29 November 2006

Light Reading: Peter Cusack & Angela Impey

London Kingsgate Gallery
Wednesday 29 November 2006, at 7pm

Light Reading Series 5: Peter Cusack & Angela Impey

Based in London, Peter Cusack works as a sound artist, musician and environmental recordist with a special interest in environmental sound and acoustic ecology. Projects move from community arts to research into the contribution of sound to our senses of place, to recordings that document areas of special sonic interest, e.g. Lake Baikal, Siberia, Xinjang China's most western province. In 2005 Peter was involved in 'Sound & the City' the British Council sound art project in Beijing. His current project 'Sounds From Dangerous Places' examines the soundscapes of sites of major environmental damage, e.g. Chernobyl, the Azerbaijan oil fields, and controversial dams in south-eastern Turkey. He initiated 'Your Favourite London Sound' a project that aims to discover what Londoners find positive in their city's soundscape, an idea that has been repeated in other world cities including Beijing and Chicago. Peter also produces 'Vermilion Sounds' a monthly environmental sound program on Resonance FM and lectures on 'Sound Arts & Design' at the London College of Communication. He was recently appointed research fellow on the Engineering & Physical Sciences Research Council's multidisciplinary 'Positive Soundscapes Project'. As a musician, he tours regularly at home and abroad. Available recordings include ‘Where is the Green Parrot?’, ‘Your Favourite London Sounds’ and ‘Baikal Ice’.

Angela Impey has a doctorate in Anthropology/Ethnomusicology from Indiana University (Bloomington). She has worked in community arts and education in various countries in southern Africa, and lectured Ethnomusicology at the University of KwaZulu Natal (SA) for many years. Her research, which was located in the borderlands of South Africa, Mozambique and Swaziland, explored ways in which sound and the affects of music making may contribute critical cultural insights to current perspectives in development, particularly as they pertain to land, gender and natural resource management. Angela has recently relocated to London and is working on various environmental development projects in the Eastern Nile Region of Ethiopia and Sudan as a social development consultant.

Light Reading is an on-going series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. The series will resume in January 2007. To be included on the mailing list please contact courses@nowhere-lab.org


Kingsgate Gallery
110-116 Kingsgate Road, West Hampstead, London NW6
Nearest Tube / Train: West Hampstead

Tickets: £4 door / £3 advance
Telephone: 020 7372 3925
Email: courses@nowhere-lab.org
Booking is essential for this event, as places are limited.


24 November 2006

Shoot Shoot Shoot DVD Launch & Performances


London Candid Arts Trust
Friday 24 November 2006, from 8pm

A special expanded cinema performance event to mark the release of the new LUX / Re:Voir DVD "Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s".

Wave Formations (William Raban, 1977)

The evening will include two performances: Guy Sherwin's CONFIGURATION has not been performed since 1976, and William Raban's WAVE FORMATIONS will be projected for the first time in its new arrangement.

CONFIGURATION (Guy Sherwin, 1976, 10 minutes)
for 2 x Super-8 projectors, live performer
"In this film performance a hand-held projector and a stationary projector reproduce the movements of the two cameras used in making the film. The film was made outdoors in a clearing in a wood. The filmmaker held one camera and moved in a circle around the stationary camera while recording variations of the same view. The two cameras occasionally cross each other's path. In time we see the gradual approach of a figure towards the two cameras and her subsequent involvement in the act of filming. During the performance, the two films are projected together onto a screen. The performer holds one projector and moves in a circle around the stationary projector, echoing the original camera movements. At times, shadows of projector and projectionist are thrown upon the screen." (Guy Sherwin, 2006)

WAVE FORMATIONS (William Raban, 1977-2006, 25 minutes)
for 5 x 16mm projectors, 2 x strobe lights, live performer
"Part one: Variation in Density: The picture on each of the five screens are identical, seven second fades from black, through clear, to black again. The same fade is printed onto the optical sound track to synchronise with the picture. Then follow fades from light to dark. And from dark to light. Part Two: Intermittency: Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-image complementaries." (William Raban, 1978)

The "Shoot Shoot Shoot" DVD will be on sale for a special discounted price of £15 at this event (RRP £19.99). See the separate announcement for further information on this disc. The DVD can also be ordered online from LUX Shop.



