[LuxWeeklyNews] UPCOMING EVENTS AND OPENINGS
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Fri Jun 30 11:32:39 CDT 2006
LUX WEEKLY NEWS>UPCOMING EVENTS AND OPENINGS
1. 30 June/ 2 July, Oskar Fischinger at Tate Modern, London
2. 30 June, Language = Words = Authors at Hull Screen
3. 2 July, Cog Collective at Candid Arts, London
4. 2 July, Time Flesh & Nerve at Lounge, London
5. 3 July - 26 August, Time Base and the Universe, John Hansard
Gallery, Southampton
6. 6 - 14 July, Angles of Projection at Chelsea College, London
7. 7 July, The Unknown at Rio Cinema, London
[MORE INFORMATION BELOW]
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1.
OSKAR FISCHINGER
Tate Modern, Starr Auditorium
Friday 30 June 2006, 19.00
& Sunday 2 July 2006, 15.00
This programme offers a rare chance to see the 'visual music' of
Oskar Fischinger (1900-19 67), one of the masters of animated film
and an influential pioneer of abstract cinema. His dazzling films
explore the effects of sight, visual sound and motion as a spiritual
pursuit. Beginning his career in Weimar Republic Germany during the
early 1920s, Fischinger was influenced by Wassily Kandinsky¹s
theories on the spiritual nature of art, as well as by his interest
in the confluence of music, colour, rhythm and synaesthetic experience.
'For those never exposed to the brilliant, minimalistically designed
and hyperactive abstract shapes so artfully manipulated on these
celluloid canvases, prepare yourselves for an intellectually
stimulating, sometimes emotionally overwhelming experience.' (Greg Ford)
'Oskar Fischinger is one of the greatest artists of the 20th century,
embracing the abstraction that became the major art movement of that
century, and exploring the new technology of the cinema to open
abstract painting into a new Visual Music that performs in liquid
time.' (William Moritz)
Programme duration approx 53 minutes
Wax Experiments
1923, colour, silent, 16mm, 9 min
Spiritual Constructions
1927, b/w, sound, 16mm, 7 min
Study No 6
1930, b/w, sound, 16mm, 2 min
Study No 7
1931, b/w, sound, 16mm, 2.5 min
Liebesspiel
1931, b/w, silent, 16mm, 3 min
Study No 12
1932, b/w, sound, 16mm, 5 min
Kreise
1933, colour, sound, 16mm, 2 min
Composition in Blue
1935, colour, sound, 16mm, 4 min
Allegretto
1936, colour, sound, 16mm, 3 min
Radio Dynamics
1943, colour, sound, 16mm, 4 min
Motion Painting No. 1
1947, colour, sound, 16mm, 11 min
For more information about Oskar Fischinger and Wassily Kandinsky,
see Esther Leslie's article in Tate Etc issue 7, 'Where Abstraction
and Comics Collide':
www.tate.org.uk/tateetc/issue7/fischinger.htm
Center for Visual Music has released the first Oskar Fischinger DVD,
'Oskar Fischinger: Ten Films' available through CVM at:
www.centerforvisualmusic.org/DVD.htm
---
2.
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.
---
3.
COGCOLLECTIVE
presents the first of new ongoing series of monthly artist run moving
image screenings
SHIFTING LATITUDES
London has long been a hub for Australian film and video artists as
much as Australia has become a home for many British ones. This
screening features four artists working in digital video who each
have shifting connections with both places. Features works by Steven
Ball, Marcus Bergner, sue.k. & Mike Leggett.
Curated by sue.k. and Steven Ball.
4:00pm Sunday 2nd July 2006
basement of CANDID ARTS TRUST,
3 Torrens St,
London, EC1V 1NQ
(behind Angel Underground station)
£5/£3 (concs)
http://www.cogcollective.co.uk
Programme:
liverpool223355
sue.k.
