24 October 2009

London Film Festival 2009

London BFI Southbank
24-25 October 2009

The London Film Festival’s annual weekend dedicated to artists’ film and video will take place on 24-25 October 2009.

The programme presents a varied selection of international works ranging from the contemporary ethnography of Mirza/Butler to Jim Trainor’s witty, naïve animation of ancient civilisations. Gustav Deutsch introduces FILM IST. a girl & a gun, a battle of the sexes told through footage from early cinema, and a special event featuring new prints of films by Hollis Frampton complements the recent publication of his collected writings.

Established filmmakers Lewis Klahr, Mara Mattuschka and Matthias Müller are shown alongside younger artists Paul Abbott, Jana Debus, and Laida Lertxundi, who are screening in the festival for the first time. Continuous installations by Laure Prouvost and Victor Alimpiev will be presented in the BFI Southbank Studio.

Curated by Mark Webber for The Times BFI 53rd London Film Festival.

PLEASE NOTE: More tickets for “sold out” screenings will be released in the days leading up to the weekend & limited numbers are usually available on the door immediately before each programme.

Monolog (Laure Prouvost, 2009)

Saturday 24 October 2009, from 12-7pm, Studio, FREE

Laure Prouvost | UK-France 2009 | 12 min (continuous loop)
A new work made for the Festival turns its attention to the viewer and the room itself. ‘Come inside, I’m going to explain a few things. Just about you and the space we’re in. It’s quite warm in here, you should take off your jacket …’

(nostalgia) (Hollis Frampton, 1971)

Saturday 24 October 2009, at 2pm, NFT3
& Thursday 29 October 2009, at 6:30pm, NFT3

Hollis Frampton, a key figure of the American avant-garde, was an artist and theoretician whose practice closely resonates with contemporary discourse. The series of seven films known as Hapax Legomena is, alongside Zorns Lemma, one of his most distinguished achievements, and will be presented in its entirety on new preservation prints. Predating Magellan, the ambitious ‘metahistory’ of film left unfinished by his early death in 1984, Hapax Legomena traces Frampton’s own creative progression from photographer to filmmaker. It dissects sound/image relationships, incorporates early explorations of video and television, and looks forward to digital media and electronic processes. Though notoriously rigorous, Frampton’s films are infused with poetic tendencies and erudite wit, sustaining a dialogue with the materials of their making, and the viewer’s active participation in their reception.

‘Hapax legomena are, literally, ‘things said once’ … The title brackets a cycle of seven films, which make up a single work composed of detachable parts … The work is an oblique autobiography, seen in stereoscopic focus with the phylogeny of film art as I have had to recapitulate it during my own fitful development as a filmmaker.’ (Hollis Frampton)

Hollis Frampton | USA 1971 | 36 min
As a sequence of photographs is presented and slowly burned, a narrator recounts displaced anecdotes related to their production, shifting the relationship between words and images.

Hollis Frampton | USA 1972 | 31 min
A ‘film for the mind’ in which the script is displayed page by page for the viewer to read and imagine.

Hollis Frampton | USA 1971 | 16 min
Frampton’s radical editing technique disrupts and amplifies the already impassioned argument of a quarrelling couple.

Ordinary Matter (Hollis Frampton, 1972)

Hollis Frampton | USA 1971 | 34 min
‘The pivot upon which the whole of Hapax Legomena turns’ uses early video technology to interrogate the image.

Hollis Frampton | USA 1972 | 36 min
This ‘headlong dive’ from the Brooklyn Bridge to Stonehenge is a burst of exhilarated consciousness.

Hollis Frampton | USA 1972 | 29 min
‘A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.’

Hollis Frampton | USA 1972 | 11 min
Stripping away content leaves only the frame. ‘People this given space, if you will, with images of your own devising.’

Total running time approximately 210 min (including intermission)

Hapax Legomena has been preserved through a major cooperative effort funded by the National Film Preservation Foundation and undertaken by Anthology Film Archives, MoMA, the New York University Moving Image Archiving and Preservation Program, and project conservator Bill Brand.

Passage Briare (Friedl vom Gröller, 2009)

Saturday 24 October 2009, at 7pm, NFT3

Friedl vom Gröller | Austria 2009 | 3 min
A meeting of friends in a Paris backstreet, and an unexpected revelation.

Josef Dabernig | Austria 2008 | 10 min
In a subtle choreography, the occupants of a small Alpine hotel pass a lazy afternoon. Not much happens, but all may not be as it appears.

Jana Debus | Germany 2009 | 20 min
The filmmaker’s schizophrenic brother recounts personal experiences, slipping between first and third person. The locations chosen for this portrait – a desolate apartment and a wasteland littered with abandoned machinery – are indicative of the condition of someone potentially as vulnerable as the insects that collect on his windowsill.

Ken Jacobs | USA 2008 | 4 min
Tom’s dextrous parlour game attracts unwanted attention. A stolen moment, frozen in time, now re-animated for all to see.

Jim Trainor | USA 2008 | 14 min
As primitive Magic Marker drawings illustrate the myths and rituals of the ancient Moche civilisation, a disparaging narrator describes the tormented trials of a hapless creature amongst goblets of blood, fanged men and a sacrificial priestess.

Mara Mattuska, Chris Haring | Austria 2009 | 32 min
This new collaboration between Mattuschka and Vienna’s Liquid Loft takes us behind the velvet curtains of the Burning Palace, whose peculiar inhabitants have an itch they just can’t scratch.

Total running time approximately 90 min

My Absolution (Victor Alimpiev, 2008)

Sunday 25 October 2009, from 12-7pm, Studio, FREE

Victor Alimpiev | Russia-Netherlands 2008 | 8 min (continuous loop)
Victor Alimpiev’s work imbues the simplest gestures with mystery and consequence. An actress performs a sequence of enigmatic actions towards the nape of a second woman’s neck in a performance that creates an almost sculptural tension which is never quite released.

Me Broni Ba (Akosua Adoma Owusu, 2008)

Sunday 25 October 2009, at 2pm, NFT3

Akosua Adoma Owusu | USA-Ghana 2008 | 22 min
Driven by the pulsing sounds of Afrobeat and American soul, this spirited study of Ghanaian hair salons questions representations of beauty and ethnicity. While teams of women weave elaborate styles, children practice braiding on the blonde hair of white baby dolls, surplus stock exported from the West.

Laida Lertxundi | USA-Spain 2009 | 4 min
A song of heartache, an afternoon’s repose and the eternal promise of the blue California sky.

Karen Mirza, Brad Butler | UK-Pakistan-India 2009 | 38 min
Shot primarily in Karachi, The Exception and the Rule employs a variety of strategies in negotiating consciously political themes. Avoiding traditional documentary modes, the film frames everyday activities within a period of civil unrest, incorporating performances to camera, public interventions and observation. This complex work supplements Mirza/Butler’s Artangel project ‘The Museum of Non Participation’.

Total running time approximately 75 min

FILM IST. a girl & a gun (Gustav Deutsch, 2009)

Sunday 25 October 2009, at 4pm, NFT3
& Thursday 29 October 2009, at 4pm, NFT2
FILM IST. a girl & a gun

FILM IST. a girl & a gun
Gustav Deutsch | Austria 2009 | 97 min

Taking its cue from DW Griffith via J-L Godard, the latest instalment of the FILM IST series is a five-act drama in which reclaimed footage is interwoven with aphorisms from ancient Greek philosophy. Beginning with the birth of the universe, it develops into a meditation on the timeless themes of sex and death, exploring creation, desire and destruction by appropriating scenes from narrative features, war reportage, nature studies and pornography. The Earth takes shape from molten lava, and man and woman embark upon their erotic quest. For this mesmerising epic, Deutsch applies techniques of montage, sound and colour to resources drawn from both conventional film archives and specialist collections such as the Kinsey Institute and Imperial War Museum. Excavating cinema history to tease new meanings from diverse and forgotten film material, he proposes new perspectives on the cycle of humanity. The film’s integral score by long-term collaborators Christian Fennesz, Burkhardt Stangl and Martin Siewert incorporates music by David Grubbs, Soap&Skin and others.

Mount Shasta (Oliver Husain, 2008)

Sunday 25 October 2009, at 7pm, NFT3

Mary Helena Clark | USA 2008 | 5 min
‘Notes from the distant future and forgotten past. An ethereal flower and disembodied voice guide you through the spaces in between.’ (Mary Helena Clark)

Greg Pope | UK-Norway 2009 | 4 min
Taking the expression ‘to shoot a film’ at face value, this 35mm reel has been blasted with a shotgun.

Matthias Müller, Christoph Giradet | Germany 2009 | 11 min
My Eyes! My Eyes! Flickering out from the screen and direct to your retina, Contre-jour is not for the optic neurotic. Take a deep breath and try to relax as Müller and Girardet conduct their examination.

David Gatten | USA 2008 | 13 min
‘A single piece of paper, a second stab at suture, a story three times over, a frame for every mile. Words by Charles Darwin.’ (David Gatten)

Paul Abbott | UK 2009 | 15 min
By chance or circumstance, wolf’s froth’s covert syntax refuses to be unpicked. Entangling anxious domesticity with the spectre of aggression, it conjures a mood of underlying discomfort and intrigue.

Lewis Klahr | USA 2008 | 15 min
Klahr’s surreal collage journeys through lost horizons of comic book Americana and is brought back down to earth by Drella’s dream. And nobody called, and nobody came.

Oliver Husain | Canada 2008 | 8 min
What is ostensibly a proposal for a film script is acted out, without artifice, in a bare loft space as Mantler plays a plaintive lament. A puppet show like none other that will leave you bemused, befuddled and bewildered.

Total running time approximately 80 min

Advance booking highly recommended
Standard ticket price is £9.00

Book online at www.bfi.org.uk/lff
Telephone Box Office: 020 7928 3232
Book in person at BFI Southbank

For full booking info see www.bfi.org.uk/lff

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28 March 2009

Gregory J. Markopoulos LLGFF

London Lesbian & Gay Film Festival
28 & 30 March 2009

The London Lesbian & Gay Film Festival presents two programmes of rarely screened films by Gregory J. Markopoulos. Curated by Mark Webber, with thanks to Temenos Verein.

Twice A Man (Gregory J. Markopoulos, 1963)

Saturday 28 March 2009, at 4:30pm, NFT3

Gregory J. Markopoulos, USA, 1963, 49 mins
Twice A Man is a fragmented re-imagining of the Greek myth of Hippolytus, who was killed after rejecting the advances of his stepmother. Markopoulos’ vision transposes the legend to 1960s New York and has its main character abandon his mother for an elder man. Employing sensuous use of colour, the film radicalised narrative construction with its mosaic of ‘thought images’ that shift tenses and compress time. One of the touchstones of independent filmmaking, Twice A Man was made in the same remarkable milieu as Scorpio Rising and Flaming Creatures by a filmmaker named ‘the American avant-garde cinema’s supreme erotic poet’ by its key critic P. Adams Sitney.
Dedicated to Clara Hoover. Based on the story of Hippolytos. Music by Pyotr Tchaikovsky: excerpt from Manfred Symphony, op. 58. Assistant director: Charles Levine. Cast: Paul Kilb (Paul), Olympia Dukakis (the young mother), Violet Roditi (the aged mother), Albert Torgessen (the artist-physician). Voice: Olympia Dukakis. Filmed in New York City, Staten Island and Bear Mountain Park.
Gregory J. Markopoulos, USA, 1966, 7 mins
Ming Green is an extraordinary self-portrait conveyed through the multiple layered superimpositions of the filmmaker’s sparsely furnished room.
Dedicated to Stan Brakhage. Music by Richard Wagner: Traumen from Wesendonck Lieder (Wesendonck Song Cycle). Filmed in New York City.

