Question: Which artist is from Canada, Michael Snow or Wayne Wang?
Context: (nostalgia) is a 38-minute 1971 film by artist Hollis Frampton (1936–1984).  The film is composed of still black-and-white photographs taken by Frampton during his early artistic explorations which are slowly burned on the element of a hot plate, while the soundtrack offers personal comments on the content of the images, read by fellow artist Michael Snow.  Each comment/story is heard in succession before the related photograph appears onscreen, thus causing the viewer to actively engage with the 'past' and 'present' moments as presented within the film. Snow v Eaton Centre Ltd is a leading Canadian decision on moral rights.  The Ontario High Court of Justice affirmed the artist's right to integrity of their work.  The operator of the Toronto Eaton Centre was found liable for violating Michael Snow's moral rights by putting Christmas bows on his work. Wavelength is a 45-minute film that made the reputation of Canadian experimental filmmaker and artist Michael Snow.  Considered a landmark of avant-garde cinema, it was filmed over one week in December 1966 and edited in 1967, and is an example of what film theorist P. Adams Sitney describes as "structural film", calling Snow "the dean of structural filmmakers."  "Wavelength" is often listed as one of the greatest underground, art house and Canadian films ever made.  It was named #85 in the 2001 "Village Voice" critics' list of the 100 Best Films of the 20th Century.  The film has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada.  In a 1969 review of the film published in "Artforum", Manny Farber describes "Wavelength" as "a pure, tough 45 minutes that may become "The Birth of a Nation" in Underground films, is a straightforward document of a room in which a dozen businesses have lived and gone bankrupt.  For all of the film's sophistication (and it is overpowering for its time-space-sound inventions) it is a singularly unpadded, uncomplicated, deadly realistic way to film three walls, a ceiling and a floor... it is probably the most rigorously composed movie in existence." Blue in the Face is a 1995 American comedy film directed by Wayne Wang and Paul Auster.  It stars Harvey Keitel, Victor Argo, Giancarlo Esposito, Roseanne Barr, Michael J. Fox, Lily Tomlin, Mira Sorvino, Lou Reed, Mel Gorham, Jim Jarmusch and Malik Yoba. Smoke is a 1995 American independent film by Wayne Wang and Paul Auster.  The original story was written by Paul Auster, who also wrote the screenplay.  The film was produced by Hisami Kuroiwa, Harvey Weinstein and Bob Weinstein and directed by Wayne Wang.  Among others, it features Harvey Keitel, William Hurt, Victor Argo, Forest Whitaker, Ashley Judd, Stockard Channing and Harold Perrineau Jr.. Snow Flower and the Secret Fan is a 2011 historical drama film based on the novel of the same name written by Lisa See.  Directed by Wayne Wang, the film stars Gianna Jun, Li Bingbing, Archie Kao, Vivian Wu, and Hugh Jackman. Wayne Wang (; born January 12, 1949) is a Hong Kong-born American film director. Michael Snow, {'1': ", '2': ", '3': ", '4': "} (born December 10, 1929) is a Canadian artist working in painting, sculpture, video, films, photography, holography, drawing, books and music.  His best-known films are "Wavelength" (1967) and "La Région Centrale" (1971), with the former regarded as a milestone in avant-garde cinema. Chinese Box is a 1997 movie directed by Wayne Wang and starring Jeremy Irons, Gong Li, Maggie Cheung and Michael Hui. The Joy Luck Club () is a 1993 American film about the relationships between Chinese-American women and their Chinese mothers.  It was directed by Wayne Wang and stars Ming-Na Wen, Rosalind Chao, Lauren Tom, Tamlyn Tomita, France Nguyen, Kieu Chinh, Lisa Lu, and Tsai Chin.  The film is based on the eponymous 1989 novel by Amy Tan, who co-wrote the screenplay with Ronald Bass.  The film was produced by Bass, Tan, Wang and Patrick Markey while Oliver Stone served as an executive producer.  Four older women, all Chinese immigrants living in San Francisco, meet regularly to play mahjong, eat, and tell stories.  Each of these women has an adult Chinese-American daughter.  The film reveals the hidden pasts of the older women and their daughters and how their lives are shaped by the clash of Chinese and American cultures as they strive to understand their family bonds and one another.
Answer: Michael Snow