AFK | Party

Closing Party: Automaticamore at Ace Hotel Evangeline

Diana in front of a DJ booth lit in dim red light holding a 12" record. She wears a black tank top and headphones around her neck.

Location

Ace Hotel Toronto

51 Camden St, Toronto, ON M5V 1V2

Street level entrance, elevator and ramp available. Accessible gender neutral and single occupancy washroom with automatic door.

For a map of Ace Hotel Toronto, click here

COVID-19 Policy

Images Festival is committed to providing an accessible festival and continues to work to reduce barriers to participation at our events. This year, we are implementing a COVID-19 policy to reduce the risk of COVID-19 transmission for all, and to prioritize the participation of people who are disability-identified, immunocompromised, or part of an otherwise vulnerable group.

The following guidelines will be in place: Self-Assessment: We ask that staff and participants screen themselves for COVID-19 before visiting the exhibition.

Closing the 37th edition of Images Festival is Automaticamore! Join us at the Evangeline, the rooftop patio of Ace Hotel Toronto for a night featuring the finest selection of tunes.

The "Italo Queen," Automaticamore is Diana Chan McNally, a Toronto-based record collector and DJ playing Italo-Disco, synthpop, New Beat, and New Wave. An avid digger responsible for bringing gems like Blue Gas' “Shadows From Nowhere” to light on her renowned YouTube channel, Diana's eclectic taste and DJ mixes have been sought out by Stamp the Wax's Digger's Directory and podcasts from around the globe. Diana has toured her collection of records across Europe, Australia, and the United States.

Images Festival operates on land stolen from the Anishinaabe, the Chippewa, the Haudenosaunee, the Huron-Wendat, and the Mississaugas of the Credit First Nation. Tkáron:to is currently home to diverse Indigenous and Métis peoples as well as people who settle on this land. As part of Treaty 13 and the Dish With One Spoon Wampum Covenant, we acknowledge that we all eat from the same bowl and spoon, and must take only what we need, ensuring resources are available for all.

As art workers, artists, and curators, we see the process of untangling ourselves from settler complicity as internal, structural, and ongoing. It is not something to be taken lightly. The inclusion of Indigenous artists and curators into our program is just the first step of necessary and deeper change. Extending from our organizational accountability work, we strive to not only undo forms of complicity, but also actively create an environment and infrastructure that can support Indigenous peoples who work with us.

Images expresses our solidarity with Indigenous people on Turtle Island and globally. We are committed to continuing to learn, critique, and challenge the settler colonial structures we are complicit in.