[LuxWeeklyNews] OPENINGS AND EVENTS NEXT WEEK
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luxweekly at lux.org.uk
Fri Jun 16 12:52:59 CDT 2006
LUX WEEKLY NEWS>OPENINGS AND EVENTS NEXT WEEK
1. 15 - 18 June, Images Sometimes Tremble: Video-Essays in the age of
Telepolitics at Queen Mary College, London
2. 16 - 25 June, Emily Richardson. Transit at Smithfield Car Park,
London
3. 17 June, Vertigo Magazine Launch Event at Curzon Soho, London
4. 17 - 24 June, Social Cinema, various locations, London
5. 20 - 21 June, Ghosting: Investigations into Art, Film and the
Archive, various locations, Bristol
6. 21 June, New Work UK: B*stards at Whitechapel Gallery, London
7. 21 June - 29 July, The Observatory vol.II, Laura Bartlett Gallery,
London
8. 21 June - 2 September, Love/Death: The Tristran Project, Bill
Viola, Haunch of Venison, London
---
1.
IMAGES SOMETIMES TREMBLE
VIDEO-ESSAYS IN THE AGE OF TELEPOLITICS.
15th June – 18th June 2006
8 -10pm
THE MANIFESTO ROOM
LOCATION
Queen Mary, University of London, East End Collaborations and the
Live Art Development Agency present
Performance Studies international (PSi) 12: PERFORMING RIGHTS
All events take place at Queen Mary, University of London, Mile End
Road, London, E1 4NS
Full programme details and bookings www.psi12.qmul.ac.uk
In a contemporary context characterised by the resurgence in activist
documentary and the turn towards documentary in contemporary artists
moving image practice, IMAGES SOMETIMES TREMBLE proposes an encounter
with a more elusive tendency, one that exists within the domains of
archive and poetics and between the zones of historicity and
fabulation: the essay-film. Strangely overlooked by critics, this
interstitial, tangential tendency has retained a persistent
popularity with generations of artists across the world.
Programmed by Anjalika Sagar and Kodwo Eshun of The Otolith Group
over 4 nights, IMAGES SOMETIMES TREMBLE is best thought of as a
discursive platform; its title is adapted from a sequence in Chris
Marker’s essay-film A GRIN WITHOUT A CAT in which shuddering footage
of demonstrations in Prague of 1968 offer the opportunity for a
narrator to look again at the nervous tension that animates the image
thereby prompting speculation upon the practice of filming an event
as it is implicated in that event. The films and video-essays
presented within IMAGES SOMETIMES TREMBLE might also be thought of as
a series of meditations upon the possibilities of testimony and the
conditions of witnessing. Each one invites a reflection upon the
question of the event through the image, in order to use images to
provoke new events.
IMAGES SOMETIMES TREMBLES invites viewers to encounter rarely seen
classic works such as Harun Farocki’s and Andrei Ujica’s VIDEOGRAMMES
OF A REVOLUTION, an extraordinary account of the 1989 Romanian
revolution and A SEASON OUTSIDE, Amar Kanwar’s audiovisual poem on
non-violence in contemporary India as well as TO REMEMBER. The
Otolith Group is honoured to host the British premieres of the
confrontational tableaux of Zhou Hongxiang’s acclaimed THE RED FLAG
FLIES and OPERATION ATROPOS, Coco Fusco’s controversial video-essay
on female interrogation techniques. Each work is accompanied by a
presentation by theorists Kodwo Eshun, Nicole Wolf, Brian Holmes and
Chris Berry that situate the work in a series of theoretical contexts
that allow multiple entry points for discussion.
The Otolith Group
THE PROGRAMME
THURSDAY JUNE 15TH 2006
8 -10 PM
8:00pm INTRODUCTION TO THE PROGRAMME BY THE OTOLITH GROUP
Kodwo Eshun and Anjalika Sagar
8:15pm SCREENING
Videogramme einer Revolution (Videogrammes of a
Revolution)
Harun Farocki and Andrei Ujica, Germany/Romania, 1992, 106 min.
