30 May 2007

Light Reading: Hilary Koob-Sassen / Steven Ball

LIGHT READING: Hilary Koob-Sassen & Steven Ball
London Light Reading
Wednesday 30 May 2007, at 7pm

Light Reading Series 7

no.w.here is excited to launch it's forthcoming Light Reading series at its new location in the East End. Light Reading’s 2007 series will open with a conversation between the artists Hilary Koob-Sassen and Steven Ball. Extracts of work by Hilary Koob-Sassen will be screened during the event.

Hilary Koob-Sassen is an artist living in London. He performs with his experimental band The Errorists. His audio-visual performances and public syntax experiments work towards a trellis of post-modern political proposal. He shows his sculpture, film, and performance internationally. His solo show, New Vernacular, is currently running at 1+2 Artspace, London, and a forthcoming screening and performance New Lands, is planned at the National Film Theatre this June.

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. To be included on the mailing list please contact courses@nowhere-lab.org


Light Reading
3rd Floor, 316–318 Bethnal Green Road, London, E2 0AG
Nearest Tube / Train: Bethnal Green

Tickets: £5 door / £4 advance
Telephone: 020 7372 3925
Email: courses@nowhere-lab.org
Booking is essential for this event, as places are limited.



25 May 2007

The Long Weekend

London Tate Modern
25-28 May 2007

UBS Openings: The Long Weekend is one of the world’s most dynamic celebrations of film, music, performance and visual art, set within the iconic architecture of Tate Modern. The four-day event, over the late May bank holiday, features a series of remarkable and unmissable one-off performances by celebrated international artists in the dramatic setting of the Turbine Hall as well as a full programme of family activities, workshops and games for all ages.

Many events are free. Details below are for the main evening events only.

Sleep (Andy Warhol, 1963)

Friday 25 May 2007, at 9pm

This screening presents seven experimental films by the legendary, experimental filmmaker Maya Deren (1917–61). Four of these are accompanied live with new, specially commissioned soundtracks by the Japanese musician Ikue Mori, icon of downtown New York’s improvisation and experimental music scene.

With original soundtrack:
Maya Deren, Meshes of the Afternoon, 1943, 14 mins
Maya Deren, The Very Eye of Night, 1959, 15 mins
Maya Deren, Meditation on Violence, 1948, 12 mins

Accompanied live by Ikue Mori:
Maya Deren, At Land, 1944, 15 mins
Maya Deren, Ritual in Transfigured Time, 1946, 15 mins
Maya Deren, A Study in Choreography for the Camera, 1945, 4 mins
Maya Deren, Witch’s Cradle, 1943, 12 mins

Russian-born Maya Deren was an outspoken and influential filmmaker, writer, theorist and dancer and spent much of her adult life in New York. Her first and most well-known film, Meshes of the Afternoon, 1943, is recognised as a seminal American avant-garde film and indicates her interest in dreams, ritual, psychological states, and the manipulation of space and time. Although heavily influenced by surrealism, Deren disliked labels, so when the film was called ‘surrealist’ and ‘Freudian,’ she added music composed by her third husband, Teiji Ito, in 1957. Deren was a key figure in the post-war avant-garde, and many of her contemporaries – including Marcel Duchamp, Anaïs Nin, John Cage and Gore Vidal – appear in the films. She pioneered dance performance in film through ground breaking experimental short films from the 1940s, which a New York Times dance critic termed ‘choreocinema’.

Ikue Mori moved to New York from Tokyo in 1977. She formed the seminal New York No Wave band, DNA, with Arto Lindsay and Tim Wright. In 1985 Mori started using drum machines and has created her own highly sensitive signature style in the filed of improvisation and experimental music. In 1999 she won the Distinctive Award for Prix Arts Electronics in the digital music category.


Saturday 26 May 2007, at 9pm

This unique screening presents Derek Jarman’s rarely seen early experimental super 8 films, made in the 1970s. Jarman (1942–94) is best known for his films Jubilee, 1977, arguably the first punk movie, Caravaggio,1986, and Blue, 1993. Focusing not on his feature films, but on his magical super 8 material, this exceptional screening includes Studio Bankside 1970, a poetic journey through Jarman’s studio, with introductions to the characters who frequented it, providing a snapshot of the artistic social scene in the pre-punk era and the urban surroundings of Bankside.

Throbbing Gristle (who formed in London in 1975) are a British experimental and industrial music group. Renowned for their early confrontational live performances, for which the House of Commons famously labelled the group ‘Wreckers of Civilisation’, Throbbing Gristle pioneered the use of pre-recorded samples and made extensive use of special effects. The band’s founding members were Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti (whose work recently featured in the Tate Triennial 2006 exhibition) and Peter Christopherson. Throbbing Gristle collaborated with Derek Jarman on his films In the Shadow of the Sun, 1980, and TG Psychic Rally in Heaven, 1980. The band has performed in the UK very rarely in the last ten years and they will respond to Jarman’s films in an historic, one-off performance in the appropriately industrial setting of the Turbine Hall.



Sunday 27 May 2007, from 7:30pm (to 3pm the following day)

The event runs all night but ticket holders can drop in and out. Food and drink will be available during the night. Feel free to bring a sleeping bag

To mark the twentieth anniversary of his death in 1987, Andy Warhol’s (1928–87) first ever film, Sleep 1963, is screened throughout the night, accompanied by the legendary musical performance that inspired it. The five and a half-hour film will be looped to provide over eighteen hours of continuous viewing, and is a meditative study of the poet John Giorno asleep in his apartment. Warhol was inspired to complete the film with a new repetitive editing structure after attending the writer and composer John Cage’s (1912–92) historic 1963 performance at the Pocket Theatre in New York of the French composer Erik Satie’s (1866–1925) epic repetitive work for piano, Vexations, 1893. This transfixing event at Tate Modern brings together two artistic landmarks from a momentous year, and will be a contemplation on stillness, repetition, time and death.

