[LuxWeeklyNews] UPCOMING OPENINGS AND EVENTS
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luxweekly at lux.org.uk
Thu Jun 22 17:01:18 CDT 2006
LUX WEEKLY NEWS > UPCOMING OPENINGS AND EVENTS
1. TONIGHT New Work UK: Bastards at Whitechapel Gallery, London
2. 23 June - 30 July, A Season in Hell, Danielle Arnaud Gallery, London
3. 24 - 25 June, Rudy Burckhardt, Square Times at Tate Modern, London
4. 25 June, Hassan Khan Screening at Ritzy, London
5. 25 June, 13 Lakes, James Benning at NFT, London
6. 26 June, Turtle at Chelsea College, London
7. 28 June, Light Reading Series 5 –Nicky Hamlyn and Simon Payne at
Kingsgate Gallery, London
8. 30 June, Language = Words = Author at Hull Screen, Hull
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1.
Thursday 21 June 7pm
NEW WORK UK: BASTARDS
NEW WORK UK is a LUX/ Whitechapel series showcasing new British
artists' film and video, each event is selected by a different guest
curator.
In the all–pervasive media culture of today video is becoming an
increasingly flexible hybrid. Utilising a variety of strategies, the
examples from this selection freely combine elements of animation,
reportage, pop music, TV adverts, film history and institutional
critique to propose 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
Adam Chodzko (1965, based in Whitstable)
Yet, 2005, 12 min.
In his practice Chodzko explores possibilities of that which could
but won’t happen or hasn’t happened yet. He sometimes works with
archives of various public institutions infecting them with the
absurd logic of a vintage science–fiction novel. In Yet, produced for
an exhibition at apexart gallery in New York, he gives loose
narrative coordinates for an enigmatic story, taking place in an
imaginary future. An unidentified group finds the apexart gallery
archive in a landfill site and transfers it to a ramshackle hut in a
cabbage field for sorting. The elusive meaning of these actions, as
well as disjointed images and sounds, comprising voiceover in
different languages, disturb the authority of archive as a body of
empirical knowledge, authenticity and objectivity. Instead, Chodzko
constructs the archive as a site of personal association,
misunderstanding and inconsistency. In that, he offers a ‘soft’and
distinctly delicate version of what historically has been defined as
‘institutional critique’.
Phil Collins (1970, based in Glasgow)the louder you scream, the
faster we go, 2005, 9 min. 50 sec.
the louder you scream, the faster we go was produced as a public
art project in Bristol. There Collins established a temporary video
company and sent out a call to local unsigned acts to submit their
demos. He then selected three bands and made promo videos to
accompany their music. Bands were denied any input into the creative
process; instead they received a final copy to use as they see fit.
Filmed at a summer music festival, a ballet class for the over–50s,
and an adult–films production company, the promos are Collins’
personal homage to the heroic era of early pop video. Adhering to
firm formal rigour of popular music as a deep–set indicative marker
of both belonging and difference, they are imbued with his trademark
combination of uneasy affection and subtle exploitation.
Seamus Harahan (1968, based in Belfast)
East of the River Nile, 2002, 5 min. 25 sec.
Suspiria, 2003, 2 min. 36 sec.
Seamus Harahan’s pseudo–documentary vignettes defy all attempts at
establishing one stable meaning. Capturing raw fragments of street
life in Belfast, they refuse a narrative closure, which is further
reinforced by an insistently offhand methodology of filming. An
additional layer of estrangement is added by the careful
juxtaposition of sound and image. Overlaying scenes of habitual
depravity with the Augustus Pablo dub reggae classic, East of the
River Nile injects the familiar glimpses of a city with something
strangely exotic. Caught in the camera’s telephoto and plagued by the
title theme from Dario Argento’s 1977 slasher movie, an unexceptional
roadside scene in Suspiria gains ominous overtones.
Torsten Lauschmann (1970, based in Glasgow)
Misshapen Pearl, 2003, 8 min.