28 mins, video, UK, 2006
Shot at the height of summer in 2002, liverpool223355 captures the
brilliance of light on an almost deserted nighttime platform at
Liverpool Street Station, London. This work, more than any other
produced by sue.k., references its materiality by introducing the
primary colours of video, blue, red and green, and black and white in
positive and negative in a series of still frame insertion within the
edit weave. These are used to reference points in space and time
determined by the subjective process of filming the original video
material. The audio is edited in a way whereby it further extends the
experience of space and time by announcing each introduction of a
series of colour or positive and negative black and white.
Cryptic Burgess Dub
Steven Ball
12 mins, video, UK, 2006
Dubstep meets experimental video meets cryptology. Electronic video
manipulations follow dub music processes producing visual distortion,
echo and reverb. Like much contemporary dubstep music this evokes the
grimy South London summer, as pavements melt, the humidity rises, a
steamy fug settles and the city slows into an uneasy and frazzled
hallucinatory dub daze. The image track provides a background rhythm
to an experiment testing a proposition that the cryptic in
experimental art might not simply be subjective obfuscated poetical
aestheticism, or self-reflexive formalism, but a vehicle for the
transmission of statements which, from the current paranoiac
political/legal purview, might be considered as sensitive, even
dangerous.
The Surface
Marcus Bergner
34 mins, video, Australia, 2004
The object (made) of after-images, The Surface has been made from
liquid paper, white light and over 300 discarded 16mm educational
films. It was screened as a work-in-progress in Los Angeles, two
years ago and immediately after the screening, Berenice Reynaud,
within the guise of a highly eloquent and charged set of reflections,
explained how she thought the images in the film appeared fixated on
death and ruination. At another art school screening of this work-in-
progress, this time at the VCA in Melbourne, Chantal Faust enquired
about what she thought were the persistent and subtle erotic, or
haptic, elements within the same images.
Both of these observations, or comments, accurately and appropriately
go someway in identifying two of the underlining preoccupations, or
thematic tenets, that the film work has been investigating. For,
among other things, it has fixated on exploring the distinctively
embodied, fragmented and compelling form of visuality exclusively
accessible to the event of viewing film. And which are aspects, and
qualities, central to the radical aesthetic associated with
experimental cinema.
Laurel's Handle
Mike Leggett
10 mins, video, Australia, 2004
The materials that construct an image on the screen - light, dark,
colour, sound - move in relation to each other to construct a
cinematic spectre. The shapes take on form which may have a bearing
upon our memory of, encounters with, past perceptions. A hand, a
handle, movement, transporting us across the dimensions of the
screen, from the space of an image to a place of reminiscence. The
banality of everyday activities, operations, procedures interact with
memories of intimacy, distance, presence.
“These shifting and confused gusts of memory never lasted for more
than a few seconds; it often happened that, in my brief spell of
uncertainty as to where I was, I did not distinguish the successive
theories of which that uncertainty was composed any more than, when
we watch a horse running, we isolate the successive positions of its
body as they appear upon a bioscope.”
Marcel Proust 'Swanns Way - In Search of Lost Time'.
steps---89
sue.k
17 mins, video, Australia, 2003.
A flight of stairs, eight trips down and eight trips up. steps---89
captures the mood and sense of agitation experienced within London’s
Underground network.
http://www.cogcollective.co.uk
info at cogcollective.co.uk
---
4.
Time Flesh & Nerve
a moving image art event
presented in association with LONDON metropolitan university
- Sunday 2nd July -
doors 6.45pm starts 7pm
Curated by Anne Robinson, Time Flesh & Nerve brings together artists
in film, video, performance, sound and live mixing to explore
imaginative time travel and the instant.
Artists taking part are
Donald Bousted, Nick Duffy & Simon Carroll, Adam Forman, Lucid House,
Laura Malacart,
Max Mason, Lily Markiewicz, William Raban, Michaela Reiser, Anne
Robinson,
Raquel Schwarz, Anna Thew, Rebecca Thomas, Patricia Townsend, Emma White
Lounge 28 Shacklewell Lane, London E8
Tel: 0786 606 3663 www.lounge-gallery.com
Transport
Rail: Dalston Kingsland
Bus: 67 76 149 236 243
Tube: Highbury & Islington, then 30/38 bus to Dalston Junction
Map: www.lounge-gallery/images/misc/map.gif
Access: contact the gallery for details - info at lounge-gallery.com
---
5.