Cage was the first to stage a complete performance of Satie’s highly idiosyncratic work for solo piano, a 52-beat segment accompanied by the instructions that it be played ‘very softly and slowly’ 840 times. The piece was performed by ten relaying pianists each of whom played twenty minutes or fifteen repetitions of the segment at a time. The performance lasted 18 hours and 40 minutes. Andy Warhol claimed he attended the whole performance and that same year, decided on a new structure for Sleep based on the repetition of footage.

The performers at Tate will include renowned new-music specialists including the composers Gavin Bryars and Michael Nyman, alongside the composer and scholar Joshua Rifkin, who participated in the performance in 1963, the acclaimed new music pianist Tania Chen, and some of the brightest young pianists in London.

This landmark event is introduced by a special performance by John Giorno, the subject of the film, and accompanied by a panel discussion about the relationships between Warhol, Cage and Satie.


Monday 28 May 2007, at 9pm
SYNTHESIS: Ryoichi Kurokawa, Toshimaru Nakamura & Billy Roisz, Sachiko M with Benedict Drew

These three performances by Japanese and Austrian artists Ryoichi Kurokawa, Toshimaru Nakamura and Billy Roisz of AVVA and Sachiko M with Benedict Drew use digital and computer graphics to create a synthesis of sound and images on a spectacular scale.

Ryoichi Kurokawa is an audiovisual artist living in Osaka. His works take on multiple forms such as screening works, recordings, installation and live performance. Kurokawa composes time-based sculpture with digital generated materials and field recorded sources.

Billy Roisz specialises in feedback video and video/sound interaction using monitors, cameras, video mixing desks, a self-built videosynth, computer and turntables for video and sound generating.

Toshimaru Nakamura has been producing electronic music on a self-named 'no-input mixing board', after many long, unhappy years with the electric guitar. The name describes the method of his music. 'No' external sound source is connected to 'inputs' of the 'mixing board'.

Sachiko M has been active as a sampler player since 1994. Early in her career she was involved in the cut-up and 'plunderphonic' (or 'plagiaristic') sampling movements. In 1998, in a drastic departure from those approaches, she originated the revolutionary method she uses to this day, manipulating the sampler's internal test tones. With the 2000 release of Sine Wave Solo, her extreme solo recording consisting entirely of sine waves, Sachiko M suddenly became the focus of intense interest on the international scene, including European music festivals and Britain's Wire magazine.

Benedict Drew is an artist who works with both sound and video for film and live performance. Benedict has worked with various improvisers including Tom Chant (as duo Suscete) Angharad Davies, Alistair Leslie, Steve Beresford, Seymour Wright, Rhodri Davies, Mark Wastell, Matt Davis and Otomo Yoshihide.



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

Tickets: £18 per event (see Tate website for details of free activities)
Box Office: 020 7887 8888



London ICA
25 May - 7 June 2007

An essential part of The Times BFI London Film Festival, Experimenta is the place to discover innovative and challenging cinema. The 2007 edition of the annual Experimenta Tour presents some of the highlights from last year’s programme.

The Festival’s 50th anniversary was an appropriate moment to celebrate the work of Kenneth Anger, one of the most distinctive artists of film history. For the touring programme, Anger’s recent video Mouse Heaven joins four of his classic films in “Cinema as Magick Weapon,” a selection spanning six decades of uncompromising creativity. In the documentary portrait Anger Me, the filmmaker tells his own story and enhances his already legendary mythology.

Wild Tigers I Have Known, the first feature by Cam Archer, has a theme of adolescent longing reminiscent of Anger’s debut. This highly stylised film charts the coming of age of a young gay teenager in a haze of dreamy visuals and atmospheric music.

“Travelling Light” is a programme of 16mm films in which three artists respond to diverse locations: Nick Collins documents a lush valley in the South of France, Ben Rivers ventures to the Scottish Highlands, and Bill Brown’s illuminating essay film traces the border between the USA and Mexico, a landscape is infused with political tension.

Wild Tigers I Have Known (Cam Archer, 2005)

Friday 25 May 2007, 8:45pm / Saturday 26 May 2007, 8:45pm
/ Sunday 27 May 2007, 6:45pm / Monday 28 May 2007, 8:45pm
/ Friday 1 - Monday 4 June 2007, 4:30pm


Cam Archer, USA, 2005, 35mm, colour, sound, 81 minutes

Those lucky enough to see Cam Archer’s short films, including the irresistible bobbycrush, will have already caught a glimpse of his ability to capture the moody world of adolescence and in particular the twin pleasure and pain of the teenage crush. With Wild Tigers I Have Known he develops and hones both this theme and his own inventive visual style into a captivating and provocative first feature. Protagonist Logan is 13 years old, and a dreamer. Soft spoken and isolated, he has a crush on an older and infinitely cooler boy, Rodeo Walker. His infatuation is fuelled by the fact that Rodeo is one of the few people who doesn’t go out of his way to make Logan’s life miserable. As a mismatched friendship develops, Logan is inspired to create a new persona, the seductive Leah … It’s not overstating the case to say that Archer redraws the American avant-garde with his poetic and sexy study of burgeoning sexuality and youthful woes. With its daydreamy look and its little stabs of recognition, this is a must for anyone who ever felt the pang of loneliness or longing, teenaged or not.