Eros, O Basileus (Gregory J. Markopoulos, 1967)

Monday 30 March 2009, at 8:45pm, NFT3

Gregory J. Markopoulos, USA, 1967, 45 mins
Markopoulos’ invocation of Eros merges classical and contemporary imagery by placing the male god of love in an artists’ loft. The sole protagonist, predominantly naked, appears in a series of tableaux surrounded by icons of creativity, including paintings, books and filmmaking equipment. This sculptural study of the human form is energised by flash frames, stylised fades, and Strauss’ tone-poem ‘Ein Heldenleben’. Eros is portrayed by the young filmmaker Robert Beavers, who had recently moved to New York after seeing films by Markopoulos and other New American Cinema pioneers. Both soon left America for Europe, where they remained together until Markopoulos’ death in 1992.
Dedicated to Ben Weber. Music by Richard Strauss: excerpts from Ein Heldenleben. Cast: Robert Beavers (Eros). Filmed in New York City.
Gregory J. Markopoulos, USA, 1967, 15 mins
The life of painter, dancer and poet Mark Turbyfill, seen here in his 70th year, is evoked through traditional portraiture and personal objects.
Dedicated to Tom Chomont. Cast: Mark Turbyfill. Filmed in Chicago.



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

Tickets: £8.60 / £6.25 concessions
BFI members pay £1 less

Box Office: 020 7928 3232


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25 October 2008

London Film Festival 2008

London BFI Southbank
25-26 October 2008

The festival’s annual celebration of artists’ film and video will take place on 25-26 October 2008, presenting a diverse selection of international work in eight screenings that open a window onto a wide range of creativity.

This year’s selection includes special programmes devoted to the work of Nathaniel Dorsky, Alina Rudnitskaya, Ben Rivers and Michel Auder. Films by the radical French theorist Guy Debord will be shown in 35mm preservation prints. New approaches to documentary and ethnography recur throughout the weekend, which presents established and emerging artists in a curated survey of innovation in the moving image. Several makers will be present to discuss their work and two continuous installations will be shown in the BFI Southbank Studio.

Curated by Mark Webber for The Times BFI 52nd London Film Festival.

PLEASE NOTE: More tickets for "sold out" screenings may be released in the days leading up to the weekend & there are usually a few available on the door immediate before each programme.

Pneuma Monoxyd (Thomas Köner, 2007)

Saturday 25 October 2008, from 12-7pm, Studio, FREE

Thomas Köner | Germany-Serbia 2007 | 10 min (continuous loop)
Merging surveillance images of a German shopping street and a Balkan marketplace, Köner’s darkly abstract work, with its spatially evocative soundtrack, generates a muted sense of spectral dystopia.

Four Toronto Films (Nicky Hamlyn, 2007)

Saturday 25 October 2008, at 2pm, NFT3

Nicky Hamlyn | UK 2007 | 18 min
During a residency in the Canadian city, Hamlyn made this suite of films that explore a direct relationship between subject matter and camera apparatus. Three scrutinise aspects of the urban locale, the other an accelerated view of Koshlong Lake.

Robert Todd | USA 2007 | 9 min
A residential street, seen through the passageways that separate its dwellings, is the focus of this understated study of gentrification in a Boston neighbourhood.

Rebecca Baron, Douglas Goodwin | USA 2008 | 3 min
Witness the dematerialization of an avant-garde standard as incomplete digital files, downloaded from file sharing networks, induce trouble in the image.

Jayne Parker | UK 2008 | 25 min
Linear Construction, Woman with Arms Crossed and Arc refer back to a quartet of films made with musician Anton Lukoszevieze almost a decade ago. This new anthology for solo cello was shot at Kettles Yard and incorporates items from the museum’s collection which open up metaphorical space and meaning.

Lawrence Jordan | USA 2008 | 12 min
An alchemical melodrama composed of engravings from 19th century adventure stories. The illustrations are conjured into motion as improbable sounds collide with a Puccini aria.

Total running time approximately 90 min

Sur le passage de quelques personnes à travers une assez courte unité de temps
(Guy Debord, 1959)

Saturday 25 October 2008, at 4pm, NFT3

‘The cinema, too, has to be destroyed.’ (Guy Debord)

An extremely rare opportunity to see new 35mm prints of films by French writer and theorist Guy Debord, best known for The Society of the Spectacle. Debord was a central figure of the Situationist International (SI), a nihilistic band of agitators whose harsh critiques of capitalist society, inspired by Marxism and Dada, were conveyed through publications, visual art and collective actions. Articulated primarily in the French language, Situationism was relatively ineffective in Britain and America in its time, and though numerous translations are now available, Debord’s radical films remain unseen. Far ahead of its time, his technique of ‘détournement’ assimilates still and moving image-scraps from features, newsreels, printed matter, advertisements and other detritus to satisfy the viewer’s ‘pathetic need’ for cinematic illusion. Propelled by a spoken, monotonous discourse, the images do not so much illustrate the text as underpin it, often maintaining a metaphorical relationship that may not at first be apparent. The two films showing here effectively bookend Debord’s involvement with the Situationists, whose politically subversive practice aspired to provoke a revolution of everyday life.

Guy Debord | France 1959 | 18 min
In the dingy bars of St-Germain-des-Prés, Debord and his associates formed a bohemian underground for whom ‘oblivion was their ruling passion.’ This anti-documentary captures the SI close to its moment of inception, following their separation from the Lettristes two years prior.

Guy Debord | France 1978 | 105 min
‘I will make no concessions to the public in this film. I believe there are several good reasons for this decision, and I am going to state them.’ And state them he does. Debord’s final film is a denunciation of cinema and society at large, an unremitting diatribe against consumption. The SI is equated to a military operation (charge of the light brigade, no less) as its members are presented alongside images of the D-Day landings, Andreas Baader, Zorro, a comic strip Prince Valliant and quotes from Shakespeare, Ecclesiastes and Omar Khayyám. Debord takes no prisoners in this testament to his anarchistic vision.

Total running time approximately 125 min

Bitch Academy (Alina Rudnitskaya, 2008)

Saturday 25 October 2008, at 7pm, NFT3

Alina Rudnitskaya’s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.

Alina Rudnitskaya | Russia 2003 | 20 min
A sensitive portrait of an unusual urban phenomenon: a troupe of independent and strong-minded girls who keep horses in the heart of St Petersburg. Amazons follows a new volunteer as she tries to find her place within the group dynamic.

Alina Rudnitskaya | Russia 2006 | 27 min
With music providing an escape from their duties as veterinarians, nurses and cleaners, the amateur chorus of a provincial town rehearse songs from Verdi’s ‘Aida’. Close bonds are formed, but in true diva style, relationships within the choir are frequently inharmonious.

Alina Rudnitskaya | Russia 2008 | 29 min
An improbable symbol of modern Russia is displayed in this tragicomic verité on the aspirations of young women. In a progressive twist on assertiveness training, a middle-aged, paunchy Casanova (who surely loves his job) gives classes on how to seduce the male using role play, styling critiques and sexy dancing. The ultimate goal is to hitch a millionaire, and though there’s much humour in the situation, occasional tears and telling looks remind us that the insecurities of real lives are being laid bare.

Total running time approximately 80 min

Horizontal Boundaries (Pat O’Neill, 2008)

Saturday 27 October 2008, at 9pm, NFT3

Francisca Duran | Canada 2006 | 6 min
Set in metal type, a passage from Maxim Gorky’s review of the Lumières melts into a pool of molten lead.

David Gatten | USA 2007 | 8 min
‘An unexpected letter leads to an unanticipated encounter and an extravagant gift. Some windows open easily; other shadows remain locked rooms.’ (David Gatten)

Charlotte Pryce | USA 2008 | 4 min
A saturated cine-miniature inspired by Dutch 17th Century painting.

Sami van Ingen | Finland 2007 | 7 min
The film image of a loaded truck, careening free of its position in the frame, speeds along a mountain road towards an inevitable fate.

Bart Vegter | Netherlands 2008 | 9 min
Computer animated abstraction in three dimensions. Slowly evolving geometric forms suggest sculptural figures and waning shadows.

Pat O’Neill | USA 2008 | 23 min
O’Neill’s dizzying deployment of the 35mm frame-line is intensified by Carl Stone’s electronic score. A hard and rhythmic work, thick with superimposition, contrary motion and volatile contrasts, reminiscent of his pioneering abstract work of prior decades.

Bruce Conner | USA 2008 | 10 min
Bruce Conner’s freewheeling camera chases morning light in a hypnotic blur of colour and multiple exposures. This final work by the artist and filmmaker rejuvinates his rarely seen 8mm film Easter Morning Raga (1966). With music by Terry Riley.

Total running time approximately 70 min

Kempinski (Neil Beloufa, 2007)

Sunday 28 October 2008, from 12-7pm, Studio, FREE

Neil Beloufa | Mali-France 2007 | 14 min (continuous loop)
Whilst challenging our stereotypical view of Africa, Kempinksi also blurs the lines between documentary, ethnography and science fiction. Asked to imagine the future but to speak in the present tense, the protagonists describe extraordinary and unexpected visions.

Sarabande (Nathaniel Dorsky, 2008)

Sunday 26 October 2008, at 2pm, NFT3

In his search for a ‘polyvalent’ mode of filmmaking, Nathaniel Dorsky has developed a filmic language which is intrinsic and unique to the medium, and expressive of human emotion. Seeking wonder not only in nature but in the everyday interaction between people in the metropolitan environment, Dorsky observes the world around him. Free of narrative or theme, his films transcend daily reality and open a space for introspective thought. ‘Delicately shifting the weight and solidity of the images’, a deeper sense of being is manifest in the interplay between film grain and natural light. Dorsky returns to London to introduce two brand new films and Triste, the work that first intimated his sublime and distinctive ‘devotional cinema’. These lyric films are humble offerings which unassumingly blossom on the screen, illuminating a path for vision.

Nathaniel Dorsky | USA 2007 | 19 min
‘San Francisco’s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal.’ (Nathaniel Dorsky)

Nathaniel Dorsky | USA 2008 | 15 min
‘Dark and stately is the warm, graceful tenderness of the sarabande.’ (Nathaniel Dorsky)

Nathaniel Dorsky | USA 1978-96 | 19 min
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, and bringing together subject matter not ordinarily associated, a deeper sense of impermanence and mystery can open. The images are as much pure-energy objects as representation of verbal understanding and the screen itself is transformed into a ‘speaking’ character. The ‘sadness’ referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood.’ (Nathaniel Dorsky)

Total running time approximately 70 min

The Feature (Michel Auder & Andrew Neel, 2008)

Sunday 26 October 2008, at 3:45pm, NFT3
Tuesday 28 October 2008, at 7pm, Studio

Michel Auder, Andrew Neel | USA 2008 | 177 min

In Michel Auder’s case, the truth is certainly stranger than fiction. One of the first to compulsively exploit the diaristic potential of the Sony Portapak, he was right there at the heart of the Warhol Factory and the Soho art explosion. This fictionalised biography draws on his vast archive of videotapes, connecting them by means of a distanced narration and new footage, shot by co-director Andrew Neel, in which Auder portrays his doppelganger, an arrogantly successful artist who may or may not have a life-threatening condition. Resisting nostalgia through wilful ambiguity, The Feature remains raw and brutally honest as Auder displays the best and worst of himself. Taking in his marriages to both Viva and Cindy Sherman, and affiliations with Larry Rivers, the Zanzibar group and the downtown art scene, this is necessarily a tale of epic proportions, chronicling an amazing journey through art and life whilst providing access to a wealth of fascinating personal footage.

Tjúba Tén (Brigid McCaffrey & Ben Russell, 2008)

Sunday 26 October 2008, at 7pm, NFT3

Julia Hechtman | USA 2006 | 5 min
Sci-fi hallucinations seem commonplace as Hechtman invokes mysterious natural phenomena: an extreme case of mind over matter.

Neil Beloufa | Mali-France 2007 | 14 min
Speaking in the present tense, interviewees describe their idiosyncratic notions of the future. To the western viewer, the unlikely subjects, stylized settings and atmospheric lighting impart a strange disconnect between science fiction and anthropology.

