna Hurtzig’s The Copycat Academy at the Luminato Festival in Toronto, 2014. More
Gisèle worked as a programmer for the Canadian section of Hot Docs, North America’s largest documentary festival from 2007 to 2010 and for the international program from 2011 to 2012.
Gisèle served on the board and was a programmer for the imagineNATIVE Film + Media Arts Festival, the world’s largest festival of film, video, radio, and new media works by Indigenous filmmakers and artists from 2002 to 2010.
Her independent curation includes Reconstructing Canada, a reimagining of Canada’s North through works by Canadian First Nations, Inuit and Métis artists for the Salekhard Northern Nomadic Film Festival in Russia in 2005.