Anger Me (Elio Gelmini, 2006)

Saturday 26 May 2007, 2:45pm / Tuesday 29 May 2007, 8:45pm
/ Sunday 3 June 2007, 3:00pm / Thursday 7 June 2007, 6:45pm


Elio Gelmini, Canada, 2006, Beta SP, colour, sound, 72 minutes

A portrait of Kenneth Anger, legendary pioneer of independent filmmaking. Raised in Hollywood, a spell as the Changeling Prince in A Midsummer Night’s Dream (1935) provided his first taste of the fantasy world of the movies. The nine films Anger made between 1947 and 1980 are shown together as the ‘Magick Lantern Cycle’, emphasising his belief in cinema as magical weapon. An authority on Aleister Crowley, his dazzling montage invokes myth and ritual, exploring taboo subjects and popular culture with a complex iconography. From the homoerotic fantasy Fireworks to the transcendental Lucifer Rising, his influence reaches beyond the avant-garde and into the mainstream, touching the work of Jarman, Lynch, Scorsese and countless others. Anger’s fascination with film history, memorabilia and scandal eventually led to the bestseller Hollywood Babylon, a dark exposé of Tinseltown’s seamy side. He inadvertently invented the music video with Scorpio Rising, and his acquaintances ranged from Anaïs Nin and Alfred Kinsey to the Rolling Stones. Anger Me takes the form of an extended monologue, in which this visionary artist talks at length about his extraordinary life and remarkable body of work.

Kenneth Anger logo

Sunday 27 May 2007, 1:30pm / Thursday 31 May 2007, 3:45pm
/ Sunday 3 June 2007, 4:45pm / Wednesday 6 June 2007, 6:45pm


“Kenneth Anger is a unique filmmaker, an artist of exceptional talent.” (Martin Scorsese)

Kenneth Anger, USA, 1947, 16mm, b/w, sound, 15 minutes
"In Fireworks I released all the explosive pyrotechnics of a dream. A dissatisfied dreamer awakes, goes out in the night seeking a ‘light’ and is drawn through the needle’s eye. A dream of a dream, he returns to a bed less empty than before." (Kenneth Anger)

Kenneth Anger, USA-France, 1950-79, 16mm, colour, sound, 7 minutes
"A fable of the unattainable (the Moon) combining elements of Commedia dell’Arte with Japanese myth. A lunar dream utilizing the classic pantomime figure of Pierrot in an encounter with a prankish, enchanted Magick Lantern." (K.A.)

Kenneth Anger, USA, 1963, 16mm, colour, sound, 29 minutes
Anger’s critique of the danger cult motorcycle gangs burst out of the underground into the wider consciousness. Immensely influential for its ironic use of pop music, it draws parallels with Christian and Nazi imagery to invoke Scorpio, the sign that rules machines, sex and death.

Kenneth Anger, USA, 1965, 16mm, colour, sound, 4 minutes
A slow and sensuous fragment that encapsulates the hot-rod craze. "To the soundtrack of ‘Dream Lover’ a young man strokes his customized car with a powder puff." (K.A.)

Kenneth Anger, USA, 2005, Beta SP, colour, sound, 10 minutes
A lively romp through the world’s largest collection of antique Mickey Mouse memorabilia. In signature style, it’s assembled as a series of vignettes to different musical tracks, ranging from The Boswell Sisters to – rather bizarrely – the Proclaimers ! Puckish fun from the maestro.

This Is My Land (Ben Rivers, 2006)

Sunday 27 May 2007, 3:15pm / Saturday 2 June 2007, 4:45pm
/ Tuesday 5 June 2007, 6:45pm

Three artists respond to landscape and environment.

Nick Collins, UK, 2006, 16mm, colour, sound, 20 minutes
Across The Valley is a beautifully photographed response to the landscape and environment of the Cévennes Mountains in Southern France. Employing time-lapse and other techniques, the film records variations in the distant and immediate surroundings over a range of seasons.

Ben Rivers, UK, 2006, 16mm, b/w, sound, 14 minutes
A folk film for the new millennium, This Is My Land is a portrait of Jake Williams, who lives a hermetic lifestyle in a remote house in the woods of Aberdeenshire. Through sunshine and snowfall, Jake tends his garden, practicing a humble, self-sufficiency that has parallels with the hand-made nature of the film.

Bill Brown, USA, 2006, 16mm, colour, sound, 41 minutes
In this rich and revealing essay film, Brown shares his experiences of travelling from Texas to California, recounting a history of the landscape, its inhabitants and those that pass through. The border between Mexico and the USA is crossed by thousands of undocumented persons each year, and hundreds do not survive the journey through the desert to the other side. Incorporating a personal voiceover and interviews with migrant activists, The Other Side is a visually striking work that examines the border as a site of aspiration and insecurity.


12 Carlton House Terrace, London, SW1Y 5AH
Nearest Tube: Charing Cross / Piccadilly

Tickets: £8 / £7 concessions / £6 members
Box Office: 020 7930 3647



24 May 2007

Invisible Mend

London Lounge Gallery & LUX Salon
24 May - 24 June 2007

Chrissy Coscioni, VALIE EXPORT, Emma Hart & Benedict Drew, Jasmina Fekovic, Ursula Mayer, James Richards, Jonty Semper, Elizabeth Subrin

Since the beginning of the twentieth century artists making moving images have exploited industrial cinema as ‘found’ images to be reinterpreted, manipulated and represented as art. Invisible Mend, a group show of mainly young artists, presents a collection of works that seem to strategise in a similar way while actually drawing their material from radically different sources, simulating the look of the ‘found’ or exploring as much a set of radical (over) identifications with their subjects as a set of formal, political or historical questions.

The works vary wildly in their aesthetics but what they have in common is an exploitation of the invisible: refutations of the permissible in the name of personal or political expression, a rewriting of history and to travel through time and space, through imaginary forays against and within dominant culture, escaping into new landscapes of desire. Criticality is manifested through an ebullience that replaces strict analysis with intuition, an interplay of emotional registers and often a disarming sense of celebration.