Based on the writings of Vilém Flusser, a Czech philosopher of
communications and media, Torsten Lauschmann’s Misshapen Pearl is a
visual essay into ‘the function of the streetlamp in our consumerist
society’. Incorporating his experiences as a DJ, Lauschmann employs a
strategy of sampling to bring together disparate visual materials,
from the flaneur–like observations of the cityscape to unedited
excerpts from TV ads. In his work, the city is both a psycho–social
proposition and a physical frame, oscillating between darkness and
light. Lauschmann traces one such cycle over the course of a night.
Undertaking a phenomenological investigation into the way we relate
to our environment, he creates an elaborate and intoxicating video–
collage.
Craig Mulholland (1969, based in Glasgow)
Meeting Pop, 2005, 3 min. 22 sec.
Working in a variety of media, Craig Mulholland considers his short
animated films a form of ‘extended painting’. He utilises
sophisticated computer technology to create an idiosyncratic
psychological space, resonating with references ranging from economic
theory to gambling; from William Burroughs and Hans Richter to Walter
Benjamin and Honoré Daumier. Meticulously assembling imagery pulled
in from a number of sources and locked in the hypnotic visual
cadences, his films take on an unsettling, oneiric quality. Meeting
Pop is a reconstruction of Peeping Tom, Michael Powell’s fascinating
1960 study of voyeurism. Focusing on the dramatic finale of the
original film, now submitted to the relentless rhythm of the
secondary montage, Mulholland points out once again to the
fundamental and fatal correlation between the pleasure and horror of
looking.
Annika Ström (1964, based in Hove)
All my dreams have come true, 2004, 1 min. 30 sec.
I am in Love, 2004, 2 min. 50 sec.
Annika Ström’s works are structured around the poetic transfiguration
of the ordinary. Drawing upon details of everyday life and seemingly
insignificant experiences, usually accompanied by low–fi synth–pop
soundtracks composed and performed by the artist herself, these
bittersweet video-diaries are characterised by both sharp self–
reflexivity and disarming vulnerability. Ström often works with
members of her family to create emotive and intimate situations. All
my dreams have come true and I am in Love exemplify the incomparable
gentleness of her approach.
£5.50/3.50 concs & Whitechapel members.
Free for Whitechapel Associates and Patrons.
www.whitechapel.org
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2.
A Season in Hell, Danielle Arnaud Gallery
Nicky Coutts Rachel Reupke Hiraki Sawa John Stezaker
23 June to 30 July 2006
Private view: Friday 23 June, 6 to 9pm
The title of this show is inspired by Arthur Rimbaud’s A Season in
Hell published in 1873. The poet’s visionary sensibility was of
influence to the Surrealist movement as were the apocalyptic
imaginings of medieval painter Hieronymus Bosch. There are echoes of
these in the works selected for this exhibition.
In all of the works familiar contexts are shifted or negated. Manual
or digital manipulation is used to place opposing realities in
juxtaposition. Rachel Reupke pulls focus between background and
foreground in her videos, propelling the viewer into different
dimensions within a single landscape. Hiraki Sawa merges two worlds,
one of pure fantasy, the other mundane; one permanently on the move,
the other static. Nicky Coutts perversely deletes one reality to
expose another while John Stezaker doubles and reverses his images to
create new ones. Hellish and Surrealist attributes infiltrate these
chosen realities exposing other worlds, hidden or imaginary.
Nicky Coutts elaborately manipulates and reproduces well known
paintings by Hieronymus Bosch. Another Land, a series of three
triptychs, sees Bosch's famous religious paintings emptied of their
human content, transforming what was a stage, a prop or a mere
background into the main components of the image, revealing an even
more apocalyptic vision. Fritz Lang’s ‘M’ (1931) similarly has its
story retold by the artist. Every unpeopled scene from the film is
reproduced in a revised portrait of a murderous city.