English Subtitles
Courtesy of Harun Farocki Filmproduktion, Berlin
A rare opportunity to see this classic by renowned essay- film maker
Harun Farocki and media philosopher Andrei Ujica. The directors have
assembled their account of the 1989 Romanian revolution from TV and
amateur video footage of the events. VIDEOGRAMMES reflects upon the
emergence of a telepolitics in which the camera does not merely
report but instead catalyses and participates in the production of a
new political space that comes into existence before our ears and eyes.
FRIDAY JUNE 16TH 2006
8 - 10PM
8:00pm INTRODUCTION BY THE OTOLITH GROUP
8:10pm SCREENING
A SEASON OUTSIDE, Amar Kanwar, India [1998] 30mins.
English
Courtesy Of Amar Kanwar
Amar Kanwar achieved recognition when A SEASON OUTSIDE was screened
at Documenta XI in 2002 to major acclaim. The film is a meditation
on the poetics and politics of non-violence prompted by Kanwar's
question: Can non-violence prevail in a
context of persistent, intractable atrocity? Navigating between
legends, anecdotes, memories of Partition in 1947 and government
inquiries into Mahatma Gandhi's philosophy of Satyagraha, this
visual essay refuses to propose easy solutions.
TO REMEMBER, Amar Kanwar, India [2003] 8 mins.
Silent
Courtesy Of Amar Kanwar
TO REMEMBER is a portrait of Birla House, the site of Mahatma
Gandhi's assassination on January 30, 1948. Located in Delhi, Birla
House has become a gallery and shrine attracting hundreds of visitors
daily. This short silent film is an homage to Gandhi as well as the
visitors who embody the spirit of his pacifist teachings. Against the
backdrop of a surge in militant, Hindu nationalism, Kanwar's work is
particularly telling. Clearly, the historical turn of events from non-
violence to nuclear armament, suggest a deep ambivalence about
Mahatma Gandhi's legacy.
Followed by lecture and dicussion led by Nicole Wolf
Nicole Wolf researches, writes and teaches on the moving image in
cinema, gallery and activist spaces. With an interdisciplinary
background she has a specific interest in the South Asian region and
documentary modes and explores notions of the political and
verisimilitude as well as entanglements of image making and
transformation. Since 1997 she has been involved in curatorial
projects and film festivals. She is currently teaching in the Visual
Cultures Department at Goldsmiths' College in London.
SATURDAY JUNE 17TH 2006
8 -10PM
8:00pm INTRODUCTION BY THE OTOLITH GROUP
SCREENING
OPERATION ATROPOS. Coco Fusco [2006], 60mins
Courtesy of Coco Fusco.
The British debut of artists and critic Coco Fusco's latest video-
work OPERATION ATROPOS promises to be a special event. With eager
art students in tow, Fusco signs up for an intensive field course in
U.S. military interrogation techniques. This demanding program
involves an immersive simulation of the POW experience that makes for
uneasy watching and raises difficult questions about the changing
relations between femininity, militarization and the privatisation of
torture.
Coco Fusco is a New York-based interdisciplinary artist and writer.
She has performed, lectured, exhibited and curated around the world
since 1988. She is the author of English is Broken Here (The New
Press,1995), The Bodies That Were Not Ours and Other Writings
(Routledge/inIVA, 2001) and the editor of Corpus Delecti: Performance
Art of the Americas (Routledge, 1999) and Only Skin Deep: Changing
Visions of the American Self (Abrams, 2003). Fusco is a recipient of
a 2003 Herb Alpert Award in the Arts. She is an associate professor
in the Visual Arts Division of Columbia University's School of the Arts.
Followed by a talk by Brian Holmes.
Brian Holmes is an art and culture critic, translator and political
activist, living in Paris France. He has a doctorate in Romance
Languages from the University of California at Berkeley, writes for
Parachute Magazine[Montreal], Springerin[Vienna], Bruarmria [Spain]
and Autonomie Artistique [France], contributes frequently to Net-time
and has worked with the French graphics arts group NE PAS PLIER [ Do
Not bend] and the conceptual art group Bureau d'etudes
SUNDAY JUNE 18TH 2006
8-10PM
8:00pm INTRODUCTION BY THE OTOLITH GROUP
SCREENING
THE RED FLAG FLIES - Zhou Hongxiang 70mins. English
Subtitles.