Brigid McCaffrey, Ben Russell | USA-Suriname 2008 | 47 min
‘An experimental ethnography composed of community-generated performances, re-enactments and extemporaneous recordings, this film functions doubly as an examination of a rapidly changing material culture in the present and as a historical document for the future. Whether the record is directed towards its subjects, its temporary residents (filmmakers), or its Western viewers is a question proposed via the combination of long takes, materialist approaches, selective subtitling, and a focus on various forms of cultural labour.’ (Ben Russell)

Sylvia Schedelbauer | Germany 2008 | 15 min
Cast adrift in the collective unconscious, Remote Imtimacy constructs an allegorical collage from found footage and biographical fragments, exploring cultural dislocation using the rhetoric of dreams.

Origin of the Species (Ben Rivers, 2008)

Sunday 26 October 2008, at 9pm, NFT3

An intrepid explorer, Ben Rivers toys with ethnographic tropes whilst roaming free from documentary truth. Encountering those who choose to live apart from society, his nonjudgmental approach presents ‘real life, or something close to it.’ The Edge of the World features several recent works with other films of his choice.

Ben Rivers | UK 2008 | 19 min
In the wilderness of a highland farm, a bunch of tearaways joyride, smash up, tinker and terrorize the way that only children can. Assimilating landscape and livestock, this poetic study contrasts the languid setting with the youngster’s restless energy.

Alexandra Cuesta | USA 2007 | 9 min
Utilitarian objects, related to health and hygiene, rendered in unconventional ways. This unsettling film questions the way that we relate to our surroundings by exploring the ‘radical otherness’ of things.

Ben Rivers | UK-Denmark 2007 | 8 min
Danish recluse Astika has allowed nature to run wild, overgrowing his own habitat to the point that he has no option but to move away. The film is a hazy arrangement in green and gold, all rich textures and lush foliage.

Luther Price | USA 2007 | 4 min
A gospel cry rings out across the decades, disrupted in space and time, fading but resilient.

Ben Rivers | UK 2008 | c.7 min
A little anticipation never did anyone any harm; you’ll have to be there to find out what it is.

Ben Rivers | UK 2008 | 17 min
‘A 70-year old man living in a remote part of Scotland has been obsessed with ‘trying to really understand’ Darwin’s book for many years. Alongside this passion, he’s been constantly working on small inventions for making his life easier. The film investigates someone profoundly interested in human beings, but who has decided to live separately from the majority of them.’ (Ben Rivers)

Total running time approximately 75 min

Advance booking recommended
Standard ticket price is £8.50

Book online at www.bfi.org.uk/lff
Telephone Box Office: 020 7928 3232
Book in person at BFI Southbank

For full booking info see www.bfi.org.uk/lff

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17 October 2008

Jonas Mekas presents FLUX PARTY

London Rio Cinema
Friday 17 October 2008, from 11:15pm 'til late

Legendary artist-filmmaker Jonas Mekas presents FLUX PARTY featuring the complete FLUXUS film anthology as assembled by George Maciunas, rare Fluxus audio and surprises.

Fluxus Anthology title by George Maciunas

Includes films by Yoko Ono, Nam June Paik, Wolf Vostell, George Brecht, Dick Higgins, Robert Watts, John Cale, Chieko Shiomi, Paul Sharits and Ben Vautier. A special late night screening on the big screen of East London's splendid art deco picture palace.

Jonas Mekas will be in attendance to discuss Fluxus and his friend and fellow Lithuanian émigré George Maciunas. Drinks and Flux Cakes will be served.

Curated by Anne-Sophie Dinant and Mark Webber. Presented by the South London Gallery. With thanks to Benn Northover, Serpentine Gallery, Re:Voir and the Rio Cinema. Supported by the Lithuanian Ministry of Culture and Freedom Brewery.

Fluxfilm No. 16: Four (Yoko Ono, 1967)

Friday 17 October 2008, from 11:15pm 'til late


The most complete known version of the Fluxfilm Anthology.

Fluxfilm No. 1: Zen For Film, Nam June Paik, 1964, 20 min.
“Clear film, accumulating in time dust and scratches.”

Fluxfilm No. 2: Invocation of Canyons and Boulders, Dick Higgins, 1966, 3 min version.
“Mouth, eating motions.”

Fluxfilm No. 3: End After 9, George Maciunas, 1966, 1 min.
“Word & number gag, no camera.”

Fluxfilm No. 4: Disappearing Music For Face, Chieko Shiomi, 1966, 10 min.
“Transition from smile to no-smile, shot at 2000fr/sec. Camera shows only a CU of the mouth area.” Camera: Peter Moore

Fluxfilm No. 5: Blink, John Cavanaugh, 1966, 5 min.
“Flicker: White and black alternating frames.”

Fluxfilm No. 6: 9 Minutes, James Riddle, 1966, 9 min.
“Time counter, in seconds and minutes.”

Fluxfilm No. 7: 10 Feet, George Maciunas, 1966, 13 sec.
“Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10.”

Fluxfilm No. 8: 1000 Frames, George Maciunas, c.1966, 42 sec.
“Numerals on clear film from 1 to 1000.”

Fluxfilm No. 9: Eyeblink, Yoko Ono, 1966, 1 min.
“High speed camera, 200fr./sec. view of one eyeblink.” Camera: Peter Moore

Fluxfilm No. 10: ENTRANCE to EXIT, George Brecht, 1966, 7 min.
“A smooth linear transition from white, through greys to black, produced in developing tank. The ‘door sign’ ENTRANCE fades in, white letters on the black background, stays for a few seconds, then slowly fades into white. Five-minute fade into black and the title EXIT, which stays for a few seconds then fades into white.”

Fluxfilm No. 22: Shout (Jeff Perkins, 1966)

Fluxfilm No. 11: Trace No. 22, Robert Watts, 1965, 1 min.
“X-ray sequence of mouth and throat; eating, salivating, speaking.”

Fluxfilm No. 12: Trace No. 23, Robert Watts, 1966, 3 min.
“Begins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso. The female then passes different decorated plastic hot dogs, banana shapes suggestively between her legs, through her arm pits, etc. Ends with an egg floating on water.”

Fluxfilm No. 13: Trace No. 24, Robert Watts, 1966, 3 min.
“Begins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.”

Fluxfilm No. 14: One, Yoko Ono, 1966, 5 min.
“High speed camera 2000fr/sec. match striking fire.” Camera: Peter Moore.

Fluxfilm No. 15: Eye Blink, Yoko Ono, 1966, 1 min.
“Same as No. 9, probably.” Camera: Peter Moore.

Fluxfilm No. 16: Four, Yoko Ono, 1967, 6 min.
“Sequences of buttock movement as various performers walked. Filmed at constant distance.” With Susanna Campbell, Philip Corner, Anthony Cox, Bici Hendricks, Geoffrey Hendricks, Kyoko Ono, Yoko Ono, Ben Patterson, Jeff Perkins, Susan Polang, Jerry Sablo, Carolee Schneemann, James Tenney, Pieter Vanderbiek, Verne Williams. Camera: Jeff Perkins, Anthony Cox.

Fluxfilm No. 17: 5 O’Clock in the Morning, Pieter Vanderbiek, 1966, 5 min.
“A handful of rocks and chestnuts falling, filmed with high speed camera.” Camera: Peter Moore.

Fluxfilm No. 18: Smoking, Joe Jones, 1966, 6 min.
“Sequence of cigarette smoke shot with high speed camera, 2000fr/sec.” Camera: Peter Moore.

Fluxfilm No.19: Opus 74, version 2, Eric Andersen, 1966, 1 min.
“Single frame exposures, color. Different image each frame, various items in the room, etc.”

Fluxfilm No. 20: ARTYPE, George Maciunas, 1966, 4 min.
“Artype patterns, intended for loops.” Benday dot patterns. Dots, lines. “Screens, wavy lines, parallel lines, etc. on clear film. No camera.”

Fluxfilm No. 22: Shout, Jeff Perkins, 1966, 3 min.
“Close-ups of two faces, shouting at each other.” Starring Jeff Perkins and Anthony Cox. Camera: Yoko Ono.

Fluxfilm No. 23: Sun in Your Head, Wolf Vostell, 1963, 6 min.
“Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: ‘silence, genius at work’ and ‘ich liebe dich.’ The end credit is ‘Television décollage, Cologne, 1963’.” Camera: Edo Jansen.

Fluxfilm No. 24: Readymade, Albert Fine, 1966, 45 sec.
“Color test strip from developing tank.”

Fluxfilm No. 25: The Evil Faerie, George Landow, 1966, 30 sec.
“A man on the roof making flying gestures with his hands. Film is preceded by a picture of an object of ‘L’ shape shakingly moving. At the end of the film, image of ‘Kodak girl’ briefly appears.” With Steven M. Zinc.

Fluxfilm No. 26: Sears Catalogue 1-3 (Paul Sharits, 1965)

Fluxfilm No. 26: Sears Catalogue 1-3, Paul Sharits, 1965, 28 sec.
“Pages from Sears catalogue, single frame exp.”

Fluxfilm No. 27: Dots 1 & 2, Paul Sharits, 1965, 46 sec.
“Single frame exposures of dot-screens.”

Fluxfilm No. 28: Wrist Trick, Paul Sharits, 1965, 28 sec.
“Various gestures of hand held razorblade, single frame exposures.”

Fluxfilm No Number: Unrolling Event, Paul Sharits, 1965, 5 sec.
“Toilet paper event, single frame exposures.”

Fluxfilm No. 29: Word Movie, Paul Sharits, 1965, 4 min.
“Single frame exposures of words, color.”

Fluxfilm No. 30: Dance, Albert Fine, 1966, 2 min.
“Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall.”

Fluxfilm No. 31: Police Car, John Cale, 1966, 1 min.
“Underexposed sequence of blinking lights on a police car.”

Fluxfilm No. 36: Fluxfilm No. 36, Peter Kennedy & Mike Parr, 1970, 3 min.
“Tips of feet walking at the edge of frame, all around the frame.”

Fluxfilm No. 37: Fluxfilm No. 37, Peter Kennedy & Mike Parr, 1970, 2 min.
“Face going out of focus by layering sheets of plastic between camera and subject.”

Fluxfilm No. 38: Jen e vois rien Je n’entends rien Jen e dis rien, Ben Vautier, 1965, 5 min.
“Seeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.”

Fluxfilm No. 39: La traverse du port de Nice á la nage, Ben Vautier, 1963, 2 min
“Swimming across Nice harbour fully clothed. Ben swims across a bay in Nice.”

Fluxfilm No. 40: Fair un effort, Ben Vautier, 1969, 2 min.
“Lifting and holding up a chest of drawers.”

Fluxfilm No. 41: Regardez moi cela suffit, Ben Vautier. 1962, 3 min.
“Sitting on a promenade in nice with a sign: Watch me, that’s all.”


Rio Cinema
107 Kingsland High Street, Dalston, London, E8 2PB

Nearest Train: Dalston Kingsland (London Overground)
Buses: 30, 38, 75, 149, 242, 243
Night Buses: N38, N149, N242, N243

Tickets: £6 (drinks included), booking recommended
Box Office: 020 7241 9410


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19 September 2008

Return To The Scene Of The Crime

London Tate Modern
19 September 2008

"The heartwarming story of a boy who didn’t know it’s wrong to steal. Running off with the pig seemed like a good idea at the time."

Return to the Scene of the Crime (Ken Jacobs, 2008)

Friday 19 September 2008, at 7pm

In a contemporary riff on one of his landmark works, Ken Jacobs uses new technology to both interrogate and arouse a theatrical tableau, shot in 1905, based on Hogarth’s Southwark Fair. The antique film print is probed, exploded and reconstituted in the digital domain with radical ingenuity and infectious wit. This extraordinary new work teaches us how to see.

