[LuxWeeklyNews] LUX Weekly News 20th - 26th November 2006 EVENTS AND OPENINGS IN LONDON THIS WEEK

[luxweekly at lux.org.uk]

LUX Weekly News 20th - 26th November 2006

EVENTS AND OPENINGS IN LONDON THIS WEEK

1. Short Films and Videos By Cao Guimarães
Gasworks, Tuesday 21 November, 7.30pm

2. THE EMMA HART BIENNALE A VIDEO AND FILM TESTING SHOW, exhibition  
and nightly performance events
  Ada Street Gallery, 22 November - 2 December

3. LUX EVENT: Origins and Element: Margaret Tait film screening
Curzon Soho, Wednesday 22nd November 6pm

4. Charles Atlas: Instant Fame!,
Vilma Gold, 23 November – 3 December

5. ANALOGUE: PIONEERING ARTISTS' VIDEO FROM POLAND (1968-89)
Panel discussion, Tate Modern, Starr Auditorium, Friday 24 November  
2006, 3pm

6. ANALOGUE: PIONEERING ARTISTS' VIDEO FROM POLAND (1968-89)
Screening, Tate Modern, Starr Auditorium, Friday 24 November 2006, 7pm

7. LUX EVENT: Shoot Shoot Shoot DVD launch and special performance event
Basement Gallery, Candid Arts, Friday 24 November, doors 8pm,  
performances 8.45pm

8. The Black Moving Cube: Black Figuration and the Moving Image
Tate Britain Auditorium, entrance near Clore Gallery, Friday 24  
November 6.30 - 8pm

9. LUX EVENT: London: City of Disappearances. Film screening and reading
The London Butterfly House, Syon Park, Saturday 25 November 1.30pm



1.
Tuesday 21 November, 7.30pm
SECOND SHOWING - Short Films and Videos By Cao Guimarães
Gasworks
155 Vauxhall Street
London SE11 5RH
T:+44 (0)20 7587 5202
info at gasworks.org.uk
www.gasworks.org.uk
Tube: Vauxhall/Oval
Bus: 2, 36, 88, 133, 185, 436
Admission is free.
Gasworks has full wheelchair access.

We have had such a good response to this event that we have decided  
to have a second screening. Places are now available for Tuesday 21  
November, at 7.30pm. For further information or to book a place,  
please contact Mia Jankowicz on mia at gasworks.org.uk or call 020 7587  
5202. Places are limited. Refreshments will be available.

Gasworks presents a selection of short films and videos by Cao  
Guimarães, one of Brazil’s foremost video artists. Using film, video  
and photography Guimarães creates work informed by a number of  
approaches including cinema, documentary, and fiction. His work  
displays his capacity to locate and create images of extraordinary  
beauty, often combined with a shrewd awareness of issues of visual  
culture and anthropology. The evening’s screening at Gasworks is a  
selection of short films and videos made between 2000 and 2006, many  
of which have never before been screened in the UK.

The screening will feature a number of works that present a shift of  
focus to insignificant but hugely rewarding aspects of daily reality  
that might otherwise go unseen. In works such as From the Window of  
My Room and Peiote, the simplest approach of capturing a moment from  
daily life draws our attention to the immediacy and happiness of  
childhood experience. Hypnosis is a visual meditation on fairground  
lights, and Weightless drifts above the hubbub of the marketplace,  
dwelling only on the canopies above the stalls. Inventory of Little  
Deaths - Blow, Epilogue (both made with Rivane Neuenschwander) and  
Nanofania both construct and then record transient moments of beauty.  
Epilogue was selected by the Tate Acquisitions Fund at the 2006  
Frieze Art Fair.

Cao Guimarães is currently taking part in Gasworks International  
Residency Programme, as the winner of the Videobrasil Award at the  
15th Videobrasil International Electronic Art Festival in São Paulo.  
His residency is supported by Triangle Arts Trust, SESC São Paulo,  
Associacão Cultural Videobrasil, and British Council São Paulo. His  
residency will conclude with an Open Studio in late December

Visitors to the screening will be able to see the exhibition afterwards.

