11 November 2007

Hollis Frampton: Magellan

London National Maritime Museums
Sundays 11 & 18 November 2007, at 12:00pm

A screening, over two consecutive Sundays, of Hollis Frampton’s monumental film sequence MAGELLAN, which uses Ferdinand Magellan’s circumnavigatory voyage as a metaphor for a meditation on the history and language of cinema, and the phenomena of perception.

Hollis Frampton portrait by Marion Faller, 1975

“A series of shaped observations that include portraits, cadaver footage, re-stagings of Lumière films, visits to slaughterhouses, double exposures, a field of peaceful dairy cattle, allusions to Muybridge, electronic imagery, industrial pictures, a state fair – a kind of capsule version of the twentieth century that might have been placed on the Voyager spacecraft as it soared out of the solar system to worlds unknown.” (Robert Haller, Anthology Film Archives, New York)

In composing his metahistory of cinema, Frampton often refers to other films and filmic modes, quotes liberally from early cinema (specifically the paper print collection of the Library of Congress) and explores countless possibilities for montage and the relationship between sound and image.

Originally intended as a 36-hour sequence in which individual titles would be shown on specific days in a calendar of one year and four days, it was left unfinished when Frampton died in 1984. The surviving 8 hours of material, comprising of almost 30 individual films, will be screened together for the first time in the UK.

The schedule of 4 x 2-hour programmes, structured by Michael Zryd (who will introduce the first programme), is based on the 1978 version of Frampton’s “Magellan Calendar” and the last work-in-progress screenings presented by the artist at the Whitney Museum of American Art (New York) in January 1980.

The Red Gate (Hollis Frampton, 1976)

Hollis Frampton, one of the key filmmakers of his generation, was also a noted photographer and theorist, whose remarkable writing was published frequently in Artforum and October.

“Frampton is generally understood, in his words, as an artist ‘of the modernist persuasion,’ not only for his aesthetics, but for his close personal association with such figures as Ezra Pound, Carl Andre, Frank Stella, and Stan Brakhage. Certainly, Frampton conceived of Magellan as a utopian artwork in the monumental tradition of James Joyce and Sergei Eisenstein. In a grant application, he hoped to realize the project as ‘the notion of an hypothetically totally inclusive work of film art as epistemological model for the conscious human universe’.” (Michael Zryd, York University, Toronto)

Straits of Magellan: Drafts and Fragments (Hollis Frampton, 1974)


Sunday 11 November 2007

12-2pm THE BIRTH OF MAGELLAN (introduced by Michael Zryd)
Cadenza I and XIV (1977-80), Mindfall I (1977-80), Matrix (1977-79), Palindrome (1969), Mindfall VII (1977-80), Noctiluca (1974)

Public Domain (1972), Straits of Magellan: Drafts and Fragments (1974), Ingeimm Vibis Ipsa Pvella Fecit (1975), Summer Solstice (1974), Pas de Trois (1975)

Sunday 18 November 2007

Autumnal Equinox (1974), Winter Solstice (1974), Straits of Magellan: Drafts and Fragments (1974), The Red Gate (1976), The Green Gate (1976)

Apparatus Sum (1972), Otherwise Unexplained Fires (1976), Quaternion (1976), Yellow Springs (1972), For Georgia O'Keefe (1976), More Than Meets The Eye (1976), Not The First Time (1976), Tiger Balm (1972), Procession (1976), Gloria! (1979)

The screening of MAGELLAN at the National Maritime Museum is curated by Mark Webber. Presented in association with LUX.


National Maritime Museum
Park Row, Greenwich, London, SE10 9NF
Nearest Trains: Cutty Sark DLR / Greenwich BR / Maze Hill BR

Tickets: £5 per day
Box Office: 020 8312 8560
Email: bookings@nmm.ac.uk


Images courtesy Anthology Film Archives. © Estate of Hollis Frampton.

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07 November 2007

Systems of Nature

London BFI Southbank
7-10 November 2007

This series of programmes begins with a retrospective of single screen 16mm films by Chris Welsby, a British artist whose work explores the representation of nature, the passing of time and the forces of the weather in relation to the filming process.