Ken Jacobs, Return to the Scene of the Crime, 2008, 92 min

Please Note: This work uses flickering imagery and is not suitable for those susceptible to photo-sensitive epilepsy.

Drinks and cakes will be served after the screening.
For full details of the tank.tv weekend at Tate Modern see Tank at Tate.

An online exhibition at www.tank.tv from 1 October to 30 November 2008 will feature a selection of 20 complete or excerpted works by Ken Jacobs, dating from 1956 to the present. Curated by Mark Webber for tank.tv and Tate Modern.


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

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

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13 June 2008

Tony Conrad

London Tate Modern
13-15 June 2008

Tony Conrad is a pivotal figure in contemporary culture. His multi-faceted contributions since the 1960s have influenced and redefined music, filmmaking, minimalism, performance, video and conceptual art.

2004 performance of Ten Years Alive on the Infinite Plain (1972)
Known for his groundbreaking film The Flicker, his involvement in the Theatre of Eternal Music and the evolution of the Velvet Underground, and collaborations with a host of luminaries including Jack Smith, John Cale, Mike Kelley and Henry Flynt, Conrad is a radical artist who challenges our understanding of art history.

This special weekend event at Tate Modern will feature a major new performance for the Turbine Hall and screenings of his extraordinary film and video work.

Tony Conrad curated by Stuart Comer, Alice Koegel and Mark Webber.

The Flicker (Tony Conrad, 1966)

Friday 13 June 2008, at 7pm

Minimal cinema with maximal effect. Few films provide the intense, stroboscopic viewing experience of The Flicker, a non-objective film composed only of opaque and clear frames, and a pulsing electronic soundtrack. Conrad’s cinematic debut still astounds audiences four decades after its creation, and will be screened together with other works exploring audio-visual harmonics and the radical production processes of cooked and electrocuted films.

Tony Conrad, The Flicker, 1966, 30 min
Tony Conrad, Curried 7302, 1973, 2 min
Tony Conrad, 7302 Creole, 1973, 1 min
Tony Conrad, 4-X Attack, 1973, 2 min
Tony Conrad, Film Feedback, 1974, 14 min
Tony Conrad, The Eye of Count Flickerstein, 1967/75, 7 min
Tony Conrad, Articulation of Boolean Algebra for Film Opticals, 1975, 10 min excerpt
Beverly & Tony Conrad, Straight and Narrow, 1970, 10 min

The screening, introduced by Tony Conrad, will be followed by a drinks reception to celebrate the publication of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage by Branden W. Joseph (Zone Books/MIT).

In Line (Tony Conrad, 1986)

Saturday 14 June 2008, at 7pm

Tony Conrad investigates the conditions of video production and presentation in a series of tapes which deconstruct or re-appropriate the techniques of TV. Exploiting the reflexive nature of the medium, he critiques the electronic image and notions of history, theory and authority with an irreverent sense of humour. Postmodernism was never this much fun!

Tony Conrad, Concord Ultimatum, 1977, 10 min excerpt
Tony Conrad, Redressing Down, 1988, 18 min
Tony Conrad, Ipso Facto, 1985, 7 min
Tony Conrad, Lookers, 1984, 4 min excerpt
Tony Conrad, Egypt 2025, 1986, 13 min
Tony Conrad, No Europe, 1990, 13 min
Tony Conrad, Accordion, 1981, 5 min
Tony Conrad, In Line, 1986, 7 min

The artist will introduce this programme of rarely seen works.

Tony Conrad, 2003 performance at De Stijl / Freedom From Festival

Saturday 14 June 2008, at 10pm

UNPROJECTABLE: PROJECTION AND PERSPECTIVE, a major new live performance by Tony Conrad, is specially conceived for the latent sound and immense scale of the Turbine Hall. Emerging from an installation inspired by the hum of the former power station’s one remaining generator, Conrad’s sonic and visual feast will incorporate an amplified string quartet, electric drill and motors, phonograph arms, film projection and shadows which loom high above the audience.

This is a FREE event as part of UBS Openings: Saturday Live.

Please Note: This event is FREE but advance booking is recommended by telephone 020 7887 8888, email ticketing@tate.org.uk or online.

DreaMinimalist (Marie Losier, 2008)

Sunday 15 June 2008, at 3pm

Tony Conrad will discuss his radical breakthroughs in film, video, music and performance with Branden W Joseph, Associate Professor of Modern and Contemporary Art at Columbia University, and author of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books/MIT).

The discussion will include a screening of DreamMinimalist (Marie Losier, 2008, 25 min), the latest in Marie Losier's ongoing series of film portraits of avant-garde directors (Mike and George Kuchar, Guy Maddin, Richard Foreman). The film offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his youth and his association with Jack Smith.


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

Screenings & Discussion Tickets: £5 / £4 concessions
Performance Tickets: FREE, booking recommended (see above)
Box Office: 020 7887 8888

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07 March 2008

Gregory J. Markopoulos

London Tate Modern
7 & 8 March 2008

Gregory J. Markopoulos (1928–1992) was a key figure in the evolution of the New American Cinema of the 1960s, an archetypal personal filmmaker who counted Jack Smith, Kenneth Anger, Stan Brakhage and Maya Deren amongst his contemporaries. His ravishing films are a complex combination of masterful camerawork and editing with a strong vision rooted in myth and poetry.

After relocating from New York to Europe in 1967, he planned the construction of an archive and projection space in Greece – The Temenos – a setting that would be in harmony with his extraordinary films. This pair of Tate Modern screenings anticipates the Temenos 2008 open air premieres of Markopoulos’ ENIAIOS III-V to be held in Lyssaraia on 27-29 June 2008, presented by the filmmaker Robert Beavers.

Gregory J. Markopoulos directs Jack Smith

Friday 7 March 2008, at 7pm

Markopoulos made many extraordinary film portraits, which often incorporate an activity or object that has personal significance to the subject. This programme presents a selection of poetic and sensuous portraits of cultural and art world luminaries such as Gilbert & George, Alberto Moravia, Giorgio de Chirico and Rudolph Nureyev.

“The films preserve the myriad flights of isolated, spectrally splintered and itinerant spirit, lost in yearning, in search of intuitive wholeness while negotiating mazes of desire, seeking sanctuary in the reflection of countless identities. The works hold a shimmering mirror up to the contradictory compulsions of an era, set to register, for a few instants, shocks of recognition.” (Kirk Winslow, Millennium Film Journal)

Gregory Markopoulos, Through a Lens Brightly: Mark Turbyfill, 1967, 12 min (Mark Turbyfill)
Gregory Markopoulos, ENIAIOS (Order III, Reel 1) (Gibraltar), undated, 15 min
(Gilbert & George)

Gregory Markopoulos, ENIAIOS (Order IV, Reel 6) (The Olympian), 1969, 23 min (Alberto Moravia)
Gregory Markopoulos, Political Portraits, 1969, 15 min excerpt
(Ulrich Herzog, Marcia Haydee, Rudolph Nureyev, Giorgio di Chirico, Hulda Zumsteg)
Gregory Markopoulos, ENIAIOS (Order II, Reel 2), undated, 23 min
(Hans-Jakob Siber, Franco Quadri, Giorgio Frapoli, Klaus Schönherr and family)

The Illiac Passion (Gregory J. Markopoulos, 1967)

Saturday 8 March 2008, at 7pm

Throughout his life, Markopoulos remained closely connected to his heritage and ultimately saw the Greek landscape as the ideal setting for viewing his films. The Illiac Passion, one of his most highly acclaimed films, is a visionary interpretation of ‘Prometheus Bound’ starring mythical beings from the 1960s underground. The soundtrack of this contemporary re-imagining of the classical realm features a reading of Thoreau’s translation of the Aeschylus text and excerpts from Bartok.

Gregory Markopoulos, The Illiac Passion, 1967, 92 min

“The Illiac Passion, which features chiaroscuro passages reminiscent of Anger's Inauguration of the Pleasure Dome of 1954, and incorporates 25 characters, is loosely based on Aeschylus' ‘Prometheus Bound’. For a viewer seeing this extravagant ode to creation some thirty years after its making, the film's most plangent moments involve Markopoulos' affectionate casting of friends as mythical figures – Andy Warhol's Poseidon pumping on an Exercycle above a sea of plastic, Taylor Mead's Demon leaping, grimacing, and streaming vermilion fringes, and Jack Smith's bohemian Orpheus, spending a quiet afternoon at home with Eurydice.” (Kristin M. Jones, Artforum)


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

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

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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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30 October 2007

The Wire 25: Film

London Roxy Bar and Screen
30 October - 20 November 2007

THE WIRE 25: FILM presents three evenings of artists’ film and video at the Roxy. The series begins with a programme of avant-garde classics, followed by UK premieres of four recent works by younger artists. Part of The Wire 25, a month long season of music celebrating The Wire magazine's 25th birthday.

Curated by Mark Webber.
All screenings are free admission, arrive early to avoid disappointment.

YYAA (Wojciech Bruszewski, 1973)

Tuesday 30 October 2007, at 8pm

The potential for combining image and sound has been explored since the invention of cinema. This primer of classic works of the international avant-garde demonstrates some of the possibilities specific to the film medium, from the flickering frames of Tony Conrad, Paul Sharits and John Latham to the intricate optics of Daina Krumins, Malcolm Le Grice, and others. Featuring soundtracks by Brian Eno, Rhys Chatham, John Cale and Terry Riley. All films will be shown on 16mm.

ARNULF RAINER Peter Kubelka, Austria, 1958, 8 minutes
YYAA Wojciech Bruszewski, Poland, 1973, 5 minutes
SPEAK John Latham, UK, 1968-69, 11 minutes
BERLIN HORSE Malcolm Le Grice, UK, 1970, 8 minutes
THE DIVINE MIRACLE Daina Krumins, USA, 1973, 5 minutes
AXIOMATIC GRANULARITY Paul Sharits, USA, 1972-73, 20 minutes
DRESDEN DYNAMO Lis Rhodes, UK, 1974, 5 minutes
STRAIGHT AND NARROW Tony & Beverly Conrad, USA, 1970, 11 minutes

Foggy Mountains Breakdown More Than Non-Foggy Mountains (Jessie Stead, 2006)

Tuesday 13 November 2007, at 8pm

Two fragmented and dysfunctional road movies imagined as a series of episodic vignettes or misty memories. Jessie Stead’s Foggy Mountains Breakdown More Than Non-Foggy Mountains, a cryptic album of weird and wonderful versions of Flatt & Scrugg’s bluegrass standard won first prize at the Ann Arbor Film Festival. The Secret Apocalyptic Love Diaries of Enid Baxter Blader is a windswept folk-poem shot on a homemade video camera. Both cast a discreet nod of recognition to Harry Smith’s Anthology of American Folk Music.

THE SECRET APOCALYPTIC LOVE DIARIES Enid Baxter Blader, USA, 2006-07, 12 minutes

Bogman Palmjaguar (Luke Fowler, 2007)

Tuesday 20 November 2007, at 8pm

Luke Fowler’s Bogman Palmjaguar is a portrait of its namesake, a former patient of radical psychologist R.D. Laing who now lives a hermetic life in the Flow Country of the Scottish Highlands. Documenting the environment of the surrounding landscape as much as its human focus, the images are accompanied by Lee Patterson’s evocative field recordings. Genesis P-Orridge and Lady Jaye are the subjects of Marie Losier’s diary/documentary, which pursues the pandrongynous partners at home, visiting MoMA’s Dada exhibition, and on tour with Thee Majesty and Throbbing Gristle. This work-in-progress screening will take place in celebration of the life of Lady Jaye, who died suddenly on 9 October 2007.

BOGMAN PALMJAGUAR Luke Fowler, UK, 2007, 30 minutes


The Roxy Bar and Screen
128-132 Borough High Street, London, SE1 1LB
Nearest Tube: Borough / London Bridge


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29 October 2007

Peter Hutton

London Tate Modern
Monday 29 October 2007, at 7pm

Films by Peter Hutton appear more closely related to landscape painting and still photography than contemporary cinema. In their stately portrayal of urban and rural locations, they afford the viewer a rarefied and highly-focused mode of looking, a stillness seemingly at odds with everyday life. Over shots of extended duration, the world reveals itself before the camera, which often records only subtle changes of light and atmospheric conditions.