Rachel Reupke’s videos appear to have been recorded using an
automated camera. Two landscapes are presented as brief clips;
distinct moments selected from days of footage. Viewing these simple
panoramas however becomes an increasingly complex experience as
changes in atmospheric conditions affect the camera, auto focus
shifts and the weather closes in.
Hiraki Sawa's video Elsewhere takes us on a journey where dreams are
on our doorsteps and our homes are platforms for flights of fantasy.
Teapots, cups and spoons grow human legs and start a mysterious
wandering around a domestic environment: a humorous but worrying
invasion.
John Stezaker is best known for his fascination with the contemporary
collage and elements of uncanny distortion. For A Season in Hell, he
will present a series of collages that transform photographs of
flowers in vases into mirages of menacing insects, spiders and flies,
hovering over uncertain grounds.
Nicky Coutts first showed Another Land in a solo show at The Graves
Art Gallery and Museum, Sheffield, earlier this year. Recent
exhibitions include The Art of White, The Lowry, Manchester; The
Human Zoo, The Hatton Gallery, Newcastle; Animality, Dunedin, New
Zealand; After Dolly, ICA, London. She is currently Fine Art Fellow
at Middlesex University and a Lecturer in CHS at the Royal College of
Art.
Rachel Reupke showed in Une Vision du Monde, 2006, Maison Rouge,
Paris; Terra Infirma, 2005, Espai d'Art Contemporani de Castelló,
Spain; The Mind is a Horse (part Two) 2005, Bloomberg Space, London;
Tour-isms, 2004, Fundació Antoni Tàpies, Barcelona, Spain; After
Nature, 2003, CCA, Glasgow.
Hiraki Sawa’s recent solo exhibitions include: Certain Places, 2006,
Firstsite, Colchester; National Gallery of Victoria, Melbourne,
Australia; Hirshhorn Museum, 2005, Washington, USA; Dwelling, 2003,
Kettle's Yard, Cambridge; Ikon Gallery, Birmingham. Group exhibitions
include: Unreal Realities, 2006, Museum of Art, Sakura, Japan; Xanadu
Variation, 2005, Museum of Contemporary Art, Taipei, Taiwan; New
Contemporaries 2002, UK; East International 2002, Norwich Gallery,
Norwich.
John Stezaker was one of the first generation of British Conceptual
artists exhibiting in the late ‘60s and early ‘70s, including in the
New Art show of 1972 at the Hayward Gallery, London. Recent
exhibitions include: Norwich Gallery, solo show; White Columns, New
York; Tate Triennial, London; Time Lines, 2005, Kunstverein,
Dusseldorf, Germany. He is Senior Tutor in CHS at the Royal College
of Art.
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3.
RUDY BURCKHARDT: SQUARE TIMES
Saturday 24 June - Sunday 25 June 2006
Tate Modern, Starr Auditorium
During the 1930s, the Swiss photographer and filmmaker Rudy
Burckhardt (1914-99) came via London to New York, where he became
close friends with luminaries such as John Ashbery, John Cage, Merce
Cunningham, Willem de Kooning, Frank O'Hara, Alex Katz, Larry Rivers,
Fairfield Porter and Edwin Denby.
Although comparatively little known, Burckhardt is increasingly being
recognised as an outstanding twentieth-century photographer. His New
York street scenes of the 1940s are classic, but Burckhardt
ultimately found photography too monumental. He preferred the
fleetingness of film, where 'things come and go', and often used the
photo and the movie camera simultaneously on his tours around the
streets of New York and later the forests of Maine.
This pair of screenings is introduced by Swiss artist, filmmaker and
curator Hannes Schüpbach and features films such as Under the
Brooklyn Bridge (1953) and What Mozart Saw on Mulberry Street (1956).
Part of Architecture Week 2006. Supported by Arts Council England.