In addition to the exhibition at Lounge, Invisible Mend extends into a series of events throughout June. Invisible Mend is a LUX/Lounge collaboration curated by Ian White and LUX.

Exhibition at

28 Shacklewell Lane, London, E8 2EZ
Nearest Train: Dalston Kingsland

Open Thursday to Sunday, 1-6pm (or by appointment)
Telephone: 020 7249 7606
Email: info@lounge-gallery.com


Shulie (Elisabeth Subrin, 1997)


Wednesday 30 May 2007, at 7pm for 7:30pm start

On the occasion of the Invisible Mend exhibition, LUX Salon takes the opportunity to screen Elizabeth Subrin’s Shulie in a FEMALE ONLY study salon. Subrin resurrected a little-known 1967 documentary portrait of a young Chicago art student, Shulamith Firestone, who a few years later would become a notable figure in Second Wave feminism and the author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Subrin’s version re-creates the original, shot for shot, and in the process arcs 40 years of feminisim. Using the film as a catalyst to form a discussion group we will look at the issues that resonate through the film; about identity, the construction of histories and how they reflect on the current interest in feminist work and assess the significance. Facilitated by Jackie Holt and Emma Hedditch.

LUX Salon takes place at LUX office, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ. Admission Free but places are very limited so pre-booking is required, to book a place email salon@lux.org.uk


Thursday 7 June 2007, at 7pm for 7:30pm start

A collection of videos which are very much about the camera/editor as an off screen character with an ambiguous or subverted relationship to the events being depicted in the video. While often awkward or obsessive in tone the material shown is also about fantasy, and people’s use of lo-tech and simple technology for escapism. including work by James Richards, Steve Reinke, Anne McGuire, Matthew Probert and Kim Fielding. Curated and presented by James Richards.

LUX Salon takes place at LUX office, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ. Admission Free but places are very limited so pre-booking is required, to book a place email salon@lux.org.uk


Sunday 10 June 2007, at 8pm

An evening of live works that cross between cinema and performance, strategies of appropriation and magical formalism. James Richards presents a new work of found sound material. In Emma Hart & Benedict Drew’s Untitled 2 a 50-foot length of film with black and white frames is projected by running the filmstrip from the projector and through the strings of an electric guitar held by Drew who stands in front of the screen. The string is plucked each time a splice passes. The effect is disconcerting as the increasingly staccato flashing of the projector, in tension with the distorting guitar strings, takes the viewer into a territory that is immediately personal, sexual and mesmerizing.

This performance will take place at the Arcola Theatre, Arcola Road, London E8 2DJ. Tickets £5. www.arcolatheatre.com


Friday 15 June 2007, doors 9pm, projection starts at dusk

EXPORT’s seminal first feature Invisible Adversaries is a tour-de-force of radical paranoia presented in a special rooftop screening overlooking the city. Anna wakes to a radio signal that she interprets as an alien invasion. Her investigations are an exegesis on the self, mental instability, the media and sexual politics. "The film feels a little as if Godard were reincarnated as a woman and decided to make a feminist version of The Invasion of the Body Snatchers." (Amy Taubin) Presented in collaboration with Cinenova and with thanks to Faction Films.

This outdoor, rooftop screening takes place at LUX office, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ. Admission Free but places are very limited so pre-booking is required, to book a place email salon@lux.org.uk


Thursday 21 - Saturday 23 June 2007, from 3-5pm

Shot to a high finish in the house at 2 Willow Road designed by the architect Ernö Goldfinger, the location for its exhibition here, two women – one old, one young – move through a set of modernist rooms, across hallways and up and down stairs, never meeting, never speaking. They variously gravitate towards and linger around what looks like one of the British sculptor Barbara Hepworth’s infamous, intimate works. Presented as part of Architecture Week 2007.

Screening at 2 Willow Road, Hampstead, London, NW3 1TH.
Telephone: 020 7435 6166
Admission to house (including film): £4.90 (adult), £2.50 (child), £12.30 (family)
For visitor information about the house please see www.nationaltrust.org.uk




07 May 2007

Arclite 3: Goodnight Arclite

London The Exhibit
Monday 7 May 2005, from 4pm

As artist filmmakers we enjoy exploring shot and found footage, montage, collage, radical documentaries, quite political observations, literary cinema, speculative cinema, personal visions, cine-poetry, surrealism, structuralism, lyricism, in short, all moving images born of the eye behind the lens. However, for this screening all films are momentarily liberated from genres, schools or any categorisation.

GOODNIGHT ARCLITE marks the end of our residency in this space – The Exhibit – but more importantly this set of screenings is a gesture of support to our friends in Paris, the collective, film distribution group Light Cone, who are in their 25th year of existence, but now under serious threat of closure. It seemed appropriate to formulate a programme of films looking at quotidian imagery from past to present, collectivism and the re-configuration of cultural space. And so, today we shall run to the barricades with the militant newsreel group Cinegiornale as they dodge the fascist coshes of 60s Italy and then, to Paris to meditate on the politicised poetry of Cinetracts.

When the dust has settled we’ll explore the detailed and random ways of observing everyday life, with the cause and effect of its situations never far from our minds. We shall sit, watch and drift, just as anyone might on a warm sunny day in a square, park or city, any city. These rhythmic, day in the life films visualise the particular things that interest or affect the filmmakers own life, they ask us to join them in taking a steady look at, the surface of things and at the world. Transported to Italy we will watch Catholic rituals juxtaposed with the rudiments of peasant cookery and learn to make cheese and gut rabbits in preparation for a celebratory stew. Meanwhile, the concrete snake will emerge as the metaphor for the motorway and the encroachment of town and country planers practicing fragmentation on rural communities. No Chtcheglovian unitary urbanism here!

