Tag: Clint Enns

Join us for another instalment in FADO’s Walk-And-Talk performance series.

Free, all welcome.

Clint Enns takes us on a cinematic Walk-And-Talk through the work of Karl Grune’s 1923 film, Die Strasse, narrating the film as a performative-intervention.

Enns’ Die Strasse [Back Alley Edit] re-imagines Karl Grune’s 1923 Die Strasse as a walking film. The film follows movements of a man who leaves his home and drifts through the city at night, each step carrying him deeper into the dangers of the street. Cinema as walk, narrative as restless wandering.

The artist’s reworking intervenes in this walk by adding a textual element and voice, shifting the film from “silent walkie” to “talkie.” A detour[nement] where new stories emerge in motion.

Clint Enns is a visual artist, writer, and curator living in Tiohtià:ke / Montréal. His post-cinematic practice consists of reworking existing films, disrupting their conventional narratives and forms. His interventions destabilize the cinematic image, turning familiar works into sites of critical play and reinterpretation. By appropriating and manipulating filmic material, Enns challenges the permanence of cinema as a fixed cultural object, presenting it as malleable, thinking though the ways moving images persist, mutate, and circulate in a post-cinematic landscape shaped by digital technologies and remix culture.

© Karl Grune, Die Strasse, 1923. Film still.

Canada
https://clintenns.ca/

Clint Enns is a visual artist, writer, and curator living in Tiohtià:ke / Montréal.. His post-cinematic practice consists of reworking existing films, disrupting their conventional narratives and forms. His interventions destabilize the cinematic image, turning familiar works into sites of critical play and reinterpretation. By appropriating and manipulating filmic material, Enns challenges the permanence of cinema as a fixed cultural object, presenting it as malleable, thinking though the ways moving images persist, mutate, and circulate in a post-cinematic landscape shaped by digital technologies and remix culture.

His work has been exhibited and screened internationally, including solo shows such as Lo-fi Visions: The Selected Work of Clint Enns (Keiller Centre, Scotland, 2023), Internet Vernacular // Conspiracies in Isolation (PAVED Arts, Saskatoon 2021), Internet Vernacular (VU Photo, Québec, 2019), and The Lo-Fi Mixtape: A Selection of Works by Clint Enns (la lumière collective, Montréal, 2017). Earlier solo presentations include Visual Errata + Other Bent Forms (Microscope Gallery, Brooklyn, New York, 2013) and Prepare to Qualify (Gallery 1C03, Winnipeg, 2010). His films nationally and internationally including: Anthology Film Archives (New York), Image Forum (Tokyo), Collectif Jeune Cinéma (Paris), International Short Film Festival Oberhausen (Oberhausen), the Walker Art Center (Minneapolis), Other Cinema (San Francisco), and Images Festival (Toronto). Enns is the editor of several volumes, including Scrapbook: From the Archives of Dave Barber (Winnipeg Film Group, 2025), Mike Hoolboom: Work (CONVERsalón / Canadian Film Institute, 2025), Imprints: The Films of Louise Bourque (Canadian Film Institute, 2021), and Shock, Fear, and Belief: The Films and Videos of Madi Piller (Pleasure Dome, 2016) and John Porter’s CineScenes: Documentary Portraits of Film Scenes, Toronto and Beyond, 1978–2015 (the8fest, 2015).