PROGRAMME ONE
Saturday 24 June 2006, 19.00
Programme duration 60 min
Under the Brooklyn Bridge
1953, 15 min, music by Claude Debussy and Francis Poulenc, performed
on two pianos by Arthur Gold and Robert Fizdale
What Mozart Saw on Mulberry Street
1956, 7 min, in collaboration with Joseph Cornell, piano sonata by WA
Mozart
Angel
1957, 3 min, in collaboration with Joseph Cornell.
Square Times
1967, 7 min, music by The Supremes
Screening introduced by Swiss artist, filmmaker and curator Hannes
Schüpbach.
PROGRAMME TWO
Sunday 25 June 2006, 15.00
Programme duration 60 min
Default Averted
1975, 20 min, music by Thelonious Monk, Earl Hines and Edgar Varèse
Caterpillar
1973, 6 min, photographs by Jacob Burckhardt
Indelible, Inedible
1983, 8 min, poem by John Ashbery
Dancers, Buildings And People In The Street
1986, 16 min, music by Ron Kuiivila, with Douglas Dunn and Dancers
(Grazia Della Terza, Susan Blankensop, Paul Engler, Bill Young, Diane
Frank and Deborah Riley)
Screening introduced by Swiss artist, filmmaker and curator Hannes
Schüpbach.
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Starr Auditorium
Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars
Tickets: £4, booking recommended
Box Office: 020 7887 8888
www.tate.org.uk
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4.
Selected single channel videos by Hassan Khan
Sunday 25 June, 4pm
Ritzy Cinema, Brixton
Tel: +44 (0)20 7582 6848
Fax: +44 (0)20 7582 0159
info at gasworks.org.uk
www.gasworks.org.uk
Tube: Vauxhall/Oval
Bus: 2, 36, 133, 159, 436
A collection of specially selected films made by Cairo-based artist
Hassan Khan between 1997 and 2002. It includes his multi award-
winning documentary Transitions (2002).
Khan’s practice often investigates issues surrounding the urban
metropolis in relation to its structures of history, power, class,
culture and myth and includes video installations, interventions in
printed media, text works and performance. Through this selection of
eight single channel videos varying in duration from one to twenty
two minutes, the artist explores the possibilities of portraiture, a
concise form, the social scan, the unfolding of the city, the camera
and its relationship to its subject, the construction of the image,
addictions, personal narratives, class tensions and the possibilities
of discourse.
Khan has participated extensively in international exhibitions and
festivals including the Turin Triennial, 2005; Oberhausen Short Film
festival, 2004 & 2002; and Contemporary Film and Video, 2003.
Showing:
Transitions , 2002 (22 min)
tabla dubb no. 9, 2002 (3.36 min)
the eye struck me and the lord of the throne save me, 1997 (4 min)
this is THE political film, 1998 (1 min)
fuck this film, 1998 (4 min)
six questions to the Lebanese, 2001 (1 min)
sometime/somewhere else, 2001 (1.30 min)
100 portraits, 2001 (1.30 min)
Tickets £4/3 conc. To book, please call the Ritzy: +44 (0)8707 55 00 62.
The Ritzy Cinema, Brixton Oval, Coldharbour Lane, London SW2 1JG
Tube/Rail: Brixton
This event is part of KOMPRESSOR, Khan’s residency and exhibition at
Gasworks. The exhibition continues until Sunday 2 July. For further
information go to www.gasworks.org.uk/kompressor
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5.
Sun 25 Jun 3.30PM National Film Theatre, NFT2
13 Lakes - James Benning
This recent work from James Benning, veteran of American experimental
film, comprises 13 shots filmed by a static camera, each lasting
around 10 minutes and showing a different lake, carefully framed so
as to balance water and sky. A work of considerable beauty, it allows
our gaze to wander and take in small, subtle shifts of movement,
light and colour, as we contemplate the ecological implications of
what's on view.
Tickets cost £8.60. Call the NFT Box Office on 020 7928 3232
USA 2004 Dir James Benning
133 mins
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6.