Traffic wardens direct the traffic through the labyrinthine streets of social engineering; sanitation workers invisible and omnipresent sweep the pavements and piazzas of Rome, the eternal city. While back in North England people are celebrating the arrival of new hopes and the departure of old ones in a topography where families build houses to meet their own requirements in defiance of the estate agent. We’ll go to a place where the bondage of domestic appliances is destroyed, and female empowerment will be an avid refutation of mercantilism. Then, off to Cumbria where the poetic landscape of William Wordsworth plays host to a nuclear processing plant and carnivals of protestation. In a Lincoln housing estate kids wait by ice-cream vans practicing their ‘man with a gun’ choreography inspired by the spectacular cathode, blockbusters and x-box. All over the nation Bank Holiday commuters leave train stations, arriving for a day by the seaside, mothers play with their children on sandy beeches as paddle steamers float by, young men prepare for war, the old timer wanders off to seek an ale and in a fit of memory a conversation will begin about the collectivism practiced by an Irish ace over the skies of Ypres in the 1914-18 war.

Through the time machine of appropriation we shall visit the 1900s and then later board a steam locomotive to the sound of ‘Great Mysteries’ broadcast on the radio frequencies of the 1940s. A Cartesian poet will resolve his contradictions and dichotomous soul while therapeutically venting righteous indignation at the materialist absurdity and double standards of Pan-global politicians. In New York an optimistic octogenarian will declare that cinema has just been born and do a jig, just to prove it! Cultural space’s have been demolished and lost, but hope will prevail. Collective spaces passed and present, from New York, Paris and London are now in our thoughts, we shall visit Phantom cinemas in Glasgow and in Paris.

There will be much merriment as we resign our residency at the Exhibit, departing from the premises towards a Moroccan Restaurant, singing Liberte, Egalite, Fraternite, for all struggling collectives. For today through the medium of cinema, time has been suspended and the tied up is open ended. We are awake and critical, improvising cinematically with the utmost clarity.


Monday 7 May 2007, from 4pm

The following works will be shown in a series of programmes in two different rooms.

Philippe Garrel, France, 1968, 62 min (on video)
Le Revelateur follows on the heels of the newsreels that Garrel shot on the barricades, and brings us to the close of May 68. “When we filmed Le Revelateur in Germany, every time we tried to set up a shot, the police came along: that in its self didn’t bother me much. I had come to Germany in part for that: to shoot near military camps, to create this feeling of being oppressed.”

Various, Italy, 1968, 180 min (screened in segments throughout the event)
These films, like the American newsreels, have been made by young politically militant filmmakers as an auxiliary of the revolutionary movement in Italy. They take a documentary point of view; they cover all the activities of the Italian student movement throughout the country and present the tactical and political positions adopted by the movement in a way which normal news coverage would not permit.

Anonymous, France, 1968, 20 min
Made by politically committed filmmakers to serve as agit-prop for the events of May 1968, these films rely exclusively on stills rather than documentary footage, yet the sense of contrast and movement is very strong and the films very effectively make their point; they attempt to catch the spirit, rather than the fact, of the May revolution.

William Pearson, UK, 1987-2003, 20 min
A social issue film that combines elements of Mass Observation and landscape filming to investigate the psychological and environmental effects on inhabitants, living and working in the proximity of a nuclear processing plant.

ET LE COCHON FUT NE (And The Pig Was Born)
Julius Ziz, USA, 2000, 25 min (on video)
This work uses found footage in a more surrealist approach evoking a psychological mood, less satirical or within the realms of an Agit-prop strategy. However, Ziz does indicate that even the dream like interiority and neurosis of this surrealist cine-poem still comes from a problematic, external world.

Jonas Mekas, USA, 1990, 3 min
When east met west not in space, but on the ground through a six-foot thick concrete wall, at the beginning of the great thaw.

Unknown, UK, 1977, 2 min (on video)
Again through the time machine of appropriation, this time, Its 1977, Goals provided by Gordon McQueen and Kenny Dalglish, the post match entertainment was provided by the Scottish support as they traversed the ‘sacred’ ground in ecstatic celebration, the unexpected defeat of football’s stalwart imperialists?

Benn Northover, UK, 2006, 8 min
The heart felt articulations of a great if somewhat paradoxical, Mystic and Cartesian Artist, movingly exemplified in a moment when suddenly, he jumps off his stream of consciousness – in a bid to be absolutely clear – he engages in a theatrical action to illustrate a thought.

Louis Benassi, UK, 1995, 33 sec
TV one of the most potent embodiments of spectacular domination domesticated. A commodity and medium in one. This short piece is dedicated to the memory of a revolutionary drunk and his rather brief passage through a moment in time.

Bruce Conner, USA, 1977, 5 min (on video)
“It contains very few images but Bruce Conner collages them in ecstatic order and they work in miraculous ways.” (Jonas Mekas)

Jane Fredericks, UK, 1979-80/2003, 9 min
After fourteen months constructing his own house, Colin Fredericks and his family invite three generations of working class relations to come together in the comfort of their new home, to celebrate the arrival of new hopes and the departure of old ones.

Bruce Conner, 1977, 5 min (on video)
Nostalgic recreation of dreamland Kansas 1947 in Toto.

Jane Fredericks, UK, 2007, 2 min
Domestic appliances, soap powder and ladies lingerie all launched into space. Pop art typography with a touch of Hannah Hoch and Jeff Keen. Magazine images from the 50s and 60s compiled into a visual stream of consciousness.

