Cutting Through Rocks
$11.50
When public access television became institutionalized through Canadian telecommunications policies, it was presented as a model of media democracy – guaranteeing space within cable systems for citizen-produced programming. The idea evolved from educational media and experimental uses of early communication technologies, and would be proposed as a community service counterpoint to commercial entertainment. Natalie Pollock was initially in alignment with this model when she launched her public access TV show on VPW – informing the Winnipeg public with interviews with local politicians and business leaders. It was in 1987, when a guest bailed, that Natalie invited her brother and musical collaborator, Ronnie to appear instead. The standard interview program evolved overnight into a variety show – incorporating elements of vaudeville, music hall, drag and unrestrained dance.
Over the next two years, “The Pollock & Pollock Gossip Show” would become increasingly and prankishly aimed at the tidy conformism, and homophobic prudery of 1980s Winnipeg. Ronnie would act as the empresario and host – cultivating a persona based on a 1950s “sock hop” DJ. Natalie was the co-host, and star spotlight dancer – often writhing on the floor in spandex, ripped panty hose, and the “Red Shoes of Human Rights!” Her naturally ample breasts would unreasonably become the focal point of the show’s instant and tremendous notoriety, fandom and public scorn. Media coverage of the show led with sexist headlines: “The Pollocks Get Bounced,” “Boob Tube Bust Up,” and “Big and Proud of It.” The local Winnipeg Free Press, would describe the Gossip Show as “pointless, vacuous…. and stomach-churning”. The Winnipeg Sun ran a public poll asking Winnipeg readers if Natalie should be allowed to tell people she is from Winnipeg.
In 1989, the show would be cancelled by Videon’s program director in deference to public complaints, and for being, “below the normal standards of the community.” The Pollocks paid a heavy price for their unconventional approach to surrealist, sex-positive, community-engaged, queer art, and being radically ahead of their time.
Today the Pollocks are prolific “Art Brut” filmmakers, and insuppressibly unhinged artists in their early 80s. They have worked for decades under extreme material constraints – using only free online software (which means every video they release is restrained by 500 MB). They have not had access to professional recording or production equipment since their days at VPW. Still, they release new videos on their various YouTube channels on a monthly, if not weekly basis, and have recently surpassed 10 million accumulated views.
The work in this program is joyful, complicated, disorienting, exhibitionist, vigorously independent, and undeniably compelling. The work of Ronnie and Natalie Pollock challenges and stretches our assumptions about feminism, art, gender, identity, and Winnipeg as a creative space. (Daniel Barrow)
Curated by Daniel Barrow. This program is 60 minutes long.