Candid Arts Trust
3 Torrens Street, London, EC1V 1NQ
Nearest Tube: Angel

Free Admission. Arrive early to avoid disappointment



London Tate Modern & Tate Britain
24 November - 2 November 2006

Through a series of exhibitions, screenings, performances and discussions Analogue, aims to illuminate the early histories of artists' video, linking the work of artists in the UK, Canada and Poland in order to broaden an understanding of how, in the course of thirty years, a versatile and politically charged medium made the transition from the margins to the mainstream of contemporary practice.

Analogue has been developed by Catherine Elwes and Dr Chris Meigh-Andrews in collaboration with Professor Lisa Steele, Peggy Gale and Tate.

Monitor 1 (Steve Partridge, 1975)

Friday 24 November 2006, at 3pm
A Panel Discussion

This discussion highlights Poland’s significant and pioneering contribution to video art. It features artists Jozef Robakowski, Zbigniew Libera and Marysia Lewandowska; Dr Lukasz Ronduda, Curator of Film and Video at the Centre for Contemporary Art in Warsaw; and Tate curator Stuart Comer.

Tickets: £5, booking recommended
Box Office: 020 7887 8888

Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars

Video P (Pavel Kwiek, 1974)

Friday 24 November 2006, at 7pm

This screening forms a crucial part of a tripartite event taking place over two consecutive weekends at Tate Britain and Tate Modern, presenting seminal early video from the UK, Canada and Poland. Video art appeared in Poland in the early 1970s within the creative community known as the Workshop of the Film Form. The Workshop’s open, multidisciplinary nature and its members’ fundamental, shared interest in new media inspired them to adopt video as the primary medium for their activities almost as soon as the appropriate technology appeared. Members also possessed an analytical stance that compelled them to explore and reveal the inherent qualities of the media they used. Thus, this other art of the moving image – apart from cinema – became the focus of their singular, artistic exploratory interest, an interest they directed toward the structural and expressive qualities of the medium.

Pawel Kwiek, Video A, 1974, 8.30 min
Pawel Kwiek, Video C, 1974, 8.30 min
Janusz Kolodrubiec, Transmisja, 1977, 3 min
Janusz Szczerek, Disturbance, 1977, 6 min
Janusz Szczerek, Sumberge Messiah, 1984, 6 min
Zbigniew Libera, jak tresuje się dziewczynki, 1986, 16 min
Jerzy Truszkowski, Pozegnanie Europy, 1987, 14 min
Jozef Robakowski, Moje Videomasochizmy, 1989–90, 5 min
Jozef Robakowski, Taniec z drzewami, 1985, 2.30 min
Jozef Robakowski, Boli mnie moja noga, 1989, 3 min
Jozef Robakowski, Pieśni nastrojów, 1988, 2 min
Adam Rzepecki, Every dog has his day, 1989, 5 min

Tickets: £4, booking recommended
Box Office: 020 7887 8888

Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars

Pieces I Never Did (David Critchley, 1979)

Friday 1 December 2006, from 6pm

VAMP (Video and Music Performers), video performance, Duveen Galleries
After a twenty-five-year hiatuses, VAMP are performing again. The group were the first to perform integrated video and audio works using the Videokalos image-processing synthesizer, developed and built by Donebauer in collaboration with Monkhouse in the mid 1970s. The artists include Simon Desorgher on flute and electronics, Peter Donebauer on Videoakalos synthesiser, Richard Monkhouse on Vector Pattern Generator and Michael Orniston on the Mongolian horse-head fiddle with Mongolian overtone singing.