Louis Benassi, UK, 2007, 10 min
A film dedicated to Major Edward ‘Mick’ Mannock a working class fighter pilot and ‘Ace’ from the Great war whom was uncompromisingly vociferous in exposing the class divides within The Royal Flying Corps, he would become a key aerial strategist, by deploying methods of collectivism, he was able to extend the life of his young pilots who had been duped into believing shooting down the ‘Hun’ was an adventure akin to the knights of old.

Michelangelo Antonioni, Italy, 1947, 9 min
A day in the life of Rome’s sanitation workers, who sweep away as the busy city whirls around them. The film emphasis their ‘ invisible’ omnipresence. Antonioni asks us to take a slow, steady look at the world around us, to forget our ordinary preoccupations, and to contemplate that which lies slightly aside to them.

Sanna Kuittinen, Finland, 2005, 4 min
A group of Lithuanian and Russian artists have come to the modern day metropolis. Rarely apart, they live their lives moving from place to place, squatting unused buildings and office blocks.

MIA ZIA (My Aunt)
Nino Petzzella, Italy, 1989, 2 min (on video)
A Catholic procession is juxtaposed with the rudiments of peasant cookery. Rural life is forced to the edge of a motorway.

Arturas Barysas & Janis Strenge, Lithuania/Latvia, 1981,10 min (on video)
A humours and poignant take on co modified existence and the mythologies and stratagem of the “American Dream” as a semiotic and consumerist threat to the domestic front of a young couple.

Louis Benassi, UK, 2004, 5 min
Arthur Berry’s art is the vivid portrayal of people. His power of observation captures the human condition with great wit. He details not only the individuals, situations and surroundings, but embellishes it with acerbic humour and humanist compassion.

Jane Fredericks, UK, 2004, 2 min
99er is from an expanding series of works, which focus on everyday activities such as work, play and family life. The camera work is as naturalistic and unobtrusive as possible while at the same time close enough to create detailed studies of the people and situations.

Spool-pool (after Antonioni), 1969/2007, 4 min (on video)
The destruction of a million commodities.

Louis Benassi, UK, 2005, 40 min (on video)
A cyclical work made from archive footage exploring everyday life in Glasgow. Circa 1911-1930. Images of the ship and locomotive yards, workers montaged onto machinery, Sunday strolls along Great Western Road – the longest road in Glasgow – Bank Holiday commuters leaving Central Station and arriving by the seaside, children play, young men prepare for war, the old man walks to the pub.

William Pearson, UK, 2005, 40 min (on video)
This collection consists of both 16mm and 9.5 mm formats and documents 1930s Carlisle, the opening of the Nicholas Bridge, the launch of a lifeboat at Maryport and other quotidian events including the inauguration of the Mayor of Carlisle.

Spool-pool, UK, 2007

Peter McCaughey, Ireland, 2001, 20 min
The results of his “archaeological” investigations into the Classic cinema in Renfield St Glasgow. These fragments exposed to severe damage, fire, rain and corrosion were spliced together.

Anna Thew, UK, 2004, 10 min
The demolition of the London Filmmakers Coop building in Camden.

Joel Schlemowitz, USA, 2001, 14 min
Moving Images documents yet another move of premises for the New York Film Coop.

Annabel Nicolson, UK, 1975, 4 min
“Around the dairy non-stop. Single images in light just before the dairy ran out of time.”

Pip Chodorov, France, 2001, 7 min
A guided tour of the famous New York archive.

Julio Pereira, UK, 2006
David Ellis’s Crash Report is an ongoing project that has developed into a world tour of cinema canopies and marquees.

Jonas Mekas, USA-France, 6 min
Mekas wanders through the now empty corridors of the legendary cinematheque established by Henri Langlois at Palais de Chaillot.

Jonas Mekas, USA, 1996, 5 min
A joyous declaration about the eternal youth of cinema.


The Exhibit
12 Balham Station Road, Balham, London, SW12 9SG
Nearest Tube: Balham (Northern Line)
Nearest Train: Balham BR (from Victoria or Waterloo)

Tickets: £8 / £10 (includes limited edition document with essays by Albert Camus, Guy Debord, Deleuze Guattari and Spool-Pool. First come first served)
Box Office: 020 8772 6556
Email: sarah@exhibitbars.com

All proceeds to LIGHT CONE, Paris.


06 May 2007

Index Generator 2.2

London Candid Arts Trust
Sunday 6 May 2007, at 4pm

Index Generator 2.2 is a programme of recent international video works located at the intersection of urban, media and political space. It traces contemporary society’s capacity to generate non-stop discourse, as the constant dialogue of being in the world in a critical and symbolic reflection of the dataflow of the super-structured values of the global capitalist military industrial entertainment complex. Featuring works from Argentina, Brazil, Canada, Israel/Netherlands, Italy, Japan, Palestine and Spain.

This programme is a selection from Index Generator 2, curated by Carlo Sansolo and Erika Fraenkel for the ReverberAcoes 2006 festival in Sao Paulo, Brazil.

About A Theological Situation ... (Masayuki Kawai, 2001)


Masayuki Kawai, Japan, 2001, 7 min
TV stars and Mikados are ubiquitous not as a symbol but analogy to be referred to. The image quoted from Society of Spectacle hallucinates us the ruin of itself by using deliberate imitation of mass-media image.

Kentaro Taki, Japan, 2001, 5 min
Globalization and huge infrastructures result in an equalization of the world, information and urban space homogenises. Many elements of the world are assembled into a fake city piece. The spectacularization of the city as an overflow of images.

Marcello Mercado, Argentina, 2003, 17 min
Command lines, programming lingo, coordinate instructions and video edit commands create a fatal illusion of mastery over the screen and its embedded database. The viewer/master in tune with the chaotic flow of capital and images is never confronted with the impact of this virtual flow on the real.