Landscape (for Manon) (Peter Hutton, 1986-87)

Peter Hutton began making films in 1970 and has work in the collections of the Whitney Museum, Centre Georges Pompidou, George Eastman House and the Austrian Film Museum. A former merchant seaman, he has been a professor of film at Bard College in the Hudson River Valley since 1985. His most recent film, At Sea, will screen in the London Film Festival on Sunday 28 October.

For this screening at Tate Modern, Peter Hutton will introduce works, made on land and sea, which relate to the elements of earth, air, fire and water.

Curated by Mark Webber.
Presented in association with The Times BFI 51st London Film Festival.

Images of Asian Music (Peter Hutton, 1973-74)

Monday October 2007, at 7pm

Peter Hutton, 1980-81, b/w, silent, 16 min
The second part of an extended life’s portrait of New York. “Hutton’s black and white haikus are an exquisite distillation of the cinematic eye. The limitations imposed – no colour, no sound, no movement (except from a vehicle not directly propelled by the filmmaker), no direct cuts since the images are born and die in black – ironically entail an ultimate freedom of the imagination. If pleasure can disturb, Hutton’s ploys emerge in full focus. These materializing then evaporating images don’t ignite, but conjure strains of fleeting panoramas of detached bemusement. More than mere photography, Hutton’s contained-with-in-the-frame juxtapositions are filmic explorations of the benign and the tragic.” (Warren Sonbert)

Peter Hutton, 1979, b/w, silent, 8 min
Boston Fire finds grandeur in smoke rising eloquently from a city blaze. Billowing puffs of darkness blend with fountains of water streaming in from off-screen to orchestrate a play of primal elements. The beautiful texture of the smoke coupled with the isolation from the source of the fire erases the destructive impact of the event. The camera, lost in the immense dark clouds, produces images for meditation removed from the causes or consequences of the scene. The tiny firemen, seen as distant silhouettes, gaze in awe, helpless before nature’s power.” (Leger Grindon, Millennium Film Journal)

Peter Hutton, 1973-74, b/w, silent, 29 min
Images of Asian Music represents footage compiled during 1973-74 when Peter Hutton was living in Thailand and working at sea as a merchant seaman. While the film is silent, the title was intended to evoke a comparison to the movement of classical Asian music. Images of Asian Music is a personal celebration of Asia formed by a sensitivity to filmic composition and to the perception of these images in a silent time created by the filmmaker.” (Whitney Museum of American Art)

Peter Hutton, 1986-87, b/w, silent, 19 min
“Much of the imagery in Landscape (for Manon) is suggestive of Thomas Cole’s Catskill paintings – some of Hutton’s imagery was made in and around Kaaterskill Clove. In general, the film recalls those Cole paintings usually seen as forerunners of Luminism – ‘The Clove’, ‘Catskills’ (1827), for example, and ‘Catskill Creek’ (1845) – though the sensibility it reflects and the experience it provides is quite close to Fitz Hugh Lane, Martin Johnson Heade and John Frederick Kensett. Landscape (for Manon) is made up of twenty-two shots. The first and last shots frame the film as a tribute to Hutton’s young daughter, Manon: in the film’s delicate and arresting final shot, we see her face in close-up, double exposed with mottled light.” (Scott MacDonald, The Garden in the Machine)

Peter Hutton, 1991, b/w, silent, 10 min
In Titan’s Goblet refers to a landscape painting by Thomas Cole circa 1833. The film is intended as an homage to Cole, who is regarded as the father of the Hudson River School of painting. “Like Landscape (for Manon), In Titan’s Goblet depicts, in a series of often-stunning, silent, black and white, discrete images the Catskill Mountain area. In this case, however, a sequence of lovely images of what at first appears to be mist in the mountains is slowly revealed to be a distant fire of rubber tires that had burned out of control. That is, Hutton’s serene, evocative landscapes are, in this instance, qualified by an environmental problem – one that confronts our hunger for imagery of pristine nature.” (Scott MacDonald)


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

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

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27 October 2007

LFF: Avant-Garde Weekend

London BFI Southbank
27-28 October 2007

The Festival’s annual celebration of artists’ film and video returns with an international programme of diverse and inventive work, featuring poetic journeys, materialist explorations and ambiguous histories. Artists Carolee Schneemann and Marina Abramovic are featured in special programmes, and Peter Hutton will introduce his stunning new film At Sea. Many artists will be present to discuss their work and Experimenta will occupy the Studio for two days of continuous installations. The ‘avant-garde weekend’ continues to be a unique occasion for London audiences to experience innovative new visions from around the world.

Curated by Mark Webber for The Times BFI 51st London Film Festival.

Capitalism: Child Labor (Ken Jacobs, 2006)

Saturday 27 October 2007, from 12-7pm, Studio, FREE

Ken Jacobs / USA 2006 / 14 mins (continuous loop)
Ken Jacobs continues his interrogation of archival sources by deconstructing a single stereoscopic photograph from the Victorian era. The image of barefoot children in a textile mill is spun into a critique of capitalism and the workforce of child labour which sustained the industrial revolution. With a dizzying array of visual techniques, space is condensed, expanded, flipped and cropped, accompanied by Rick Reed’s compelling soundtrack.

Seeing Red (Su Friedrich, 2005)

Saturday 27 October 2007, at 2pm, NFT3

Su Friedrich / USA 2005 / 27 mins
A video confessional in which the artist expresses her frustration with the onset of middle age, frankly declaring personal anxieties. Interspersed with observational vignettes edited to Bach’s Goldberg Variations (played by Glenn Gould), Seeing Red is ultimately less an admission of crisis than a roar of defiance.

Elodie Pong / Switzerland 2006 / 7 mins
Unprecedented and absolute: The image of a young woman ‘simultaneously strong and vulnerable, a potential powder keg.’

Jay Rosenblatt / USA 2006 / 10 mins
American pop singer Anita Bryant, the face of Florida orange juice, led a political crusade against the ‘evil forces’ of homosexuality in the 1970s. Local success was short lived, and a national boycott of Florida oranges was the first sign of her loss of public approval.

Steve Reinke / Canada 2006 / 4 mins
A journey from schoolyard to graveyard, with author Susan Sontag as philosophical guide.

Mara Mattuschka, Chris Haring / Austria 2007 / 33 mins
Mattuschka’s second adaptation of a piece by Vienna’s ingenious Liquid Loft (following Legal Errorist in 2004) exposes a trio of fractured characters. In the lonely hearts hotel of an unfamiliar zone, the amorphous heroes erratically construct and reveal their unconventional personas.

Total running time approximately 85 mins

Marguerite Duras/Alain Resnais (0.65, 0.85, 1.0 fps)
(David Dempewolf, 2007)

Saturday 27 October 2007, at 4pm, NFT3

Christina Battle / Canada 2006 / 4 mins
Through the manipulation of drawings of the Salem witch trials, using techniques which include peeling layers of emulsion from the filmstrip, oblique parallels are drawn with modern day hysteria.

Soon-Mi Yoo / USA-Korea 2006 / 14 mins
‘Is it possible to see the landscape of the past even though it was first seen by the other’s murderous gaze?’ Dangerous Supplement poetically appropriates footage shot by US military to explore the secrets of the mountain, and the legacy of the Korean War.

Jayne Parker / UK 2006 / 16 mins
Following World War II, Messiaen’s fascination with birdsong inspired many compositions, and dominates the monumental ‘Catalogue d’Oiseaux’ of 1959. Jayne Parker has created a visual interpretation of the third movement – ’The Tawny Owl and The Woodlark’ – which evokes the habitat and symbolism of these nocturnal birds.

Bruce Conner / USA 2006 / 4 mins
The power of music transports the founders of the Soul Stirrers gospel quartet back in time to the Depression Era. A poignant refrain by a master of found footage.

David Dempewolf / USA 2007 / 19 mins
The opening act of Hiroshima Mon Amor has been condensed and structured, with urgent repetition, to reconstitute the dialogue between Duras’ text and Resnais’ vision. Words assume priority as potent images are crudely masked, emphasising details and inviting fresh analysis of this powerful sequence.

Christoph Draeger / Switzerland 2005 / 18 mins
Helenés combines two examples of propaganda from East and West. A bleak Hungarian instructional film on nuclear attack is presented in its entirely, strategically subtitled with text from George Bush’s inauguration speech (an idiosyncratic interpretation of the concept of freedom).

Total running time approximately 80 mins

Fuses (Carolee Schneemann, 1964-67)

Saturday 27 October 2007, at 7pm, NFT3

Newly preserved prints. Carolee Schneemann is a multi-media artist whose films, performances, installations and writings are a radical discourse on the body, sexuality and gender.

Carolee Schneemann / USA 1964-67 / 29 mins
Fuses is a vibrant celebration of a passionate relationship, openly portraying sexual intercourse without the objectification of pornography. To extend the tactile intimacy of lovemaking to filmmaking, Schneemann treated the filmstrips as a canvas, working by hand to paint, transform and cut the footage into a dense collage. The erotic energy of the body is transferred directly onto the film material. Recently preserved by Anthology Film Archives, this legendary work glows with a clarity unseen since its debut in the 1960s.

Carolee Schneemann / USA 1973-76 / c.60 mins (double screen)
The moving conclusion to the autobiographical trilogy which began with Fuses, Kitch’s Last Meal documents the routines of daily life. It was shot on the Super-8 home movie format and is projected double screen (one image above the other) as an interchangeable set of 18-minute reels. The soundtrack mixes personal reminiscences with ambient sounds of the household, and includes the original text used for Schneemann’s 1975 performance ‘Interior Scroll’. Time passes, a relationship winds down and death closes in: filming and recording stopped when the elderly cat Kitch, Schneemann’s closest companion for two decades, died. Each performance of the film in its original state was a re-ordering of the visual and aural materials, arranged by the artist according to mood and environment. For the preservation print, three pairs of reels have been selected and blown up to 16mm.

Total running time approximately 80 mins

The preservation of Fuses was supported by the University of Chicago Film Studies Center and the Andy Warhol Foundation for the Visual Arts. The preservation of Kitch’s Last Meal was supported by the Andy Warhol Foundation for the Visual Arts.

Water Spell (Sandy Ding, 2007)

Saturday 27 October 2007, at 9pm, NFT3

Sandy Ding / USA 2007 / 42 mins
A journey from realism to a supersensory realm, slipping under the surface and between molecules at a microscopic scale. Channeling the subconscious, Water Spell is both odyssey and invocation; a ritual of transformation and retinal blast. The film releases the energy locked within its frames through flickering pulsations of light.

Carl E. Brown / Canada 2006 / 56 mins (double screen)
Rarely shown in the UK, Carl Brown is a long-established film artist whose practice is dedicated to the modification of images by chemical means. Blue Monet is an homage to the French Impressionist, and an attempt to bring the Monet experience into the realm of cinema. Through the ebb and flow of intricate imagery, water lilies eternally blossom and fade with otherworldly grace. Brown has used his alchemical techniques to transfer Monet’s sense of colour, light, sky and water onto film. Viewed in spacious double-screen and enhanced by swathes of sound, this film is an immersive experience.

Total running time approximately 100 mins

Now Wait for Last Year (Rachel Reupke, 2007)

Sunday 28 October 2007, from 12-7pm, Studio, FREE

Rachel Reupke / UK-China 2007 / 9 mins (continuous loop)

In response to the rapid pace of property development in Beijing, Reupke references the visual style of architectural practice and corporate videos to present a sequence of fixed views of urban landscapes. Buildings which share the characteristics of both traditional and futuristic design are displayed, but all is not what it seems. Digital images cannot be trusted: these could be plans for future structures or computer-aided fantasy.