Kevin Atherton, In Two Minds, video performance, Clore Auditorium
In Two Minds - Past Version consists of the fifty-five-year-old Kevin Atherton answering questions put to him by his twenty-seven-year-old, pre-recorded self. The resulting performance is a humorous and insightful examination of 1970s video art but as it progresses, becomes a poignant reflection on what has happened in the intervening twenty-eight years.

Continuous playback of selected single screen tapes, Clore Gallery Foyer

This event is free, no bookings taken

Tate Britain, Millbank, London, SW1P 4RG
Nearest Tube: Pimlico

Sackville I’m Yours (Colin Campbell, 1972)

Saturday 2 December 2006, from 10am to 6pm

Symposium & Screenings

This symposium includes discussions with the curators Catherine Elwes, Dr. Chris Meigh-Andrews and Peggy Gale and contributing artists David Critchley and Tamara Krikorian, chaired by A.L. Rees and the screening of familiar and forgotten video work from the UK and Canada. The event features work by General Idea, David Hall, Mona Hatoum and Cerith Wyn Evans which reflect the period's social realities and questions mainstream popular culture and fine art traditions.

Four one hour programmes of work by pioneering UK and Canadian artists.

David Critchley, Pieces I Never Did (extract), 1979, 4.50 min
Marceline Mori, Second and Third Identity, 1977, 4 min
Akiko Hada, Oi Hoi Bang Bang!, 1988, 6 min
Stuart Marshall, Distinct (extract), 1979, 3.36 min
Sera Furneaux, Lessness (extract), 1986, 3.30 min
Chris Meigh-Andrews, Interlude: (Homage to Bug’s Bunny), 1983, 4 min
Judith Goddard. Electron, 1987, 5 min
Marty St James & Ann Wilson, Beatnik, 1984, 5 min
Pratibha Parmar, Sari Red (extract), 1988, 5.44 min
John Scarlett-Davis, Chat Rap (Volker), 1983, (extract), 2.10 min
Mona Hatoum, Measures of Distance (extract), 1988, 5 min
Tina Keane, Demolition/Escape (extract), 1983, 4 min
Gorilla Tapes, The Commander in Chief, 1985, 4 min

Mick Hartney, State of Division, 1979, 6 min
Mike Stubbs, Greetings from the Cape of Good Hope, 1985, 5 min
Cerith Wyn-Evans, Degrees of Blindness (extract), 1988, 5.10 min
George Barber, Brandson, 1985, 4 min
Katharine Meynell, Medusa (extract), 1988, 4.15 min
Pictorial Heroes, Reflections on the Art of the State (extract), 1988, 4 min
John Hopkins, Video Space (extract), 1970, 5 min
Steve Littman, Crisps, 1982, 4 min
Catherine Elwes, Kensington Gore (extract), 1980, 4 min
Jeremy Welsh, I.O.D (extract), 1984, 4.08 min
Ian Bourn, The Wedding Speech, 1978, 5 min
Steve Hawley, Extent of Three Bells, 1981, 4 min
Graham Young, Accidents in the Home: Gas Fires no. 17, 1984, 4 min

Murray, Keeping on Top of Song (installation), 1973, 17-min loop
Pierre Falardeau & Julien Poulin,
Continuons le Combat (extract), 1971, 10 min
Colin Campbell, Sackville I’m Yours (extract), 1972, 6 min
David Askevold,
My Recall of an Imprint of a Hypothetical Jungle, 1973, 5.30 min
Jeff Spalding, VideoWash (extract), 1973, 5 min
Eric Cameron, Contact Piece: A Nude Model (Donna) (extract), 1973, 6 min
Lisa Steele, Birthday Suit, 1974, 12 min
Rodney Werden, Say, 1978, 3 min
Paul Wong, 60 Unit Bruise, 1976, 4.30 min
Daniel Dion & Phillippe Poloni, Division de la Nature, 1981, 5 min