2.
22 November - 2 December 2006
Exhibition open daily from 12-6pm
THE EMMA HART BIENNALE A VIDEO AND FILM TESTING SHOW
Ada Street Gallery
2a Ada Street, London E8 4QU Ada Street is at the bottom of Broadway  
Market.
Nearest Tube: Cambridge Heath BR / Bethnal; Green Buses: 26, 48, 55,  
106, 236, 254, D6,
Contact: emmahart2000 at yahoo.co.uk www.theemmahartbiennale.blogspot.com

The Emma Hart Biennale during the day is a solo show of Emma Hart's  
work, bringing together a body of work that is testing out film and  
video, its production and presentation. Combining projectors, cameras  
and domestic objects Emma presents her thoughts and ideas, finding  
new peculiar spaces and ways for film and video to function. Emma  
Hart manipulates moving and still images, not with technology but  
through odd conceptual proposals or inventive actions. In LOST (2005)  
she uses the digital video camera to find objects that are missing.  
The camera explores under the bed, on top of the wardrobe, places you  
can't fit a head. The detecting camera becomes more than a recording  
device and the resulting video reflects this new purpose.

Emma Hart believes that film and video are materials with to work in,  
that they are tangible materials to mould and shape. SKIN FILM (2003)  
is unique film, made from the artist's skin. Using sellotape Emma  
stripped off the top layer of the skin from her whole body, and stuck  
this onto clear film, resulting in the artist's skin physically going  
through the projector. It is a film of how much space she takes up,  
yet this takes eleven minutes of time to watch. POINT (2006) is a  
visually striking video where Emma takes a small transparent arrow on  
a journey. Emma sees the arrow symbol as being similar to the video  
camera as they are both used to point at things, here she explores  
but ultimately corrupts the process of pointing. These and other  
works at The Emma Hart Biennale will make you laugh and will make you  
think. This in an important chance to encounter Emma's work being  
brought together and experience the accumulation and layering of her  
ideas. It is also a way of bringing together the artists with whom  
Emma collaborates and artists whose work she admires. In the evenings  
there are performances from artists who also seek to make new sense  
of their instruments, words, or find alternatives for the everyday.  
The Emma Hart Biennale closes with her collaboration with Benedict  
Drew. The duo continue their irreverent and extraordinary live sound  
and video/film performances, including playing an electric guitar  
with a 15 metre film loop. The Biennale is self-funded and no  
proposal was written in the making of it. All events are free admission.

THE EMMA HART BIENNALE TESTING PROGRAMME PERFORMANCE EVENTS
Venue details and directions as above.
Doors open at 7pm each performance evening. Admission Free. Bring  
your own drinks....

Thursday 23 November 2006, at 7:45pm
An evening of Misspoken Word hosted by the poet Richard Allen.

Saturday 25 November 2006, at 7:45pm
x15 Screening. Forwarding video and film works by x15 different artists

Tuesday 28 November 2006, at 7:45pm
Angharad Davies plays Tim Parkinson's new work Violin Piece. Clear  
and direct thoughts presented individually, one after another.   
Angharad Davies plays James Saunders' new work  #281106, unique to  
this time and performer.

Wednesday 29 November 2006, at 7:45pm
Portable: Rhodri Davies (electronics), Benedict Drew (laptop), Louisa  
Martin (laptop). Improvised + live + electronic =  first performance  
by the new trio.

Thursday 30 November 2006, at 7:45pm
Lee Patterson and guests. Performance uncovering the hidden sound  
world of light and heat.

Friday 1 December 2006, at 7:45pm
Eddie Farrell, Paul Carr, Patrick Loan and Stephen Lowery will sing,  
read, speak and wear smart suits by the light of the silvery moon  
projector.

Saturday 2 December 2006, at 7:45pm
Emma Hart and Benedict Drew. Live sound and video and film  
extraordinary united. Projectors, electric guitars and washing powder  
etc.


3.
LUX EVENT
Wednesday 22nd November 6pm
ORIGINS AND ELEMENTS: MARGARET TAIT
Curzon Soho
99 Shaftesbury Avenue
London W1
www.curzoncinemas.com
Tickets £5.50 / £4.50 concessions
Margaret Tait was one of Britain’s most unique artist filmmakers.  
During the course of 46 years she produced over 30 films including  
one feature, Blue Black Permanent, and published five books of poetry  
and short stories, while dividing her time between the Island of  
Orkney and Edinburgh. Margaret described her life’s work as  
consisting of film-poems. She often quoted Lorca’s phrase of  
“stalking the image” to define her philosophy and method: the idea  
that if you look at an object closely enough it will speak its  
nature. This clarity of vision and purpose with an attention to  
simple commonplace subjects combined with a rare sense of inner  
rhythm and pattern give her films a transcendental quality, while  
still remaining firmly rooted within the everyday. This screening,  
curated by Peter Todd for LUX, presents a rare selection of recent  
restorations from Scottish Screen Archive, unseen in London before.

