Pages UnBound is proud to present Visual Language, a screening and discussion featuring two of Canada's most celebrated artists: Michael Snow and Vera Frenkel. Snow's film Wavelength is a classic of Canadian experimental cinema and his brilliant public art is featured at the Rogers Centre and the Eaton Centre, while Frenkel's award-winning videos and installations have been seen from London to Berlin to Tokyo with her installation …from the Transit Bar receiving continual acclaim as a seminal piece of Canadian art. These two great interdisciplinary artists will screen selected pieces from their illustrious careers and discuss their idiosyncratic visual languages with Border Crossings's editor-at-large and member of the Order of Canada, Robert Enright.

Michael Snow was born in Toronto in 1928. His internationally active practice includes work in sculpture, painting, photography, holography, installation, bookworks, video, film, music and has completed several public commissions such as Flight Stop (in the Eaton Centre) and The Audience (on the Rogers Centre).

Some recent solo exhibitions include: Sequences at La Virreina, Barcelona (2015), Michael Snow Photo-Centric at the Philadelphia Museum of Art (2014), The Legacy of Wavelength at the Museum of Modern Art, New York (2013), Solo Snow at Galerie de l'UQAM, Montréal (2013), In The Way at the Jack Shainman Gallery, New York (2012), Recent Works at Secession, Vienna (2012), Objects of Vision at the Art Gallery of Ontario (2012).

Snow's work is in many collections including Art Gallery of Ontario (Toronto), Musée des Beaux-Arts (Montréal), National Gallery of Canada (Ottawa), Vancouver Art Gallery, Museum of Modern Art (New York), Philadelphia Museum of Art, Albright-Knox Art Gallery (Buffalo), Centre Georges-Pompidou (Paris), Ludwig Museum (Cologne & Vienna), Tate (London), and Museu d'Art Contemporani de Barcelona.

Snow has received numerous awards, including a Guggenheim Fellowship (1972) the Order of Canada (Officer, 1982; Companion, 2007), and the first Governor General's Award in Visual and Media Arts (2000) for cinema. Snow was made a Chevalier de l'ordre des arts et des lettres, France (1995), in 2004 he was awarded an honorary doctorate by the Université de Paris I, Panthéon-Sorbonne, and in 2011, he was awarded the Gershon Iskowitz Prize.

Vera Frenkel is among a small number of artists who have changed the way in which art is practiced in Canada. Her recombinant, exploratory practice, addressing themes of human migration, cultural memory, censorship and the bureaucratization of experience has produced works shown at documenta IX, Kassel; the Setagaya Art Museum, Tokyo; the National Gallery of Canada; MoMA, New York; Tate Britain; the Venice Biennale; the MAK, Vienna; the Freud Museum, London; the Martin-Gropius Bau, Berlin, and MOCCA, Toronto, among other key venues.

The Blue Train, her multi-screen video-photo-text work commissioned for Archival Dialogues, the Ryerson Image Centre's inaugural exhibition, has just been released in DVD/BluRay formats.

Recipient of honorary doctorates from the Nova Scotia College of Art and Design (1996) and the Emily Carr Institute (2004) Frenkel's honours include, among others, the Canada Council Molson Prize for the Arts, the Gershon Iskowitz Prize, the Bell Canada Award in Video Art, the Governor General's Award in Visual and Media Arts, followed by induction into the Royal Society: Academies of the Arts, Humanities and Sciences, a rare honour for an artist, and the International Digital Media and Arts Association Pioneering Achievement Award.

Residencies have drawn her to the Slade School of Art, London; the School of the Chicago Art Institute; the MVA Program, U. of T.; Vienna's Akademie der Bildende Künste; Toronto's McLuhan Program in Culture and Technology; the Agnes Etherington Art Centre, Queen's U.; the Banff Centre; and Stockholm's Royal University, among many others.

The most recent articles on Frenkel's work are in the current issues of U.K. journals n.paradoxa and MIRAJ (Moving Image Review & Art Journal). Her own writings have appeared in anthologies such as Penser l'indiscipline (Concordia/OPTICA, 2003), Joseph Beuys: The Reader (M.I.T., 2007), and Museums after Modernism (Blackwell, 2007), and in Art Monthly, artscanada, FUSE, Intermédialités, n.paradoxa and PUBLIC, and of course in Points of Departure, the new book, edited and with a significant essay by Jonathan Shaughnessy, Associate Curator of Contemporary Art, National Gallery of Canada.