General Idea, Pilot (extract), 1977, 5 min
Tom Sherman, Televisions Human Nature (extract), 1977, 9 min
Alex Poruchnyk, Live Wire, 1982, 5.50 min
Jayce Salloum, In the Absence of Heroes (extract), 1984, 5 min
Su Rynard, A Tape About Memory, 1985, 3.30 min
Vera Frenkel, Last Screening Room (extract), 1984, 9.45 min
Robert Morin, Thief Lives in Hell, 1984, 19:40 min

With Peggy Gale, Catherine Elwes, Chris Meigh-Andrews, David Critchley and Tamara Krikorian. Chaired by A.L. Rees.

Tickets: £25 (£15 concessions), booking required
Box Office: 020 7887 8888

Tate Britain, Millbank, London, SW1P 4RG
Nearest Tube: Pimlico


Pioneering Video from the UK, Canada and Poland (1968-88)

Polish programme curated by Lukasz Ronduda.
Canadian programme curated by Lisa Steele and Peggy Gale.
UK programme curated by Catherine Elwes and Chris Meigh-Andrews.

Funded by Arts Council England, the Canada Council for the Arts, the Polish Cultural Institute with support from Camberwell College of the Arts, UAL and The Electronic & Digital Art Unit (EDAU), University of Central Lancashire.


10 November 2006

Shoot Shoot Shoot

London Tate Modern
10-11 November 2006

At the Academy (Guy Sherwin, 1974)

The 1960s and 1970s were ground-breaking decades in which independent filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers' Co-operative, an artist-led organisation that enabled filmmakers to control every aspect of the creative process. LFMC members conducted an investigation of celluloid that echoed contemporary developments in painting and sculpture. The physical production of a film became integral to its form and content as Malcolm Le Grice, Lis Rhodes, Peter Gidal and others explored the material and mechanics of cinema, making radical new works that contributed to a new visual language.

SHOOT SHOOT SHOOT is a LUX project. Curated by Mark Webber.


Slides (Annabel Nicolson, 1970)

Friday 10 November 2006, at 7pm

The materialist tendency characterised the hardcore of British filmmaking in the early 1970s. Distinguished from structural film, these works were primarily concerned with duration and the raw physicality of the celluloid strip.

Annabel Nicolson, Slides, 1970, colour, silent, 11 mins
Guy Sherwin, At the Academy, 1974, b/w, sound, 5 mins
Mike Leggett, Shepherd's Bush, 1971, b/w, sound, 15 mins
David Crosswaite, Film No. 1, 1971, colour, sound, 10 mins
Lis Rhodes, Dresden Dynamo, 1971, colour, sound, 5 mins
Chris Garratt, Versailles I & II, 1976, b/w, sound, 11 mins
Mike Dunford, Silver Surfer, 1972, b/w, sound, 15 mins
Marilyn Halford, Footsteps, 1974, b/w, sound, 6 mins

Threshold (Malcolm Le Grice, 1974)

Saturday 11 November 2006, at 7pm

Despite the London Film-Makers' Co-operative workshop's central role in production, not all of the films produced were derived from experimentation with printing and processing. Filmmakers also used language, landscape and the body to create works that explore the essential properties of the medium.

Malcolm Le Grice, Threshold, 1972, colour, sound, 10 mins
Chris Welsby, Seven Days, 1974, colour, sound, 20 mins
Peter Gidal, Key, 1968, colour, sound, 10 mins
Stephen Dwoskin, Moment, 1968, colour, sound, 12 mins
Gill Eatherley, Deck, 1971, colour, sound, 13 mins
William Raban, Colours of this Time, 1972, colour, silent, 3 mins
John Smith, Associations, 1975, colour, sound, 7 mins


screening at

Starr Auditorium
Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars

Tickets: £4, booking recommended
Box Office: 020 7887 8888