The Ivalo River Delta (Patrick Beveridge, 2007)

Sunday 28 October 2007, at 2pm, NFT3

Patrick Beveridge / UK 2007 / 17 mins
Shot within the Arctic Circle in northern Lapland, the film documents the landscape and lively night sky of an icy wilderness. The Aurora Borealis and other extraordinary phenomena are captured through long exposures and stunning time-lapse photography.

Peter Hutton / USA 2007 / 60 mins
Peter Hutton has modestly spoken of his work as being ‘a little detour’ from the history of cinema but perhaps he is following a path that others have neglected, or are yet to discover. Typified by fixed shots of extended duration, his concentrated gaze builds a bridge between early cinema, landscape painting and still photography, evoking Lumière, Turner and Stieglitz. Hutton’s camera often records the subtle changes of light and atmospheric conditions of rural and urban locations, and has frequently been directed toward nautical themes. This new film is essentially about the birth, life and death of large merchant ships. Following the construction of the vessels in South Korea and the passage of a massive container ship across the North Atlantic, it ends with images of shipbreaking in Bangladesh. At Sea is a real tour-de-force, in which the weight and scale of its subject is conveyed by masterful cinematography over a series of breathtaking compositions.

Total running time approximately 80 mins

Note: Peter Hutton will present a screening of his early work at Tate Modern on Monday 29 October 2007.

Pitcher Of Colored Light (Robert Beavers, 2007)

Sunday 28 October 2007, at 4pm, NFT3

Charlotte Pryce / USA 2007 / 4 mins
‘Three miniature, illuminated, hagiographic studies of plants observed and imagined, hand-processed and optically printed.’ (Charlotte Pryce)

Allen D. Glass II / USA-China 2005 / 24 mins
A journey through China, visiting northern provinces, Inner Mongolia, Tibet and Beijing. The filmmaker travelled alone, photographing the landscape and inhabitants of this extraordinary region with a keen and compassionate eye.

Timoleon Wilkins / USA 2007 / 6 mins
Crowns of light and subtle gradations of colour are refracted through extreme close-ups of natural phenomena. Moments of sentience, an elevation of consciousness.

Minyong Jang / Korea 2007 / 10 mins
‘A respiratory exchange between me and a bamboo forest.’ (Minyong Jang)

Robert Beavers / USA 2007 / 24 mins
Following the completion of his 17-film cycle ‘My Hand Outstretched’, Beavers travelled to New England to photograph the solitude of his mother’s house. Employing a more intimate approach to filming, he created this tender portrait which contrasts a dark interior with the vibrancy of an abundant garden. As seasons pass, the camera searches through shadows, conveying the slowed pace of life in old age.

Total running time approximately 70 mins

Seven Easy Pieces by Marina Abramovic (Babette Mangolte, 2007)

Sunday 28 October 2007, at 7pm, NFT3
Tuesday 30 October 2007, at 7:30pm, Studio


Babette Mangolte / USA 2007 / 93 mins

For one week in November 2005, Yugoslavian artist Marina Abramovic gave seven consecutive performances in the rotunda of the Guggenheim Museum in New York City, presenting her own works alongside interpretations of what are now regarded as seminal performance pieces by artists such as Joseph Beuys and Bruce Nauman. Actions that were once performed to select audiences in studios or small galleries were transformed into public spectacle. The artist’s own ‘Lips of Thomas’ is an intense ritual that repeatedly subjects the body to physical pain, being clearly related to her country’s war torn past. Other uncompromising works address sexuality (Vito Acconci, ‘Seedbed’), confrontation (Valie Export, ‘Genital Panic’) and suffering (Gina Pane, ‘The Conditioning’). The performances, executed with extraordinary discipline and composure, test the thresholds of endurance and determination. Babette Mangolte’s mesmerising document of this event condenses the entire series into 90 minutes. The camera, cool and detached, rarely strays from the artists’ body, detailing mental and physical tension with the sharp clarity of high definition video. Live art, best experienced in the moment, has rarely been captured with such atmosphere.

The Object Which Thinks Us: OBJECT 1 (Samantha Rebello, 2007)

Sunday 28 October 2007, at 9pm, NFT3

David Gatten / USA 2006 / 10 mins
‘Just barely a whisper. The minimum density, the slightest shape. A series of measurements, an equation for living. The edge of what matters, the contours of an idea. A selection of coordinates for finding one’s way back.’ (David Gatten)

Greg Pope / UK-Norway 2007 / 8 mins
Shards of emulsion produced during an auto-destructive film performance have been layered and structured onto clear 35mm. Extending across the soundtrack area, the synaesthetic image creates an intense volley of sound and light.

Samantha Rebello / UK 2007 / 8 mins
Utilitarian objects, related to health and hygiene, rendered in unconventional ways. This unsettling film questions the way that we relate to our surroundings by exploring the ‘radical otherness’ of things.

fugitive l(i)ght
Izabella Pruska-Oldenhof / Canada 2005 / 9 mins
Adrift on the mists of time, archival images of Loïe Fuller’s ‘Serpentine Dance’ shimmer forth and dissolve in folds of abstract colour.

Emily Wardill / UK 2007 / 10 mins
A farce of fractures: part study of allegorical stained glass windows, part fiction of disparate doppelgangers.

Michael Robinson / USA 2007 / 13 mins
Viewed through science fiction or scientific innovation, the future is as far away now as it ever was. Sites of past World’s Fairs witness battles between good and evil, the spirit world and the cold hard light of day.

Jessie Stead, David Gatten / USA 2007 / 11 mins
‘Touch what you see when you find it or pick it up. Fall off tomorrow’s promise, not injured and again. In the woods there is snow, in the water there is sugar, bodies are made of salt and (yesterday is unaware).’ (Jessie Stead & David Gatten)

Total running time approximately 75 mins

Note: Festival guest David Gatten will lead a practical workshop on the use of text in 16mm filmmaking on Thursday 25 October 2007. See separate announcement.

Standard ticket price is £8.50

Book online at www.lff.org.uk
Telephone Box Office: 020 7928 3232
Book in person at BFI Southbank

For full booking info see www.lff.org.uk

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25 October 2007

LFF: David Gatten Workshop

London BFI Southbank
25 October 2007

As a prelude to this year's London Film Festival Avant-Garde Weekend, American artist David Gatten leads a one-day, practical workshop on the use of text in 16mm filmmaking. The workshop is suitable for both beginners and experienced practitioners. Places are extremely limited, so book early to avoid disappointment. Presented in association with no.w.here.

David Gatten

Thursday 25 October 2007, from 10am-5pm, BFI Southbank

Throughout the history of cinema, images and text have been combined on-screen in a variety of ways and for a range of reasons. Silent-era comedy, mid-century newsreels, avant-garde films and home movies have used words to tell stories, convey facts and explore the enjoyments and anxieties of reading.

In this day-long workshop, Brooklyn artist David Gatten will provide an overview of such practice, with particular attention to filmmakers who have deployed on-screen text to investigate the way text functions as both image and language, the border between the legible and illegible, and the limits of what can be known through words.

David Gatten has made prominent use of the printed word in the ongoing series The Secret History of the Dividing Line (sections screened here in previous years) and his recent Film for Invisible Ink, Case No: 71: Base-Plus-Fog (showing on 28 October).

Following introductory screenings of relevant works, participants will make their own films using a variety of processes, including direct-on-film applications, ink-and-cellophane tape transfers, slide projections, close-up cinematography, in-camera contact printing and more.

Tickets: £35 (standard) / £25 (concessions & no.w.here members)
Box Office: 020 7928 3232, online at www.lff.org.uk or in person at BFI Southbank.

Tickets go on sale on 29 September 2007. (26 September 2007 for BFI members.)
Places are extremely limited, so book early to avoid disappointment.
Additional tickets or returns may be available in the days before the event.

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13 June 2007


London LUX Salon
Wednesday 13 June 2007, at 7pm for 7:30pm start

As part of an exchange project between LUX and the Moving Image Archive of Contemporary Art (MIACA), Japan, MIACA presents a special lecture and screening of contemporary Japanese artists' video.

Includes a lecture by Hitomi Hasegawa and Mayumi Hirano of MIACA about its work and the arts scene in Yokohama, plus a screening of work by Tetsushi Higashino, Takehiro Iikawa, Tetsuya Karatsu, Takuro Kotaka, Chikara Matsumoto, Kaeko Mizukoshi, Daisuke Nagaoka, Masanobu Nishino, Mai Yamashita + Naoto Kobayashi.

This event is generously supported by The Daiwa Anglo-Japanese Foundation, The Great Britain Sasakawa Foundation and The Japan Foundation.


LUX Salon
3rd Floor, Shacklewell Studios, 18 Shacklewell Lane, London, E8 2EZ
Nearest Train: Dalston Kingsland

Places are extremely limited so booking is essential
To book a place send your name to salon@lux.org.uk
Please be on time - no late entry
Telephone: 020 7503 3980



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


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




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.



25 April 2007

The Subjective Camera

Greenwich Picture House
25 April - 30 May 2007

The Subjective Camera is a series of retrospective film screenings of six film artists whose work examines subjectivity with an analysis of film language.

Emerging within the context of the London Filmmakers’ Co-op during the 1980s and 1990s, these artists each developed an independent practice that at once built on and countered the principles of the Structural film movement of the 1970s. Their films extend anti-illusionist explorations of the materiality of film and incorporate investigations of the materiality of the body.

With their shared history, that situates the artist at the centre of the physical process of putting the film together, sometimes as camera person as well as editor, these six artists weave into the filmmaking process a broad scope of contemporary concerns, from religion to psychoanalysis, the spaces of abstraction, voice, language and song, to the dialogue between personal and meta-narrative.


Curated by Sarah Pucill. Films screened in association with LUX.

Stationary Music (Jayne Parker, 2005)

Wednesday 25 April 2007, at 6:45pm

Whilst Jayne Parker's films have taken different directions over a span of nearly three decades, an individual approach is highly distinct. Always employing a pared down aesthetic, structural precision is conducted in each film where the direction and space of the camera's gaze in relation to the protagonist is woven into the performance of the film. Speech is absent from most of her films, leaving the structure of image and sound to speak in raw isolation.

Performance is central to all her films, the presence of the figure being conveyed as much by her image as in the surrounding space and the objects the body uses or, in the case of musical instruments, plays. Filming herself in her early work, her oeuvre emphasises performance as a generative process where self is in a state of becoming, a process of self-generation.

In much of Parker’s work, a resistance to a literal and singular interpretation is clear, and this is key to the power of her films. Sometimes it is in the interpretative gap that is created through the edit joins of obscurely related images, and sometimes it is a straight forward posturing of an 'almost as if but not quite' everyday activity. The subjective in Parker’s work rests within the body; its objects and its space, inside and out, as process, sound, texture, as light, as film.

I DISH (1982, 16mm, 15 mins)
K (1989, 16mm, 13 mins)
THE POOL (1991, 16mm, 10 mins)
BLUES IN B FLAT (2000, Beta SP, 8 mins)
STATIONARY MUSIC (2001, Beta SP, 8 mins)
CATALOGUE OF BIRDS: BOOK 3 (2006, 15 mins)

Jayne Parker will take part in a Q&A after the screening.

Stabat Mater (Nina Danino, 1980)

Wednesday 2 May 2007, at 6.45pm

Nina Danino's films draw on personal history as well as literary and artistic works, and explore the relationship between image and sound that inverts the Hollywood standard of sound being slave to image.

The structural rigour of her films pushes formalist boundaries to produce a new aesthetic that takes on the urgency of female subjectivity and desire. The immediacy and unmediated nature of the voice is core to the essence of her work, which explores that part of being and expression that speaks but is neither material nor literal. She always uses her own voice, which is sometimes combined with vocal performances by established singers and sound artists. In the films selected, a close-up voice meanders rhythmically in time with a hand-held wandering camera (or deadly slow pans in First Memory). The image is disrupted both through her structural editing process and through the intervention of sound.