"In my work the mechanics of film and video interact with the landscape in such a way that elemental processes – such as changes in light, the rise and fall of tide or changes in wind direction – are given the space and time to participate in the process of representation." (Chris Welsby)

The Chris Welsby presentations are complemented by two programmes of recent film, video and digital media, which extend and expand upon Welsby’s subjects and processes, concerned as they are with a variety of landscapes and the ‘natural world’ in relation to technology. These processes take a number of forms and techniques such as time-lapse in the work of Emily Richardson and Jeanne Liotta through to more recent experiments such as Semiconductor’s digital constructions of imaginary weather systems and Susan Collins’ real-time pixel fragmentation of the landscape. A conversation event with Chris Welsby, Catherine Elwes and William Fowler will concentrate on seascapes in the moving image.

Chris Welsby has been exhibiting work since 1969. He is renowned as a landscape artist and pioneer of moving image installations. These screenings accompany the exhibition “Systems of Nature” at the Lethaby Gallery, Central Saint Martins College of Art and Design (6 November – 13 December 2007), which presents two of Welsby’s most recent installations for the first time in the UK.

Curated by Steven Ball, Mark Webber and Maxa Zoller for the British Artists’ Film and Video Study Collection at Central Saint Martins College of Art and Design.

Drift (Chris Welsby, 1994)

Wednesday 7 November 2007, at 6:30pm, NFT2

Seascapes have a long history in filmmaking and continue to fascinate moving image artists. Chris Welsby has made a number of works that contemplate the ocean and the inability of the camera, the frame and the viewer to appreciate its enormity; including At Sea (installed at the Lethaby Gallery) and Drift (screened later tonight).

This conversation between Chris Welsby, Catherine Elwes (artist, writer and Reader in Moving Image Art, Camberwell College of Arts) and William Fowler (Curator of Artists’ Moving Image, BFI National Archive) will reflect on the phenomenon of the moving image seascape from early ‘Rough Seas’ films through to contemporary practice.

Sky Light (Chris Welsby, 1988)

Wednesday 7 November 2007, at 8:45pm, NFT2

Chris Welsby’s films are dialogues between the filmmaker and the natural elements: the wind controls the movements of the camera in Tree and the film speed in Anemometer. Later films address environmental concerns, such as the threat of radiation as a Geiger counter provides Sky Light’s post-Chernobyl soundtrack. Shifting from environmental structuralism to a more observational mode, the final film Drift has the viewer literally drifting off into a world beyond gravity, into an abstract space between sky and sea.

Chris Welsby, Anemometer, 1974, 10 mins
Chris Welsby, Tree, 1974, 5 mins
Chris Welsby, Colour Separation, 1975, 3 mins
Chris Welsby, Stream Line, 1976, 8 mins
Chris Welsby, Sky Light, 1988, 26 mins
Chris Welsby, Drift, 1994, 17 mins

Chris Welsby will introduce the screening and be available for questions.

Redshift (Emily Richardson, 2001)

Friday 9 November 2007, at 8:40pm, NFT2

Moving from ocean to sky and back to the land, these six films respond to nature in less programmatic ways. Peter Hutton’s camera explores the coastal landscape and swirling waters of the Irish West Coast, whilst David Gatten immerses raw film stock in seawater, allowing the ocean to inscribe its presence in constantly shifting abstract patterns. Three films use time-lapse and long exposure to reveal the celestial mysteries of night-time, and the final work gently lifts us from our reverie with an ecological warning.

Peter Hutton, Looking At The Sea, 2001, 15 mins
David Gatten, What The Water Said 4-6, 2006, 17 mins
Lucy Reynolds, Lake, 2007, 12 mins
Emily Richardson, Redshift, 2001, 4 mins
Jeanne Liotta, Observando El Cielo, 2007, 17 mins
Michael Robinson, You Don't Bring Me Flowers, 2005, 8 mins

The Sound of Microclimates (Semiconductor, 2004)

Saturday 10 November 2007, at 8:40pm, NFT2

Technological systems create, fragment and transform landscapes: a long video monitor stream, digitally mutated coastlines and strange urban microclimates introduce fascinating artificial worlds, blurring the boundaries between natural and constructed landscapes. Starting with documentation of Chris Meigh-Andrews’ video installation Stream Line and passing through a variety of spellbinding single-screen film and video environments, the programme also incorporates a presentation of Susan Collins’ most recent internet transmitted real-time reconstruction of Loch Faskally in Perthshire.

