20 min (looped) 
2 Channel Video, 5.1 Surround Sound, English Captions 
Canada, 2025

twenty-five years swayed between our teeth is a sound and moving-image installation that extends the themes and aesthetic strategies first explored in Sharlene Bamboat’s single-channel film Both, Instrument & Sound (2024).

The installation delves into the complexities of solidarity, friendship, and sonic tension, offering a polyphonic encounter that asks how people are coping today under the weight of genocide, fascism and accelerating climate catastrophe.

In her book "As we have Always Done" Leanne Betasamosake Simpson states “how we live, how we organize, how we engage in the world - the process - not only frames the outcome, it is the transformation. How moulds and then gives birth to the present. The How changes us.” (19). Bamboat's installation delves into "the how" and asks how we will engage? How will we love? How will we be angry and how will we hate?

Working collaboratively with friends, scholars, artists, and musicians, twenty-five years swayed between our teeth forms a temporal loop, weaving together sonic and visual echoes that compel us to confront questions about the transformative power of process and its potential to shape our understanding of how to exist in the now.

CREDITS

Director/Producer: Sharlene Bamboat. Edit: Kaija Siirala. Sound: Richy Carey at èist sound & Kaija Siirala. Camera: Razan Al Salah, Faraz Anoushahpour, Pablo Alvarez Mesa, Sharlene Bamboat & Natalie Kouri-Towe. With: Kaija Siirala, Natalie Kouri-Towe, Razan Al Salah, Richy Carey, Mili Hong, Tony Souza, Serena Lee, yen-chao Lin, Pablo Alvarez Mesa, Alessandra Renzi. Chorus: Kaija Siirala, Razan Al Salah, Rupali Morzaria, Athina Khalid, Richy Carey & Sharlene Bamboat. Captions: Jordan Lord & Sharlene Bamboat. Technical Consultant: Aamna Muzaffar. Poster Text: Corina Copp. Poster Design: Rupali Morzaria.

36 min
16mm & Super8mm, 5.1 Sound & Stereo
Canada, 2024

Both, Instrument & Sound employs tension as an aesthetic strategy, to explore solidarity, collective struggle, and the transformation of these values under neoliberalism. The film follows the life of Tony over 3 years as he describes his process of political activism from the 1970s onwards, which cannot be disentangled from his friendships and his lovers.

The film’s score - co-written with musicians, the film’s cast and crew - sonically explores different interpretations of tension—both in response to Tony’s narration and to the musicians’ existing approaches to tension as a musical, cinematic, scientific, and political experience. Everyone translates, performs and remixes it using instruments of their choice.

In the face of a growing politics and language of individualism Both, Instrument & Sound questions how our discourses and practices of solidarity have changed since the rise of neoliberalism. Through hand-processed 16mm film, poetry and collective listening practices, the collision of flesh and friendship, sonic and visual tension and the complications of solidarity are explored.

Scroll for Trailer ︎︎︎

Since 2014, Sharlene Bamboat & Alexis Mitchell have been building an expansive body of work and research around the legal trials of animals in Medieval Europe and by extension, its colonies. Central to this is the experimental film Bugs and Beasts Before the Law, as well as a series of print works, and an artistic publication co-commissioned by Mercer Union and Henry Art Gallery.

Framed as an appendix to the film, Before Law is a web-based artist project that features the work of more than a dozen contemporary artists, writers, poets and thinkers with wide-ranging, playful, and critical interests in the five organizing chapters of the film Bugs and Beasts Before the Law. A highlight among them, are six new projects produced with support from Bamboat & Mitchell by Canadian and international artists, writers, and filmmakers who broadly and incisively explore the complexity of human relationships with the greater natural world. In addition to these new works, are many others that have been expanded, adapted, and reimagined specifically for Before Law.

They include works of scholarship, and literary and artistic explorations that take up everything from the legal frameworks that implicate and control non-human subjects, through to historical and contemporary notions of ritual, myth, and conflict between worldly beings and ecologies. Before Law also includes a Screening Room that will feature a changing program of live events, screenings, and performances that are organized by Bamboat, Mitchell and invited guest programmers for a limited period of time.

With new works by Donika Kelly; Parastoo Anoushahpour, Faraz Anoushahpour, and Ryan Ferko; Sukaina Kubba; Shahana Rajani and Jeanne Penjan Lassus; Oliver Husain; and Zoe Todd. The project also features Renisa Mawani and Antoinette Burton; Renèe Helèna Browne; Ama Codjoe; Rupali Morazaria; Emilia Beatriz, ANORAK; Sarah Keenan; and more.

If From Every Tongue it Drips is a film  that explores questions of distance and proximity, identity and otherness, through scenes from the daily interactions between two queer women
- a poet and a cameraperson.

Created between three locations: Montreal, Batticaloa and the Isle of Skye, and connected through languages – Urdu, Tamil & English, personal and national histories, music and dance, and the gaze of the camera lens, they explore subjects both expansively cosmic and intimately close—from quantum superposition to the links between British
colonialism and Indian nationalism.

CREDITS

Director/Producer: Sharlene Bamboat.
Performer: Ponni Arasu.
Camera Operator: Sarala Emmanuel.
Sound: Richy Carey.
Edit: Muhammed Nour Elkhairy.

In this performance reading, Bambitchell continues their exploration of the legal frameworks that govern non-human animals and objects, moving from the territorial jurisdictions explored in their film Bugs & Beasts Before the Law (2019), to the legal realm of the sea. Dolphins, ships and other vessels is a polyvocal narrative that spans bodies of water. Stretching from Te Moana-o-Raukawa, to the South China Sea, the Atlantic and Pacific Oceans, and the Clyde and Kaniatarowanenneh rivers, the narrative traces the disappearance and reappearance of a dolphin, the reincarnations of ships, and the embodiments of Jinn - as vessels, mammals, water, myth, and law.

CREDITS

Performers: Faraz Anoushahpour & Sukaina Kubba
Sound Design: Richy Carey

COMMISSIONED BY

Henry Art Gallery


Performance Reading
Bambitchell, 2021