Courtesy of Zhou Hongxiang
A rare opportunity to see Zhou HongXiang's extraordinary video-essay
screened here in its full 70 minute version. THE RED FLAG FLIES
restages the Maoist tropes of the Cultural Revolution as a theatre of
provocation. Maoist poems, slogans and icons are reworked as
incongruous tableaux that move across time and place with dazzling
iconoclasm. Neither narrative nor documentary, THE RED FLAG FLIES is
a series of rhythmically arranged episodes whose cumulative effect is
defiantly singular.
Zhou Hongxiang was born in 1969, in Dongtai, Jiangsu province. He
graduated from the Huadong Normal University of China in 1994
Hongxiang currently teaches at Shanghai Normal UniversityHe
participated in film festivals in the U.K., Korea, Norway, Germany,
China, U.S.A, Italy, Thailand.
Followed by lecture by Chris Berry
Chris Berry is Professor of Film and Television Studies at Goldmiths
College, University of London. He is the author, co-editor, and
translator of numersous volumes including 'Island On The Edge: Taiwan
New Cinema And After', 'Chinese Films in Focus: 25 New Takes',
'Memoirs from the Beijing Film Academy: The Genesis of China's Fifth
Generation', 'Mobile Cultures: New Media in Queer Asia',
'Perspectives on Chinese Cinema', 'Maidenhome', 'Postsocialist Cinema
in Post-Mao China; The Cultural Revolution after the Cultural
Revolution ', and 'China on Screen : Cinema and Nation'.
---
2.
Emily Richardson. Transit.
16 - 25 June 2006
A three screen video work
Open Daily 10 - 7pm. Preview: Friday 16th June 6 - 9 pm
Smithfield Car Park, West Smithfield, London, EC1A
Transit journeys through the East End quietly observing the shifting
architectural and social landscape. Underneath Smithfield Market, at
a juncture where the past encroaches upon the modern world, the
recent two storey car park fills the old underground former meat
depot. It leaves only one remaining row of the original high arched
vaults, where the film is to be projected.
Emily Richardson makes intricate and absorbing films that present the
everyday environment with dramatic effect. This film celebrates the
changing landscape of one of Lond on’s most diverse areas – the East
End.
The show will also be accompanied by a new short story by Barry
Sutton, and a exhibition about the history of the building.
Interviews with people who have worked at the Market telling stories
and talking over memories will played in the history area.
Transit is presented by Measure as part of the 2006 London
Architecture Biennale and Architecture Week. Please click on the
logos below for site links.
Exhibition open 16 June to 25 June
Open daily 10 - 7pm. Preview Fri 16th 6 - 9pm
Smithfield Car Park, West Smithfield, London, EC1A 9PQ (map)
Nearest Underground: Farringdon
For more information
see www.measure.org.uk, www.emilyrichardson.org.uk or call 07841
756067.
---
3.
Vertigo Magazine: Summer 2006 New Issue Launch
6-7pm, Saturday 17th June, 2006
Curzon Soho, Shaftesbury Avenue, London
www.curzoncinemas.com
Vertigo is a unique project which champions innovation & diversity in
form and culture for independent film and the moving image. Through
its magazine, website and special events, Vertigo engages audiences,
educators, students and practitioners, introducing new work and
critical debate. Its latest issue is launched tonight and is
available for sale after the event and at the cinema anytime.
www.vertigomagazine.co.uk
Fingertips – a live music film event
By Tereza Stehlíková, with an original soundtrack performed live by
Philip Jeck
The film, a series of still and moving images slowly dissolving into
each other, explores the idea of memories encoded within the tactile
reality of objects and surfaces and the way these (memories, as well
as surfaces) change and transform with time.