Chris Meigh-Andrews, Stream Line (Documentation), 1991, 6 mins
Davide Quagliola & Chiara Horn, Bit-Scapes 135.1_08, 2006, 3 mins
Semiconductor, The Sound of Microclimates, 2004, 8 mins
Thomas Köner, Suburbs of the Void, 2004, 14 mins
Daniel Crooks, Train No.8, 2005, 6 mins
Davide Quagliola & Chiara Horn, Bit-Scapes 135.2_03, 2006, 3 mins
Rachel Reupke, Untitled, 2006, 2 x 90 secs
Rose Lowder, Voiliers et Coquelicots, 2002, 3 mins
Davide Quagliola & Chiara Horn, Bit-Scapes 135.7_13, 2006, 3 mins
Alix Poscharsky, As We All Know, 2006, 8 mins
Susan Collins, Glenlandia, 2006, continuous


BFI Southbank
Belvedere Road, South Bank, London, SE1 8XT
Nearest Tube: Waterloo / Embankment

Tickets: £8.60 / £6.25 concessions
Joint Ticket for Wed 7 Nov: £12.50 / £9.25 concessions
BFI members pay £1 less

Box Office: 020 7928 3232



The exhibition Systems of Nature is at the Lethaby Gallery, Central Saint Martins College of Art and Design, Southampton Row, London from 6 November – 13 December 2007. Admission Free. Nearest Tube: Holborn.

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06 November 2007

Chris Welsby

London Lethaby Gallery
6 November - 13 December 2007

The exhibition Systems of Nature at the Lethaby Gallery presents two recent installations by Chris Welsby, a British artist who uses moving image technology to explore the representation of nature, the passing of time and the forces of the weather in relation to the filming process.

Lost Lake #2 (Chris Welsby, 2005)

Welsby became known as one of the key figures of British artists’ film through celebrated works such as River Yar (1972, in collaboration with William Raban) and Seven Days (1974). In his early films he applied techniques such as using the power of the wind to control camera movement (Wind Vane 1972) and to alter shutter speed (Anemometer 1974). More recently, digital technology has enabled Welsby to create increasingly complex installation work.

In Lost Lake #2 (2005) an image of a lake is projected from above onto a raised surface. At times it appears as a motionless mirror image. As the surface of the lake becomes agitated, ripples move faster and the compression of the digital image pixellates the natural diffraction effect of the water.

"Nature, as represented by the lake, is not seen to be separate from the technology that produces it. The viewer is invited to contemplate a model in which nature and technology are seen to be one and the same thing, inextricably bound together in a playful dance of colour and light." (Chris Welsby)

Disruption of water’s natural course is also at the core of the second work, At Sea (2003), in which four large screens present an apparently naturalistic representation of a seascape. Sustained viewing reveals the image to be four different shots arranged to create a projected panorama. The immersive character of this installation evokes a real sense of looking out at sea, but also points to the perceptual limits we encounter when we try and ‘see’ the enormity of the ocean.

"While half seen objects hover on the threshold of visibility, viewers are invited to consider their own role in the construction of a fiction, a seascape that only exists in the moment of the projection event." (Chris Welsby)

At Sea (Chris Welsby, 2003)

At 6pm on Thursday 8 November 2007, the history and practice of multi-screen projection in artists’ film and video will be explored in discussion with Chris Welsby and William Raban. The event will include a rare presentation of Raban and Welsby’s twin-screen film River Yar (1972).

The exhibition is also complemented by Systems of Nature screenings at BFI Southbank from 7-10 November 2007, featuring Chris Welsby’s films, an in-conversation event and two programmes of works by contemporary artists which explore similar concerns and techniques.

Chris Welsby was born in Exeter in 1948 and has lived in Canada since 1989, where he is currently a Professor of Fine Art at Simon Fraser University in Vancouver. Systems of Nature is Welsby’s first solo exhibition in Britain since 1995.