John Latham:
Time Base and the Universe
4 July - 26 August 2006
Art, throughout history, has provided a vehicle for ideas. British
artist John Latham (1921 – 2006), applied this to the biggest
subjects of all: what is the Universe? What is God? What is
knowledge? Latham aspired that art could form a point of convergence
for opposing beliefs within society.
This exhibition, conceived with the artist prior to his death in
January 2006, allows visitors to explore major stages within his
fifty-year career.
Works featured include a selection of Clusters, each one a compacted,
globe-like mass of plaster, book fragments and wire. Suspended from
the ceiling, these celestial objects evoke the aftermath of colliding
forces. A range of Book Reliefs and Sculptures, including Soft Skoob,
1964, reveal the artist’s use of the spray gun, combined with the
inclusion of books, whether burnt, torn, or stacked. Symbolising the
bodies of knowledge that emerge from, yet divide society, they appear
throughout much of Latham’s work.
Glass was another material favoured by the artist; tangible yet
transparent, it embodied Latham’s theory of a ‘non-extended
state’, or time at its smallest unit. Latham often combined books
and glass to suggest how different belief systems can stem from a
single source of enlightenment.
Latham’s theories bridged art, science and theology, and aimed to
present a single, unifying explanation of existence. Based upon the
idea of ‘Event Structure’, he proposed that time, expressed as a
series of ‘least events’, could describe the structure of the world.
Time Base Roller, 1972 forms a centre-piece to the exhibition, and
directly illustrates these ideas. Comprising a rotating cylinder, a
striped canvas strip unrolls via motor to demonstrate the continuing
passage of time. Inscriptions on the back of the roller represent the
memory of the past, akin to a musical score.
Both acclaimed and vilified in his lifetime, Latham is one of the few
genuine radicals of post-war British art. A selection of the
artist’s films, spanning his career, will be shown in the Project
Room.
John Latham: Time Base and the Universe is a collaboration between
John Hansard Gallery and P.S.1. Contemporary Art Center, New York,
curated with David Thorp. Funded by The Henry Moore Foundation.
Project Room films courtesy of LUX
John Hansard Gallery
University of Southampton
Highfield
Southampton
SO17 1BJ
Tel: +44 (0)23 8059 2158
Fax: +44 (0)23 8059 4192
info at hansardgallery.org.uk
opening hours
During exhibitions, the Gallery is open to the public:
Tuesday - Friday 11am - 5pm
Saturday 11am - 4pm
The Gallery is closed on Sundays and Mondays, public holidays and
during the installation of exhibitions (typically a two week period
every 8 weeks). Please refer to the programme of Future Exhibitions
for the dates of our exhibitions.
---
6.
angles of projection
an exhibition and symposium at Chelsea College of Art and Design
Chelsea College of Art and Design, University of the Arts London, 16
John Islip Street, London SW1P 4JU
Exhibition runs: 6-14 July
Opening times: Monday-Thursday: 12-20.00
Friday-Saturday: 12-17.00
Private view: Thursday 6 July: 18.00-20.00
The Triangle Gallery (entrance for from Parade Ground)
Symposium: Saturday 8 July: 10-17.00
The Lecture Theatre (entrance from Atterbury Street)
‘Angles of Projection’ comprises an exhibition and symposium that
investigates the relationship of the moving image
to the spatial context in which it is shown. The exhibition will
present a range of ‘situated’ video and lm practices,
where the relationship of lmic space to the ‘space of
reception’ is considered as integral to the conceptual or
experiential concerns of the work. As such, the exhibition examines
alternatives to the predominance of cinematic
based narrative practices.
Exhibitors: Tony Sinden, Karen Mirza/Brad Butler, Adam Kossoff,
Kristina Kotov and Ken Wilder.