Tereza Stehlíková graduated from the Royal College of Art (MA
animation) in 2001. She works as a filmmaker, illustrator and
visiting tutor at the RCA, where she is currently involved in
'Tactile Experiments' (using the sense of touch as a means of
exploring hidden aspects of ordinary objects) the result of which she
is turning into stories, drawings, photographs and film. Born in
Prague, she lives and works in London. She is the featured artist in
the current issue of Vertigo. www.terezast.com
Philip Jeck studied visual art at Dartington College of Arts, started
working with record players and electronics in the early '80's and
has made soundtracks and toured with many dance and theatre companies
as well as his solo concert work. His best known work "Vinyl
Requiem" (with Lol Sargent): a performance for 180 '50's/'60's record
players won Time Out Performance Award for 1993. His solo work almost
exclusively appears on Touch. www.philipjeck.com
Preceded by
Chartres Series
Stan Brakhage
USA, 1994, Silent, Colour, 9 mins, 16mm
'A year and a half ago the filmmaker Nick Dworski, hearing I was
going to France, insisted I must see Chartres Cathedral. I, who had
for years studied picture books of its great stained-glass windows,
sculpture and architecture, having also read Henry Adams' great book
three times, willingly complied and had an experience of several
hours (in the discreet company of French filmmaker Jean-Michel
Bouhours) which surely transformed my aesthetics more than any other
single experience.
Then Marilyn's sister died; and I, who could not attend the funeral,
sat down alone and began painting on film one day, this death in
mind... Chartres in mind. Eight months later the painting was
completed on four little films which comprise a suite in homage to
Chartres and dedicated to Wendy Jull. - S.B.
---
4.
17 - 24 June, various locations, London
social cinema
The Social Cinema project is a series of temporary cinemas, their
architectural fabric is improvisory - playful and subtle
interventions into neglected space around landmark buildings are
installed for one night only. In each place buildings become
screens, steps seating, houses projection booths and un-built space
auditoria. The Social Cinema will trace a movement from the
representation of everyday life, to contemporary participation in
those representations through mobile technologies. Screened excerpts
of lectures from the Architectural Association Photo and Film Library
introduce ideas and observations by architects Cedric Price, Denys
Lasdun, Reyner Banham, Jacques Herzog, Tom Heneghan and Ron Herron.
The programme will also include material from the 1960’s Free Cinema
of ‘everyday’ - meaning working class – experience of living and
playing in the city. The idea of a truly social cinema will be
extended by screening films previously uploaded onto Internet sites
where skateboarders, shoppers and tourists record their interactions
with the architecture of the city. We are
excited to be able to include a screening of Daniel Mulloy’s Bafta
award winning film, Antonio’s Breakfast [ see
www.antoniosbreakfast.com/notes.html ] and a selection of straight 8
films [ see http://www.straight8.net/about.htm ]
Artists Neil Cummings and Marysia Lewandowska are collaborating
with architects Catherine du Toit and Peter Thomas of 51% Studios.
a project for the London Architecture Biennale
social cinema 1 17th June - 9.30 pm [screening expected to last
about an hour]
Car Wash Wall opposite the Zetter, St John's Square, EC1
Excerpts of lectures by Reyner Banham, ‘House Of The Future’ 1976,
Tom Heneghan,
‘House for a Superstar’ 1976 and Ron Herron, ‘Sets Fit For The
Queen’ 1976
Followed by Claude Goretta & Alain Tanner, ‘Nice Time’ 1957 and the
straight 8
selection of Chris Vincze, ‘Evol’ 2005 and Diego Arrendondo, ‘Tequila
Chamuco’ 2005
social cinema 2 23rd June - 9.30 pm [screening expected to last
about an hour]
Finsbury Health Centre, Pine Street, EC1
Excerpts of lectures by Cedric Price, ‘Aiming to Miss’ 1975
Followed by Leslie Daiken ‘One Potato Two Potato’ 1957, Daniel Mulloy
‘Antonio’s
Breakfast’ 2006 and the straight 8 selection of Dave Waters ‘Harry’
2005 and Chris
Durban & James Owen ‘Class of 2005’ 2005
social cinema 3
24th June - 9.30 pm [screening expected to last about an hour]
Paul's Walk under the Millennium Bridge EC4
Excerpts of lectures by Reyner Banham, ‘This Is Tomorrow Exhibition’
1976, Denys
Lasdun, ‘National Theatre South Bank’ 1989 and Jacques Herzog, ‘Tate
Modern’ 1999
Followed by John Smith ‘Girl Chewing Gum’ 1974 and the straight 8
selection of
Sandalz ‘(Deja Vu)’ 2005, Benrt Lutzeler ‘Rapid Eye Love’ 2005 and
Darren Walsh
‘Rauhalglauarghuauagh!’ 2005
To reserve seats please go to http://www.londonbiennale.org.uk
---
5.