Erika Frankel, Brazil, 2006, 6 min
A video that expiates the abuse in society where constant seduction makes weak. An analysis on the non possibility of todays man to feel at home, a tale about the anxiety of the actual world.

Pascal Lievre & Benny Nemerofsky Ramsay, Canada, 2005, 3 min
The language of anti-terrorism takes an unexpected form in this seductive propaganda video, Pascal Lievre and Benny Nemerofsky Ramsay's first collaborative work.

Carlo Sansolo, Brazil, 2006, 10 min
ozuland001 is a audio/video/text compilation analysing the old suspects: control - mass media - post industrial capitalism - lack of consciousness and the like.

Akiko Nakamura, Japan, 2003, 4 min
Kyoto 1 is a time-based digital urban portrait of a figure. In retrospect, it exudes a very subtle aversive feeling.

Larissa Sansour, Palestine, 2006, 3 min
Happy Days is a video that exposes everyday Palestinian life under Israeli occupation. The idea is to subjugate international politics to a format normally associated with entertainment and thereby call attention to the blurry boundary between the two.

Sagi Groner, Israel/Netherlands, 2006, 20 min
A pilot, a DJ, a Kung-Fu master and software developers meet together and enjoy Apples by courtesy of Lockheed Martin. Composed entirely of images found in the internet, Misshapen is a meditation on vision machines and the philosophy of precision.

Andres Senra, Spain, 2003, 3 min
Certain elements of the representation of war in the history of art are common in different moments and historical contexts, the mass media connects with political power representing the victories of their monarchs. The hieratic emperor, military power, and the economic power, together with the captured beast and submitted to a medicine on his body.

Mylicon/En, Italy, 2004, 5 min
Chrom is an imaginary raid of Mylicon/En into an operating-theatre: an anaesthetized video/body, a temporary loss of consciousness, a state in which everything flows and the boundaries between body and space get blurred.



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

Tickets: £5 / £3 concessions
Email: info@cogcollective.co.uk



04 May 2007

A Night With Rosalind Nashashibi

London Tate Britain
Friday 4 May 2007, at 8pm

Select invites artists to choose a programme of performance, film and video works and host an evening of screenings and talks. Rosalind Nashashibi depicts elements of everyday life in the urban world creating poetic, nuanced and magical works. Tonight she selects moving images which explore and reflect her influences and interests.

Associations (John Smith, 1975)

Friday 4 May 2007, at 8pm

"... the coming together of the elements and apparatus that make film, whether sound and picture, projector and screen, or coloured lights meeting to make white light; in parallel with the collision of the real and everyday against the miraculous that film effects."

Films include SUNBEAM (Thomas Bayrle, 1993-94), AUTOBAHN-KOPF (Thomas Bayrle, 1988-89), GET ME A MIRROR (Bonnie Camplin, 2004), PROJECTION INSTRUCTIONS (Morgan Fisher, 1974), ASSOCIATIONS (John Smith (1975), THE ANTHEM (Apitchatpong Weerasethakul, 2006). Plus performances by Sue Tompkins and Will Holder.

Thomas Bayrle's films are presented courtesy of Galerie Barbara Weiss, Berlin.

Select, a collaboration with LUX, invites artists to select a programme of film and video works and host an evening of screenings and talks.


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

Part of Late at Tate Britain: May. Free tickets are available on the night from 6pm at the Clore Foyer desk. Seated on a first-come, first served basis.



This Day

London Tate Modern
4-13 May 2007

THIS DAY: RECENT FILM AND VIDEO FROM THE MIDDLE EAST is a series of works by international artists whose work responds to the cultural, social, historical and political contexts of the Middle East.

Nine screenings will present work by more than forty artists from Egypt, Iran, Iraq, Kuwait, Lebanon, Palestine and Syria, in addition to artists from Europe and the United States whose work relates to the Middle East. Featured highlights include an opening performance by Rabih Mroué and a survey of work by Akram Zaatari.

The ongoing events in the Middle East produce a flow of images that often represent war, destruction and conflict. Channelled through television and the internet, this imagery constructs and distorts the global understanding of the region, facilitating stereotypes and contaminating efforts to reconstruct a collective memory left in ruins. This Day hopes to challenge these representations by showing moving image work that offers new critical viewpoints onto the region’s rich visual culture. More than ever before, film and video-making from the Middle East interrogates cinematic and photographic images to consider fundamental ethical and political problems and to question the limits of freedom.

Curated by Predrag Pajdic & Samar Martha.

Supported by Arts Council England, The Henry Moore Foundation, the British Council, Visiting Arts, and the Arts Club.

Make Me Stop Smoking (Rabih Mroué, 2006)

Friday 4 May 2007, at 7pm

This Day opens with a live performance by renowned Lebanese artist Rabih Mroué. "I have been collecting worthless material for almost ten years now, taking good care arranging it, documenting it, indexing it, and preserving it from any possible damage. This material is constituted of cut outs from local newspapers, photographs, interviews, news stories, excerpts from television programs, objects and other things … Today I possess what resembles an archive, or let’s say I possess a real archive that relates only to me: a kind of added memory that occupies different corners of my domestic space, despite the fact that I do not actually need. It is an invented memory that is exhausting me, and which I cannot liberate myself from. For this reason, I will uncover some parts of my archive, hoping that by making it public I can get rid of its weight. This will be my attempt to destroy a memory that doesn’t know how to erase itself." (Rabih Mroué)


Saturday 5 May 2007, at 3pm

Experimental video works that focus attentively on singular actions, rituals and customs. Seemingly unrelated, the pieces all pritoritise an attentive gaze, focusing on the details of the everyday until dogmas are no longer useful.