In Stabat Mater and Now I Am Yours, Danino draws influence from French feminist theory and the aesthetic and cultural influence of her Mediterranean Catholic upbringing, and as with all her films we are taken on a journey. At the heart of her work is a celebration of the nature of desire; a meditative, often incantational filmic and aural flow is exorcised, a perpetual state of yearning as ecstasy, the co-existence of suffering and pleasure or to quote Helen de Witt, 'the persistence of spirit'.

FIRST MEMORY (1981, 16nn, 20 mins)
STABAT MATER (1990, 16mm, 8 mins)
NOW I AM YOURS (1993, 16mm, 32 mins)
THE SILENCE IS BAROQUE (1997, Beta SP, 12 mins)

Nina Danino will take part in a Q&A after the screening.

Fatima's Letter (Alia Syed, 1992)

Wednesday 9 May 2007, at 6.45pm

Problems of translation and framing and how the image is read, particularly in relation to gender and cultural difference, mark the key concerns of Alia Syed's work.

The use of her own spoken voice is present in all but her earliest films and in many ways this is countered with the fragmented body (pregnant stomach, feet, hands, neck and shoulders). A hallmark of Syed's work is the manipulation of the image; slowing, speeding up or holding the image still, which coupled with the use of repetition, gives it a textural quality. Denied access with the gaze, we are given instead her voice and stories - circular and repeating narratives of desire which both can and cannot be translated.

Through Syed's process of layering image on image, and text on text, by using edits and optical printing techniques, inner conflict is 'worked'. The image track weaves alongside a voice that is textured with different cultural spaces and languages; between fact, fiction, personal narrative and historical document. Her films flow between movements of sound, voice, image and subtitle; rhythms of colour and black and white examine a journey between borders that falls short of translation. The effect of this filmmaking process is to allow the viewer participation in a sensory experience that evokes a trans-cultural voyage one is taken into rather than kept outside as voyeur.

SWAN (1986, 16mm, 4 mins)
UNFOLDING (1988, 16mm, 20 mins)
FATIMA'S LETTER (1992, 16mm, 21 mins)
SPOKEN DIARY (2001, 16mm, 20 mins)
I AND YOU (2006, DV, 11 mins)

Alia Syed will take part in a Q&A after the screening.

Untitled (Michael Maziere, 1980)

Wednesday 16 May 2007, at 6:45pm

Michael Maziere is currently best known for films that distil fragments from classical narrative cinema from the 1950s and 1960s with autobiographic and personal footage.

His early films were rooted in a Structuralist approach to the phenomenology of perception in film and this attention to formal structure and perception persists in his later work. Although his approach has changed significantly, a quality of restlessness pervades the breadth of his films; a tension in the dynamic between stasis and motion.

Personal and collective memory, fiction and autobiography are literally fused as clips, dialogue, music, and subtitle explore something in-between. This mosaic of film fragments discovers new cinematic territory, where suspension and loss pervades and the binding effects of explanation and closure are absent. In Blackout and Delirium, a crisis of masculinity is hinted at; in the key films that are cited, The Swimmer and The Lost Weekend, the Hollywood hero is undone.

Maziere's films challenge assumed separations between outer and inner worlds, personal and meta-narratives, while offering a dislocated yet seductive cinematic space.

THE BATHERS (1986, 16mm, 6 mins)
SWIMMER (1987, 16mm, 7 mins)
UNTITLED (1980, 16mm, 18 mins)
DELIRIUM (2001, DV, 10 mins)
BLACKOUT (2000, DV, 10 mins)
ASSASSIN (2007, DV, 10 mins)

Michael Maziere will take part in a Q&A after the screening.

Johnny Panic (Sandra Lahire, 2000)

Wednesday 23 May 2007, at 6:45pm

Sandra Lahire's use of light and sound as raw elements generates an energy throughout the body of her work, which fuses magical poetics with a piercing severity that swings between blinding light and pitch dark - the raw bones of film material. Interweaving her own body into her films, connections between the personal and the social were core to her practice. Lahire eliminated the borders of discipline and genre; the documentary, the avant-garde, the autobiographic and the biographic.

Her first film Arrows, draws on fellow anorexic sufferers as shared experience. In her Uranium Trilogy, interviewing (Uranium) minors in Canada, she places herself physically into the position of her subject. This self-other interchange is explored later in her trilogy based on the writings of the poet Sylvia Plath; where viewer and viewed, reader and writer turn place.

Lahire's films are constructed in the form of a weave, building layers of image, sound and voice, drawing circular and plural narratives. The work is often confrontational. No subject was taboo and in her final film, Johnny Panic, Lahire goes deepest into her exploration of the complex relationship between death and its attractions. Moving between micro and macro politics, her work tackled the impossible, from her own suffering to the political realities of Fascism, McCarthyism and ecological disaster.

NIGHT DANCES (1995, 16mm, 17 mins)
JOHNNY PANIC (2000, 16mm, 46 mins)

Taking My Skin (Sarah Pucill, 2007)

Wednesday 30 May 2007, at 6.45pm

Subject-object relations and the space between are core concerns in the breadth of Sarah Pucill's work. From the surface of a face projected on objects, hair entangled in crockery, a bowl as mouth gasping for breath, to her more distanced and contemplative later works that feature her mother and late partner, there is a turning and switching of place between inside and outside. The body as expression, as surface, and as film underscores the trajectory of her practice.

The unsettling character of Pucill's early films, derived from their formality and stillness, remains present in her more recent work. However, films such as Stages of Mourning and Taking My Skin, while still rooted in concerns of femininity and sexuality, shift emphasis and employ a more meditative approach that foregrounds the film-making process, mortality, death and being.

Sarah Pucill's films explore a sense of self which is fluid and transformative, where mirroring and merging are sought in the Other. Her work is concerned with the idea that as subjects we are not separate, and draws together surfaces of inside and outside, the animate and inanimate.

MIRRORED MEASURE (1996, 9 mins)
STAGES OF MOURNING (2003, 16mm, 19 mins)
TAKING MY SKIN (2006, 16mm, 35 mins)

Sarah Pucill will take part in a Q&A after the screening.

all screenings at

Greenwich Picture House
180 Greenwich High Road, London, SE10 8NN
Nearest Train: Greenwich BR / Greenwich DLR / Cutty Sark DLR

Tickets: £6
Box Office: 087 0755 0065


21 April 2007

Alfred Leslie

London Whitechapel Gallery
21 & 22 April 2007

Alfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s to the present, his own canvases were amongst the most revered of his peers. In 1958-59 he made Pull My Daisy with the photographer Robert Frank and in 1964 collaborated with the inimitable poet Frank O’Hara on The Last Clean Shirt. In 1960 he edited and published the amazing collection of texts and drawings that form the “one shot review” The Hasty Papers – in and of itself a summation of cultural activity with contributions from Allen Ginsberg, John Ashbery and Fidel Castro amongst may others.

Leslie dramatically moved away from abstraction to make giant almost hyper-real portraits, the majority of which were destroyed in the now infamous fire that ripped through his studio and its neighbouring blocks on 17 October 1966. This utterly devastating event, that completely destroyed paintings, films and manuscripts, continues to inform his practice today. Invariably articulated by an initial process of reconstruction Leslie’s recent work makes memory new through its radical re-imagining. He lives and works in New York.

This weekend-long season is the first major presentation of Alfred Leslie’s films in the UK. It is introduced and discussed by Leslie who is an extraordinary orator and includes two exclusive screenings of works in progress.

The Last Clean Shirt (Alfred Leslie & Frank O'Hara, 1964)

Saturday 21 April 2007, at 3pm
Alfred Leslie, USA, 2001, video, 84 min
Originally written as a play in 1952 based on actual conversations between abstract expressionists Barnett Newman, Helen Frankenthaler, Willem de Kooning, Joan Mitchell, April Yabolonsky, gallerist John Myers and critic Clement Greenberg in their eponymous hangout, The Cedar Bar, this video a work of such magnitude that it mocks description in its self-declared "WAR BETWEEN THE PEOPLE WHO MAKE ART AND THOSE WHO WRITE ABOUT IT". Spectacularly elusive, The Cedar Bar, genuinely yokes the push-and-pull of a once 'new' painting style with the enormity of expressionist opera into an uncontainable psycho-tornado!

Saturday 21 April 2007, at 5pm
Alfred Leslie, USA, 1966, 35 min
Frank O'Hara discusses with Al Leslie, a filmmaker and artist, his work and the relationship between poets, playwrights, and artists. O'Hara also reads some of his poetry and talks about some of his friendships with other artists. Filmed off-air by WNET on March 5, 1966 at the home and studio of Frank O'Hara in New York City.
Alfred Leslie & Frank O’Hara, USA, 1964, 16mm, 39 min
In a letter to his friend and collaborator, the poet Frank O'Hara, Leslie writes: "We will shoot for two SEPERATE LEVELS on the film. One is the VISUAL, the other the HEARD & the spectator will be in TWO places or more SIMULTANEOUSLY. NOT AS MEMORY BUT AT THE SAME MOMENT. PARALLELISM! MULTIPLE POINTS OF VIEW!" It is a blueprint for The Last Clean Shirt in which a man and a woman take a car ride through the streets of downtown Manhattan. A clock on the dashboard foregrounds the fact that the film is a single shot. The woman speaks in Finnish gibberish, interpreted by the beautiful and brilliant story told via O’Hara’s subtitles that run throughout.

Saturday 21 April 2007, at 7pm
BIRTH OF A NATION (work in progress)
Alfred Leslie, USA, 1966-present, c.40 min
Referring to – and revising - D.W. Griffith’s notorious film of the same name, Alfred Leslie's Birth of a Nation is a reconstruction of a never-completed, mutating essay. Originally shown in a variety of unfinished states, this current version reworks the only remaining 11 minute fragment to survive.

Pull My Daisy (Robert Frank & Alfred Leslie, 1959)

Sunday 22 April 2007, at 3pm
Mervyn LeRoy, USA, 1933, 16mm, 96 min
Virtuosic, geometry-defying choreography from Busby Berkeley combines with Depression-era slapstick wisecracks. Gold Diggers of 1933 is an outstandingly delirious film reflects Leslie’s love of the musical, and the influence of a form that combines comedy, spectacle and song on his own practice.

Sunday 22 April 2007, at 5pm
Al Leslie discusses his work plus screenings of The Anatomy of Cindy Fink and Pull My Daisy.
Richard Leacock, Patricia Jaffe & Paul Leaf, USA, 1960, 16mm, 12 min
Cinema verité portrait of a teenage girl’s first jazz dance audition in a Greenwich Village studio. With Larry Rivers, Al Leslie, and Louise Lassier.
Robert Frank & Alfred Leslie, USA, 1959, 16mm, 27 min
Based around Jack Kerouac's narration from the last section of his unproduced play 'The Beat Generation' (itself based on an incident between Neal Cassady and his wife Carolyn), Pull My Daisy as much a document of its own unravelling as it is footage of some of the most acclaimed writers and painters of its generation at play. Caught between the socio-historical cult of itself and its Beatnik players, and the excitement of its discreet yet radical formalism, Pull My Daisy has been pawed over by the watchdogs and self-appointed guardians of avant-garde film since its first double-bill showings with John Cassavete's 'Shadows' in the late 1950's. With its bawdy gags and caustic, iconoclastic humour, the film is actually predicated on the delicacy of a subtly shifting interplay between modes of 'depiction', between record and fiction, self-awareness and dubious, willful naivete, debunking the ordinarily stable registers its surface (and our own viewing habits) would otherwise invoke.

Sunday 22 April 2007, at 7pm
LOST IN THE FIRE (work in progress)
Alfred Leslie, USA, 2007, video, c.50 min
A rare screening of Alfred Leslie's work in progress Lost in Fire, an intimate memoir based around the 1966 studio fire that had such a radical and lasting impact on Leslie’s practice.