Kinoteca presents
TURTLE: an anarchic salon by Michael H Shamberg, Chelsea College
27th June - 5th August 2006
"In Lebanon, at the border with Israel, there is a turtle sanctuary
that is the result of being a protected area during the civil war.
The almost extinct Mediterranean sea turtle was allowed to
flourish.This is something good that came out of the war. I have gone
through my own corporeal civil war and TURTLE is my sanctuary and
celebration". Michael H Shamberg
TURTLE is an open and chaotic network of diverse but interconnecting
ideas, people, projects, events, and venues linked by American
filmmaker, Michael H Shamberg.Following an imposed period of
inactivity and relative isolation, Shamberg reconnects with an
international coterie of artists, writers, filmmakers, actors,
musicians, dancers, architects.people, inviting proposals for
readings, rantings, artworks, texts, performances and screenings.
TURTLE at CHELSEA space is intended as a hub with links to other
satellite venues, or Turtles. This year's pavilion at the Serpentine
Gallery, by Rem Koolhaas, will be one such Turtle. Crockett & Powell
books another. It is Shamberg's intention that an international mesh
of Turtles will evolve. Over 150 people will contribute to TURTLE at
CHELSEA space including Lawrence Weiner, Yvonne Rainer, Gavin Bryars,
Mellissa Kretschmer, Carl Andre, Jan Morris, Dan Graham, Rita
McBride, John Baldessari, Markus Acher, Etel Adnan, Fouad Elkoury,
Ana Da Silva, Liam Gillick, Keeley Forsyth, David Blandy, Gina Birch,
Chris Marker, Sluban Klavdij, Claire Barrett, Lab Architecture,
Sylvia Kolbowski and Mia Lily Clarke. TURTLE will carry the spirits
of Abbie Hoffman, Juan Munoz and Derek Jarman.
Michael H Shamberg is known particularly for his work with the band,
New Order, and the artist Lawrence Weiner. His feature Souvenir
played at the I.C.A., and his short The Temptation of Victoria is
currently touring festivals worldwide. Michael is returning to work
on a film in and of Beirut, while co-producing (with Natasha Dack)
Enigmatic, a feature documentary about the groundbreaking British
band, Joy Division, to be directed by Carol Morley. Shamberg was
executive producer for Liam Gillick's Construcci? de Uno performed at
Tate Britain in April, and his work with Lawrence Weiner was recently
showcased at Tate Modern.
For information on live events and other Turtles stay tuned to
www.kinoteca.net
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7.
Light Reading Series 5 –Nicky Hamlyn and Simon Payne.
Wednesday 28th June, 7pm at the Kingsgate Gallery, 110 - 116
Kingsgate Road,
London NW6. Nearest Tube / overground: West Hampstead. £3 if pre-
booked /£4 on the door.
Places are limited so booking is essential, please call 0207 372 3925
or email: courses at nowhere-lab.org to reserve seats.
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8.
Language = Words = Authors
HULL FILM presents a specially curated two-part film programme as
part of the HUMBER MOUTH festival
LANGUAGE = WORDS = AUTHORS PART ONE
Feature Film programme
June 30th 2pm
Hull Screen | University of Lincoln George Street Annex | George
Street | Hull | HU1 3BW
GALLIVANT
Andrew Kotting
1996|103m|col|35mm
Part home movie, part road movie, Kötting's riveting and eccentric
film stars his 85-year old grandmother Gladys - opinionated, bursting
with anecdotes and contradictory reminiscences, and his eight year
old daughter Eden. As the journey begins, the two are practically
strangers, but by the end, 'Little Eden' and 'Big Granny' have struck
up a warm bond, a relationship lent added poignancy by the fact that
Eden has Joubert Syndrome, a condition that affects her speech and
movement so she communicates through sign language. Not only do the
trio discover more about themselves along the way, but they also find
that the seaside communities host a wealth of eccentrics. Kötting
uses 16mm and Super 8 filmstock, found footage, timelapse photography
and much non-synchronous sound to reveal a wonderland of bizarre
traditions and quirky strangers.