Abdellatif Abdul-Hamid, Our Hands, Syria 1984, 9 min
Mania Akbari, Self, Iran 2003, 6 min
Mireille &, 3494 Houses and One Fence, Lebanon 2006, 6 min
Yasmeen Al Awadi, Two Square Kilometres, Kuwiat 2006, 7 min
Mounira Al Solh, Canteen Stories, Lebanon 2006, 6 min
Anthony Abou Khalife & Jean-Noel Aoun, Dancing Was The Only Way To Avoid Deafness, Lebanon 2006, 5 min
Khaled Hafez, Idlers’ Clip, Egypt 2005, 5 min


Saturday 5 May 2007, at 5pm

This line-up concerns migration, borders, checkpoints, and the politics of travel. Movements across international boundaries can lead one to encounter a storm of political and historical meaning. In this programme the pressures and fantasies of a better life which prompt the desire for migration must negotiate the limits of walls, barriers and occupations, as well as economy and status.

Rowan Al-Faqih, Security Leak, Palestine 2006, 2 min
Sharif Waked, Chic Point, Palestine 2003, 7 min
Maja Bejevic, Le Voyage, Bosnia 2006, 8 min
Hala Elkoussy, From Rome to Rome, Egypt 2006, 16 min
Doa Aly, Chinese Sweet, Chinese Pretty, Egypt 2006, 21 min
Nassim Amaouche & Annemarie Jacir, A Few Crumbs for the Birds, France/Palestine 2005, 29 min
Enas Muthaffar, A World Apart Within 15 Minutes, Palestine, 2006, 3 min


Pasolini Pa* Palestine (Ayreen Anastas, 2005)

Saturday 5 May 2007, at 7pm

Ttwo films that retrace movement, elucidating changes to the concept of making a journey. Ayreen Anastas references and re-imagines Pasolini’s travels across Palestine. Sameh Zoabi marks out a personal passage which contrasts with the larger political forces at play.

Ayreen Anastas, Pasolini Pa* Palestine, Palestine 2005, 51 min

Sameh Zoabi, Be Quiet, Palestine 2005, 18 min


Sunday 6 May 2007, at 5pm

This programme begins to unpick some causes and effects, actions and reactions to conflict, militarisation and bereavement. More specifically the works included address forces brought to bear through propaganda, subliminal messages, instinctual drives and psychological scarring. Although treated separately, seeing these works together may allow connections and responsibilities to become visible that often remain obscure.

Jayce Saloum, Planet of the Arabs, USA 2003, 9 min

Ali Cherri, Untitled, Lebanon 2006, 3 min

Shadi Habib Allah, On-going Tale, Palestine 2005, 5 min

Mahmoud Hojeij, You Can Come In, Lebanon 2007, 27 min

Hisham Jaber, Breaking News, Lebanon 2006, 9 min

Diane Nerwen, The Thief of Bagdad, USA 2003, 5 min

Annemarie Jacir, An Explanation: (and then burn the ashes), Palestine 2005, 6 min


Friday 11 May 2007, at 7pm

Reality Check is a selection of videos that restores everyday concerns often ignored during the trauma of a catastrophe: appetite and desire, love and seduction, socialising and gossip. The works investigate the intolerance, prejudice, despair, taboos, pain and fears inherent in human pleasure.

Akram Al-Ashqar, Red, Dead and Mediterranean, Palestine 2006, 1 min
Larissa Sansour, Land Confiscation Order 06/24/T, Palestine 2006, 11 min

Ahmed Khaled, 5th Pound, Egypt 2005, 14 min

Khalil Rabah, The Wall Zone Sales, Palestine 2004, 6 min
Vesna Milicevic, A Picture of Orient, Serbia 2007, 14

Nesrine Khodr & Ghassan Salhab, Lebanon/Senegal 1998, 32 min 

Mohammed Hammad, Call Centre, Egypt 2006, 17 min


Saturday 12 May 2007, at 5pm

Akram Zaatari is an acclaimed artist and curator based in Beirut, whose work examines the conflicts, images and documents that have shaped the Lebanese condition. He is co-founder of the Arab Image Foundation, Beirut, through which he has developed his research on the photographic history of the Middle East.

Akram Zaatari, Teach Me, Lebanon 1996, 6 min
Akram Zaatari, How I Love You, Lebanon 2001, 29 min

Akram Zaatari, Crazy Of You, Lebanon 1997, 26 min

Akram Zaatari, Baalbeck: The Drift, Lebanon 2001, 22 min

This Day (Akram Zaatari, 2003)

Saturday 12 May 2007, at 7pm

This second programme will be followed by by a conversation with the artist

Akram Zaatari, This Day, Lebanon 2003, 86 min
Akram Zaatari, In This House, Lebanon 2005, 30 min


Sunday 13 May 2007, at 7pm

This programme examines the nature of memory and how it contributes to our personal and historical knowledge. The archiving of testimonies parallels traditions of storytelling, narrative and mutual support through conversation. By considering memories and dreams as sources of information, the works observe the power and influence of recollection on collective consciousness. These fragile socially-held thoughts bring forth strange symbols when disturbed or destroyed.

Shady El Noshokaty, A Voice From Heaven, Egypt 2005, 7 min
Lamia Joreige, Reply, Lebanon 2002, 9 min

Nedim Kufi, Electro I, Iraq 2006, 10 min

Rabih Mroué, Face A / Face B, Lebanon 2002, 10 min

Lina Saneh, I Had a Dream Mom, Lebanon 2006, 45 min

Mario Rizzi, Impermanent, Italy 2006, 15 min

Khosro Khosravi, The Fifth Grade, Iran 2006, 5 min

Omar Amiralay, A Plate of Sardines, Syria 1997, 17 min



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

Tickets: £5 / £4 concessions
Box Office: 020 7887 8888