The exhibition and related events are curated by Steven Ball, Mark Webber and Maxa Zoller for the British Artists’ Film and Video Study Collection at Central Saint Martins College of Art and Design.


Lethaby Gallery
Central Saint Martins College of Art and Design
Southampton Row, London, WC1B 4AP
Nearest Tube: Holborn

Admission Free

Private View: Tuesday 6 November 2007, from 6-8pm
Exhibition on view from 6 November - 13 December 2007
Opening Hours: Mon-Fri 10am-8pm, Sat 10am-4pm


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05 November 2007

Light Reading: David Gatten

London Light Reading
Monday 5 November 2007, at 7pm

Light Reading Series 7: DAVID GATTEN

American film artist David Gatten will show and discuss the first four completed films from his series Secret History of the Dividing Line. Presented in association with The Times BFI 51st London Film Festival.

The Great Art of Knowing (David Gatten, 2004)

"At a time when avant-garde filmmaking leans more toward sensations and form than intellect and analysis, David Gatten's 16mm cycle "Secret History of the Dividing Line" attempts a rare feat: an investigation of the borders between word and image influenced equally by Stan Brakhage and Ludwig Wittgenstein (both veterans of related pursuits). The results are formidable, Gatten's project samples from the massive library of colonial Virginia gentleman William Byrd II, with occasional dips into his daughter Evelyn's journals, producing artfully composed typographies that suss out an invisible web of connections and epiphanies. But Gatten also expresses the indigestible bulk of history's verbiage through a mobile concrete poetry: Not all his quotes allow for reading; some words flutter past too quickly to serve as more than compositional elements, while others appear in negative, close-up and grainy, like luminous alphabetic windows. Attempting to glimpse a lost world recorded through texts, Gatten offers the paper-thin screen between past and present as just one of his project's ultimately ineffable dividing lines." (Ed Halter, Village Voice)

David Gatten’s films have shown widely at international museums, cinematheques and festivals. In 2005, he was awarded a Fellowship from Guggenheim Foundation to continue the “Secret History of the Dividing Line” series, the first four films of which were presented in a special programme at the New York Film Festival. His recent works “Film For Invisible Ink, Case No. 71: Base-Plus-Fog" and "Today!" (an ongoing collaboration with Jessie Stead) will receive their UK premiere at the London Film Festival on 28 October 2007. His work is included in the permanent collections of the Whitney Museum of American Art and the Art Institute of Chicago, and in private collections in the United States, Canada and Japan.

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 for future events, 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.


The Great Art of Knowing (David Gatten, 2004)

Light Reading, Monday 5 November 2007

David Gatten, 2002, 16mm, b/w, silent, 20 mins
"Hold your breath and count the hours since you were last together. Blow softly on a wet face and watch the smile form. Float your hand across the surface and find all the words you need. Unfold the splicer and separate your image from your dream; you will feel bound, as if tied down until you are fully awake. Only then will you know for sure: this may not be final but it is definite. The landscape you see can change only when you pass through it. Regard your new object: a union: silent, tiny and bright. Paired texts as dueling histories. A journey imagined and remembered. 57 mileage markers produce an equal number of prospects."

David Gatten, 2004, 16mm, b/w, silent, 37 mins
"On either side of a Life find a Library before and an Auction after: consider these figures as the sites for a collection created for the purposes of division and dispersal. The journey this time moves from the first light at dawn to the last rays of a sunset, reflected and refracted. Find yourself resting uneasily half way up the stairs: Something has left the body, yet the body remains: what has left is on its way Elsewhere but cannot help but look back: this look animates the world and makes possible this Theory of Flight in the form of a bibliography."

David Gatten, 1999, 16mm, b/w, silent, 26 mins
"This handmade film, with its images generated almost entirely from cellophane tape, is a meditation on the development of the printing press and its role in the spread of Christianity throughout Europe, the relationship between words and images, the poetics of translation, the fine line between the legible and the illegible, and the passage of the soul through the material world."

David Gatten, 2001, 16mm, b/w, silent, 24 mins
"A closely watched candle and an invitation to the dance. William Byrd booms among his books while Evelyn keeps to a quiet window; the volunteer fire brigade sorts through the ashes and Isaac Goldberg tells it like it is. Who read what; when, and why?"


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