Ghosting: Investigations into Art, Film and the Archive
Tuesday 20 & Wednesday 21 June,
Watershed Media Centre and sites in Bristol
A two-day programme of events, screenings and discussion which will
explore creative and popular approaches to working with the past.
This is an opportunity for archivists, artists, curators,
educationalists and others to experience and discuss inspiring
projects that re-imagine or re-present history for new audiences with
a particular focus on the moving image archive.
Archive Study Day
21st June (9.15am – 5pm)
£10 full/£6 conc.
9.15am – 1pm: A morning of optional visits to related Ghosting
exhibitions and/or a ‘behind the scenes’ tour of the Bristol Record
Office, with archival material dating back to 1150.
2 – 5pm : A programme of presentations and discussion at Watershed.
Contributors include: Ian Christie, Anniversary Professor of Film and
Media History, Birkbeck College, University of London; artist and
writer Uriel Orlow who has made new moving image work in response to
archival collections including the National Archives at Kew; Angela
Saward, Curator of Moving Image and Sound at the Wellcome Library,
London; Vanessa Toulmin, Research Director of the National Fairground
Archive at the University of Sheffield, and joint co-ordinator of the
Mitchell & Kenyon Project, and Ian White, artist, writer and Adjunct
Film Curator at Whitechapel Gallery, London.
The two day programme opens on the evening of Tuesday 20th June with
a screening of Black Audio Film Collective’s seminal film of 1986,
Handsworth Songs (introduced by curator and archivist Eddie
Chambers), and concludes on Wednesday evening with a presentation by
Patrick Keiller of his project The City of the Future.
To view the up-to-date schedule for the Archive Study Day and full
details of associated events, or to download a booking form see
www.watershed.co.uk/ghosting <http://www.watershed.co.uk/ghosting> .
Part of a month long programme of exhibitions, screenings and
discussion exploring the moving image, archive and memory.
Exhibitions and events curated by Picture This, taking place across
Bristol at A Bond, Arnolfini and Watershed, 3 – 25 June 2006.
For further information on Ghosting email office at picture-this.org.uk
<mailto:office at picture-this.org.uk> or telephone Picture This on
0117 925 7010
---
6.
Thursday 21 June 7pm
NEW WORK UK 4. B*STARDS
NEW WORK UK is a LUX/ Whitechapel series showcasing new British
artists' film and video, each event is selected by a different guest
curator with exhibiting artists attending to discuss their work.
In today’s all-pervasive media culture, video is becoming an
increasingly flexible hybrid. Utilising a variety of strategies, the
works in this selection freely combine elements of pop music, TV
adverts, animation, film history and institutional critique,
proposing adventurous investigations of the form while retaining a
firm conceptual grounding. The videos explore the intimate
relationship between the subject and the viewer, the unpredictable
intersections of image and sound, and the idea of making work in the
vacillating space between the public and the private.
Curated by Sinisa Mitrovic
All my dreams have come true, Annika Ström, 2004, 1 min. 30 sec.
Courtesy Galleria Sonia Rosso, Torino.the louder you scream, the
faster we go, Phil Collins, 2005, 9 min. 50 sec.Courtesy the artist &
Kerlin Gallery, Dublin.East Of The River Nile, Seamus Harahan, 2002,
5 min. 25 sec. Courtesy the artist.
Misshapen Pearl, Torsten Lauschmann, 2003, 8 min. Courtesy the artist.
Meeting Pop, Craig Mulholland, 2006, 3 min. 22 sec. Courtesy Sorcha
Dallas, Glasgow.
Susperia, Seamus Harahan, 2003, 2 min. 36 sec. Courtesy the artist.
Yet, Adam Chodzko, 2005, 9 min. 10 sec. Courtesy the artist.
I am in Love, Annika Ström, 2004. 2 min. 50 sec. Courtesy Galleria
Sonia Rosso, Torino.
£5.50/£3.50 concs & Whitechapel Members, Free for Whitechapel Patrons &
Associates. Advance bookings or tickets on the door.
http://www.whitechapel.org
---
7.
THE OBSERVATORY
Vol. II
OPENING: WEDNESDAY JUNE 21ST, 6.00 - 9.00 PM
JUNE 22 - JULY 29, 2006
Laura Bartlett Gallery is pleased to announce its summer exhibition
The Observatory Vol II, with contributions by artists Harrell
Fletcher, Mischa Richter, Gen Sasaki, David Estes and Lenka Clayton.