Whitechapel Gallery
80-82 Whitechapel High Street, London, E1 7QX
Nearest Tube: Aldgate East

Single Screening: £5
One Day Pass: £15 / £12 (members & concessions)
Full Weekend Pass: £25 / £16 (members & concessions)

Telephone: 020 7522 7888
Email: film@whitechapel.org


Peter Todd

Greenwich Picturehouse & Hammersmith Riverside
21 & 22 April 2007

Two afternoon screenings introduced by Peter Todd of 16mm films, in conjunction with the exhibition Outside Inside Inside Outside at The Surgery, London.

“They stay long enough to reveal what you’d miss in passing, intimate enough to make you linger, thoughtful enough to make you, in turn, think.” (Alan Alderson-Smith, Phoenix Arts)

“… crafter of poetic ruminations about ordinary life … No special effects: just a camera trained on nondescript surroundings, made poignant by the soundtrack’s medley of voices and director’s sensitivity to the layers of emotions that shape the most ordinary of lives.” (Geoff Brown, The Times)

“One’s own mundane circuit is often so internalised, that it takes the visualisation of another’s … to let us see our own afresh. To be benignly jolted, calmly encouraged to reconsider the possible immanence of awe, is one of the recurrent effects of Todd’s work in this vein.” (Gareth Evans, Vertigo)

Saturday 20 April 2007, at 2pm, Greenwich Picture House
Sunday 21 April 2007, at 3pm, London Hammersmith Riverside

The programme will include the following films by Peter Todd: OUT (1990), TO RED (1995), DIARY (1998), DAY OUT OR 100’ OF FILM (1998), FOR YOU (2000), AN OFFICE WORKER THINKS OF THEIR LOVE, AND HOME (2003), WHERE YOU HAD BEEN (2005).

The screening concludes with works by two film makers who Peter Todd has included in his curated programmes: AERIAL (Margaret Tait, 1974) and TREE AND CLOUD (part of ANIMAL STUDIES; INCLUDING SOME OF THEIR HABITATS) (Guy Sherwin. 1998-2003).

All works on 16mm film, total running time approximately 70 minutes. A specially commissioned essay by Lucy Reynolds is published in conjunction with FOR YOU, supported by Arts Council England.

also visit the exhibition

Outside Inside Inside Outside.
A photographic piece by Peter Todd.
13-29 April 2007
The Surgery, 123 Evelina Road, Nunhead, London, SE15 3HB.

Open Fri-Sun 12-6 or by appointment.
Telephone: 07906 206 166.


Our Technicolor Dream

London ICA
21 April 2007

2007 is a year of many anniversaries: twenty years since Acid House, thirty since the release of Never Mind The Bollocks, forty since Sgt. Pepper's and fifty since the publication of Jack Kerouac's On The Road. One event that gets far less publicity, but that was at the heart of everything that came both before and after it also sees its 40th anniversary this year. The 14-Hour Technicolor Dream took place on 29 April 1967 and was the UK's first mass-participational all-night psychedelic freakout !

Organised and in a matter of weeks, the event was held in the cavernous confines of Alexandra Palace. The vision of Hoppy Hopkins and Miles, the night saw a glorious mingling of freaks, beats, mods, squares, proto-punks, pop stars and heads come together to dance, trip, love and be. To celebrate the anniversary, the ICA presents Our Technicolor Dream - a one-off multi-media event that features an array of cult 60s films and animation, full-on psychedelic lightshows, groovy DJs, avant-garde theatre, a Q&A session with the leading lights of the 60s underground and live music with The Amazing World of Arthur Brown, The Pretty Things, Circulus and Mick Farren.

Marvo Movie (Jeff Keen, 1967)

Saturday 21 April 2007, at 12:30pm (Cinema 1) & 2:30pm (Cinema 2)
In conjunction with the BFI, we bring you 90 minutes of rare, lost and unseen psychedelic masterpieces. We kick off with the 1967 BBC documentary about the original Alexandra Palace event Man Alive: What's a Happening ? This splendid period-piece documentary includes interviews with such legendary characters as Suzy Creamcheese as well as cameos from bemused Ally Pally security staff and assorted underground hipsters. Anthony Stern's 1968 San Francisco follows, featuring a startling flash and freeze frame technique edited to a unique demo version of Pink Floyd's "Interstellar Overdrive". Stern's rapid, closely cut sequences form a colorful montage of bizarre images, creating a portrait of the city in all its photogenic glamour and kooky excess. Next up is the Jeff Keen trilogy of Cineblatz, Marvo Movie and White Lite, which all epitomise the director's weird, wonderful and most surreally British take on Pop Art. Keen's 10-minute short, Meatdaze is next up - six segments containing a wild and pleasurably eccentric mix of cartoon, newsreel and featurettes. Finally, we have the deranged Pythonesque comedy of John Beech's Postal Delivery and Arthur Johns' extraordinary essay on colour effects, Solar Flares Burn For You, set to a hypnotic Robert Wyatt soundtrack.

Saturday 21 April 2007, at 2:30pm (Cinema 1) & 4:30pm (Cinema 2)
In 1967, Dick Arnall launched the first British Animation Festival, and in tribute to his work, the current organiser of the London International Animation Festival, Nag Vladermersky presents a dizzying array of 60s and 70s multi-national cartoon craziness. First up is Jan Lenica's Labyrinth, a Kafka-esque tale of a winged and lonely man devoured by totalitarian rule. Labyrinth is considered to be one of the finest political animations ever made. Next come two 1969 Jan Svankmajer works, The Flat and A Quiet Week In The House: both are dark, disturbing domestic parables. Les Astronautes by Walerian Borowczyk and Chris Marker is a co-directed short about an eager inventor and his homemade spaceship. Renowned Polish animator and erotic film director Borowczyk is a key influence on directors like Terry Gilliam and David Lynch. This is followed by Ryan Larkin's Oscar-nominated Walking. Using a combination of line drawing and colour wash, Larkin observes the movements of a variety of urban characters. Finally, Street Musique, another Larkin work, opens with live-action footage of street musicians, before changing into a staggeringly animated stream-of-consciousness piece.

Boyle Family projections for Soft Machine

Saturday 21 April 2007, at 4:30pm (Cinema 1) & 6:30pm (Cinema 2)
Mark Boyle and Joan Hills were pioneers of British projections with events such as Son et Lumiere for Insects, Reptiles and Water Creatures and the infamous Bodily Fluids and Functions, which included blood, vomit, tears and semen. Their liquid light show of exploding colours and foaming bubbles became a major feature of the psychedelic scene through their residency at the UFO club and their work with Soft Machine, who played what Boyle described as 'acetylene music'. Their farewell lightshow films Beyond Image and Son of Beyond Image were shot for a circular screen environment as part of their 1969 ICA exhibition 'Journey to the Surface of the Earth' and will be remixed live by Joan Hills and Sebastian Boyle to a live recording of Soft Machine from the technicolor era.

Saturday 21 April 2007, at 6pm
60s underground luminaries offer their own takes on what the original 14-Hour Technicolor Dream event was like, where it came from and where it ended up. This will be followed by a Q & A session. The cast includes:
Joe Boyd: In 1967, Joe was an American record producer living in London, co-running the legendary UFO Club in Tottenham Court Road and producing, among others, The Pink Floyd, The Incredible String Band and Fairport Convention.
Miles: Instrumental in setting the UK's first underground newspaper, International Times, Miles also ran the Indica bookstore, the hub of counter-cultural activity during the period.
Hoppy Hopkins: Hoppy helped resurrect the Notting Hill Carnival, along with activist, Michael X, and then went on to co-run UFO and organise the original 14-Hour Technicolor Dream event, before going down for possession of hash in the week Sgt. Pepper's was released!
John Dunbar: John Dunbar was instrumental in bringing The Beatles into the avant-garde and set up the Indica art gallery, which featured early work by Fluxus and all kinds of other kinetic, experimental and conceptual art.

Saturday 21 April 2007, at 8pm
The evening's festivities commence with Malcolm Boyle's one-man play, The Madcap: a journey into the psychedelic underground as seen through the distorted mental lens of Syd Barrett. Boyle combines tragic-comic performance, hallucinatory film and slide projections with his own interpretations of Barrett's songs. Next up is The Amazing World of Arthur Brown. Now performing as part of a two-piece, Arthur is perhaps best remembered for his hit, 'Fire', and for his flaming headgear and incredible stage presence. The Crazy World of Arthur Brown were regulars at the UFO club and performed at the 14-Hour Technicolor Dream. Then come Circulus, Britain's finest neo-medieval psychedelic folk-rock band. The group are a collective of anything from 5 to 11 and have thus far released two LPs to much critical acclaim. Finally, we take great pride in presenting The Pretty Things. Following a string of seminal punk R'n'B hits in the mid-60s, the group mutated into an inspired psychedelic band and cut the first 'rock-opera', S. F. Sorrow and are still gigging today, with a fanatical worldwide following. The whole show will be augmented by Optikinetics, Britain's premier purveyors of psychedelic visual experiences.


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

Screenings: £8 / £7 concessions / £6 members
Discussion: £10 / £9 concessions / £8 members
Concert: £20 / £18 concessions / £16 members
Box Office: 020 7930 3647



15 April 2007

The Secret Public

London ICA
15-30 April 2007

Further exploring the concerns of other moving image work in the exhibition, The Secret Public: The Last Days of the British Underground 1978-1988, this series of four screenings presents works made by artists for whom the gathering and disseminating of information has critical and political imperatives.

Close Up (Peter Gidal, 1983)

Sun 15 Apr, 13:30 / Mon 23 Apr, 20:15 / Sat 28 Apr, 16:00
Both made in 1983, these films are experimental and formally radical. Bred and Born is shaped by the artists’ research into and interviews with three generations of women on an estate in East London. In Close Up the polemical, disembodied voices of Nicaraguan revolutionaries become an equal part in a film that profoundly problematises representation.
Mary Pat Leece & Joanna Davis, 1983, 16mm, 75 min
Peter Gidal, 1983, 16mm, 70 min

Handsworth Songs (Black Audio Film Collective, 1986)

Sun 15 Apr, 16:30 / Mon 23 Apr, 18:30 / Sun 29 Apr, 14:00
BAFC’s first major film, Handsworth Songs is a brilliant and deeply affecting account of the Birmingham riots of 1985. Told through montage, interview footage, reportage and archival material it examines race, class and ideology in Britain’s colonial history. Isaac Julien’s video extends these concerns to incorporate sexuality through the excavation and re-presentation of images from the past.
Isaac Julien, 1987, video, 11 min
John Akomfrah & Black Audio Film Collective (BAFC), 1986, video, 58 min

Plutionium Blonde (Sandra Lahire, 1986

Mon 16 Apr, 20:45 / Tue 24 Apr, 18:45 / Sun 29 Apr, 16:00
Sandra Lahire’s trilogy is a benchmark of personal filmmaking. Flickering through rapid-fire montage and turning the camera onto herself she finds disturbing metaphors for the body in nuclear power. Carry Greenham Home is closer to traditional documentary, detailing with heartfelt attention the lives and activities of the women involved in the peace camp. It bristles with song and combats the media’s fragmented portrayal of events.
Sandra Lahire, 1986, video, 15 min
Sandra Lahire, 1986, 16mm, 15 min
Sandra Lahire, 1988, video, 11 min
Beeban Kidron, 1983, 16mm, 66 min

Bright Eyes (Stuart Marshall, 1984)

Tue 17 Apr, 20:45 / Sun 22 Apr, 16:30 / Mon 30 Apr, 18:45
‘One of the most important videos about AIDS’ (Douglas Crimp
Bright Eyes is an explication of the relationship between representation and prejudice. It is also a manifesto, documentary and information film. Utilising peculiar re-enactments and a parallel with the rise of Nazism, it addresses the appalling institutional and personal intolerance and ignorance of what was already a definitive epidemic.
Stuart Marshall, 1984, video, 80 min


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

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