The symposium will broaden these theoretical concerns within a more
general consideration of the relationship of the
representational space of video/lm to its spatial and architectural
context, and to a wider notion of the conditions
of spectatorship. It aims to provoke responses that theoretically
draw upon a wide range of disciplines (such as art,
architecture, lm, psychoanalysis and the philosophy of art).
SYMPOSIUM
Morning session
Presentations by artists using video: Adam Kossoff, Mo Throp and Ken
Wilder
Margaret Iversen (author of Alois Riegl: Art History and Theory and
Mary Kelly) will present a paper on ‘The Gaze
in Perspective’, which will consider two radically different
understandings of the gaze as it is embodied in perspective
construction. On one side, perspective’s organization of the visible
supports a gaze that feels its self endowed with
mastery and personal autonomy. On the other, perspective is a pre-
existing and impersonal system that forces us to
acknowledge that we are subjects of desire whose sense of visual
plenitude will necessarily be punctuated by blind
spots and whose visual pleasure will always be mixed with pain. In
order better to understand what is at stake in
these shifting views of perspective, she will focus in turn on the
writings of Merleau-Ponty, Lacan, and Damisch.
Discussion: chaired by Al Rees (Research Fellow at RCA, author of A
History of Experimental Film and Video)
Afternoon session
Film presentations by: Guy Sherwin (included in ‘Live in Your
Head’ Whitechapel Gallery 2001, ‘Shoot Shoot Shoot’
Tate Modern 2002) and Karen Mirza/Brad Butler (collaborative 16mm
lmakers, co-founders of no.w.here).
The symposium will end with a discussion between Claire Bishop (to be
conrmed) (Leverhulme Research Fellow
at the Royal College of Art, and author of the recently published
Installation art: A critical History) and Tony Sinden
(an artist who explores lm and performance as a sculptural medium,
and who has exhibited at the Arnolni, the
Hayward Gallery, the Serpentine and the Whitechapel Gallery).
Tickets for symposium:
Research Ofce
Chelsea College of Art and Design
16 John Islip Street
London SW1P 4JU
Tel. +44 (0)20 7514 7769
Fax. +44 (0)20 7514 7839
research at chelsea.arts.ac.uk
Ticket prices:
£10, £5 students, £3 students from Chelsea College of art and
Design or University of Wolverhampton
The exhibition and symposium have received funding from Chelsea
College of Art and Design and the University
of Wolverhampton
Further information: k.wilder at chelsea.arts.ac.uk
---
7.
=================================
THE UNKNOWN AT THE RIO - Friday July 7th 11.30pm
=================================
Tickets £5.50 - £4.50 concessions
including free drink + unknown quantities
Rio Cinema, 107 Kingsland High Street
London E8
Dalston Kingsland station
020 7241 9410
http://www.riocinema.org.uk
=================================
Following last November's Nosferatu spectacular, Nacho Martin returns
to the Rio to re-score a silent classic... THE UNKNOWN (1927) stars
Lon Chaney as a circus knife-thrower with no arms, obsessed with his
beautiful assistant (23-year-old Joan Crawford). He throws knives at
her with his feet, she cannot stand men's hands. What happens next?
A truly unique picture, climaxing in one of the most emotionally
intense moments ever committed to film; director Tod Browning
(FREAKS) had found his perfect foil in Chaney, a human Pompidou
Centre who acted with all his emotions on the outside. Browning was
interested in bringing society's underbelly to the surface, the
dispossessed, the grotesque, the unknown; Chaney was an actor who had
twisted himself to encompass all of these things. He was able to show
a soul imprisoned by circumstance in a broken body, longing to
escape. It is still something to see. Together they produced films it
would be impossible to ever make again.
Nacho Martin, an electronic composer and DJ who lives in Hackney,
will attempt to match the intensity before your eyes with a live
score culled from sequences and vinyl; there will be surprises on
show and a free drink on arrival. The Rio Cinema will be transformed
into a Theatre of the Unknown. Take a leap.
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