Working with a detached or systematic approach, these artists are
concerned with the agency of both the spectator and the observed.
Earlier this year, Lenka Clayton drove across Britain collecting
video portraits of people that she met. One person of every age
between 1 and 100; women from the first to the last stages of
pregnancy; couples who had been together for up to 80 years; and
portraits outside the homes arranged by levels of income. The four
short films, People in Order, in collaboration with filmmaker James
Price, is both an unusual insight into how people seek to present
themselves and an artists' attempt to chart and make tangible human
experience through the grouping of random individuals. Clayton's work
is currently featured in the touring exhibition, Jagd Salon in
Germany and Snafu at Hamburger Kunsthalle.
David Estes is interested in the disparity between who we want to be
and who we actually are. His video work, such as 'The Male Lead'
finds Estes acting as the leading man in daytime TV dramas. His
drawings depict unknown people caught in the middle of something -
the figures float on the white surface; part still life, part memory.
Estes has an upcoming show of recent videos at Island 6 Art Center,
Shanghai.
Harrell Fletcher's The Sound We Make Together is a film of various
groups from Houston, Texas. Fletcher invited them to do what they
normally do but in a gallery space, such as conduct a board meeting
or a music lesson. Filmed with an unmoving video camera, The Sound We
Make Together presents an eccentric display of activity that has been
isolated and made singular. Fletcher has exhibited extensively in the
US. The touring exhibition The American War is currently at White
Columns, New York. He has a forthcoming retrospective exhibition at
Domaine de Kerghuennec, France, this September.
Mischa Richter's photographs are portraits of people at the same
location at different intervals. The effects of time represent
themselves in the vulnerability or physical self-consciousness of the
subject. Anthony Street, August, 2002, 2003, 2004 is a triptych
presenting without sentiment a document of two lives spent together
and the inevitability of loss. Richter's photographs have been
published in 'Learn and Pass It On' by Taschen and 'Paradise' by
Steidl. He contributes to magazines such as The New York Times and
The Observer.
Gen Sasaki will create a site-specific project exploring the notion
of surveillance. Sasaki is interested in the transformative impact of
cues, devices or systems on human behaviour. Having shown in various
venues in Asia, this is Sasaki's first exhibition in Europe.
22 LEATHERMARKET ST
LONDON SE1 3HN
T. +44 20 7403 3714
F. +44 20 7403 3715
mail at laurabartlettgallery.com
---
21 June - 2 September
BILL VIOLA: LOVE/DEATH: THE TRISTRAN PROJECT
Haunch of Venison
6 Haunch of Venison Yard, London W1
Opening hours: Mon-Sat, 10am-6pm (7pm Thu)
Tel: 020 7495 5050
www.haunchofvenison.com
LOVE/DEATH: The Tristan Project is a museum-scale exhibition showing
across two venues and will present over ten new works. Like Viola's
previous works, they range from room-sized video projections of image
and sound to small, silent flat panel screens, and seek to deeply
engage the viewer in a visceral and emotional experience that goes to
the roots of the human condition, and its spiritual sources. Most of
the works in LOVE/DEATH: The Tristan Project arise from the hours of
material that Viola produced for a new production of Richard Wagner's
nineteenth century opera, Tristan und Isolde. A collaboration between
Viola, theatre director Peter Sellars, Esa-Pekka Salonen, conductor
of the Los Angeles Philharmonic, and Kira Perov, executive director
of the Bill Viola Studio, the opera was first presented in concert
form in Los Angeles in December 2004, and received its fully staged
premier in Paris at the National Opera Bastille in April 2005. Rather
than presenting a narrative interpretation of the story, Viola?s
images, projected throughout the entire four-hour performance, evoke
a symbolic visual world that exists in parallel to the worldly events
unfolding on the stage. Viola has said: ?Tristan und Isolde is the
story of a love so intense and profound that it cannot be contained
in the
material bodies of the lovers. In order to fully realise their love,
Tristan and Isolde must ultimately transcend life itself. The works
in the exhibition reflect different stages in the lover's path
towards death and liberation.
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