LANGUAGE = WORDS = AUTHORS PART TWO
Short film programme
June 30th 7.30pm
Hull Screen | University of Lincoln George Street Annex | George
Street | Hull | HU1 3BW
This programme of eight short films focuses on the representation of
language, words and authors on film. The artist filmmakers approach
this subject in a great number of ways.
ASSOCIATIONS
John Smith
1975|7m|col|16mm
The film plays as a rebus (a game in which words are replaced by
pictures), resulting in a number of visual puns contrasting with
dense text.
‘Images from magazines and colour supplements accompany a spoken text
taken from 'Word Associations and Linguistic Theory' by Herbert H.
Clark. By using the ambiguities inherent in the English language,
Associations sets language against itself. Image and word work
together/against each other to destroy/create meaning.’ John Smith
PIRATE TAPE
Derek Jarman
1983|16m|col|16mm
Originally filmed on Super 8, reprocessed ‘skip frame’ shots of
William Burroughs in London are accompanied by a looped repetition of
him uttering a single phrase.
PROUST'S FAVOURITE FANTASY
Richard Kwietniowski
1991|2m|bw|16mm
One of the greatest authors of the twentieth century finds himself in
a hotel room with a gendarme and a chicken.
REPERTORY
Ian Breakwell
1973|9m|col|16mm
'The visuals in Repertory consist of one continuous tracking shot,
during which the camera completely circles the exterior of a locked
and empty theatre…On the soundtrack a voice describes a three week
cycle of imagined presentations inside the theatre. The instant
polarity between concrete, defined image and fictional narrative is
exaggerated by the nature of the descriptions, which are wittily
absurd and fantastic: the form allows Breakwell to gleefully attack
theatrical representation on film not only by identifying it as
fiction to be set against visual fact, but also by giving it its sole
existence in the words of the narrator and the minds if the
audience.' Tony Rayns
MILE END PURGATORIO
Guy Sherwin
1991|1m|col|16mm
‘This work represents a collaboration between filmmaker and poet
responding to tensions between film and the spoken word. The scene is
a parade of shops in Grove Rd, Mile End London: the voice a male mid-
life crisis. Shop fronts and other images provoke and externalise the
many themes of conflict. Biblical and literary allusions reinforce
the humour and sense of anxiety.’ Martin Doyle
INTERVIEW WITH MARGUERITE DURAS
David Lamelas
1970|7m|bw|16mm
On the occasion of a solo exhibition at the Galerie Ivon Lambert in
Paris, David Lamelas creates a work where the point of departure is
the "site" itself. The work is based on a conversation between French
writer Marguerite Duras and Argentinean writer Raúl Escari (who is
heard, but is always off screen) and filmed in the calm atmosphere of
Duras’ country house.
WORD MOVIE
Paul Sharits
1966|4m|col|16mm
50 words visually 'repeated' in varying sequential and positional
relationships/spoken word soundtrack/structured, each frame being a
different word or word fragment, so that the individual words
optically-conceptually fuse into one three and three quarter minute
long words. Barbara and Robert Forth are heard on the soundtrack.
FILM
Alan Schneider
1965|28m|bw|16mm
AKA Samuel Beckett’s Film. This is Beckett’s only venture into the
motion pictures and is appropriately titled Film. It is a near-silent
work that invokes the feel of the silent era, albeit in Beckett's
peculiar way. It is perfectly fitting that Beckett chose ‘The Great
Stone Face’ Buster Keaton as the main character (for almost the
entire film, the only character). The black-and-white photography,
the old furniture, and the peculiar garments of the just-as-old
apartment building's tenants, all contribute to the mise-en-scene
that harkens back to early cinema. With Beckett's intense focus on
the self and an emphasis on the solipsistic, the length of Film is
perfect. 2006 is the centenary of Samuel Beckett so a fitting
screening in tonight’s programme.
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