Including: Calypso (1955), Rose Street (1956), Aspects of Kirkwall:  
Some Changes (1981) and The Leaden Echo and The Golden Echo (1955).

Organised to mark the launch of a new DVD ‘Margaret Tait: Selected  
Films 1952 – 1976’ from LUX which will be available at a special  
discount price of £15 on the night (usual price £19.99). Subjects and  
Sequences, A Margaret Tait Reader is available through Wallflower  
Press www.wallflowerpress.co.uk

Programme Notes
This programme of films newly restored by the Scottish Screen Archive  
presents key aspects of her work including painting on film, looking  
through the camera at her local environment (two examples separated  
by 25 years), and working with poetry and the spoken word.

Calypso is dated 1955 but was probably created three years earlier  
when Tait was in Italy studying at the Centro Sperimentale di  
Cinematografica. It would be Tait’s first experiments with direct  
working on film such as hand painting and scratching directly into  
the film stock which is seen in her later work. Painted directly on  
to 35mm film stock by Tait, and digitally restored with help from  
staff at the BFI National Archive, it screened at the Tait  
retrospective at the Edinburgh International Film Festival in 2004.  
‘It is like watching a heart burst open, this vibrant display of  
Tait’s love of colour, music, rhythm, image and most of all, open  
connection, as a line of colour turns from a bird into a fish into a  
bat and ball into a hand’. Ali Smith. The Margaret Tait Years.

Rose Street from 1956 and Aspects of Kirkwall: Some Changes from 1981  
present Tait’s ongoing interest in looking through the camera. Rose  
Street is where she lived in Edinburgh while Kirkwall was her  
hometown on Orkney. In Rose Street she records the atmosphere and  
pace of the streets in shots of shops, pubs, and children at play.  
Aspects of Kirkwall: Some Changes is part of the larger series,  
Aspects of Kirkwall, which includes five films in total. This  
sequence of films used material shot between 1954 and 1980 that  
reflects her ongoing practice of working on projects over several  
years. While Rose Street has sounds from the street, Aspects of  
Kirkwall: Some Changes also has Tait’s own voice which near the  
beginning is heard asking people how Kirkwall has changed.

The Leaden Echo and the Golden Echo reflects Tait’s interest and  
engagement with poetry which would also see her publish three books  
of poems within two years (1959/1960). This film contains perhaps  
some of her earliest images being filmed over the period 1948 to  
1955. While several of her films include her own voice, she rarely is  
seen in her films apart from occasionally while filming reflected in  
a mirror, or as a shadow. In this film, apart from a fleeting  
appearance at the end of Three Portrait Sketches (1951), this film  
does. She edited the film to her own reading of the poem by Gerard  
Manley Hopkins

Running order –
Calypso. 1955. 4 mins. 35mm. Colour. Sound.
Rose Street. 1956. 20 mins. 16mm. B/W. Sound.
Aspects of Kirkwall: Some Changes. 1981. 22mins. 16mm. Colour. Sound.
The Leaden Echo and the Golden Echo. 1955. 7 mins. Colour Sound.
www.lux.org.uk/margarettait

4.
23 November – 3 December
Charles Atlas: Instant Fame!
Vilma Gold
25 b Vyner Street
London E2 9DG
www.vilmagold.com

5.
Friday 24 November 2006, at 3pm
ANALOGUE: PIONEERING ARTISTS' VIDEO FROM POLAND (1968-89)- Panel  
discussion
Tate Modern, Starr Auditorium
Tickets: £5, booking recommended
Box Office: 020 7887 8888 or online at www.tate.org.uk

This discussion highlights Poland's significant and pioneering  
contribution
to video art. It features artists Jozef Robakowski, Zbigniew Libera and
Marysia Lewandowska; Dr Lukasz Ronduda, Curator of Film and Video at the
Centre for Contemporary Art in Warsaw; and Tate curator Stuart Comer.


Through a series of exhibitions, screenings, performances and  
discussions
Analogue, aims to illuminate the early histories of artists' video,  
linking
the work of artists in the UK, Canada and Poland in order to broaden an
understanding of how, in the course of thirty years, a versatile and
politically charged medium made the transition from the margins to the
mainstream of contemporary practice.

Analogue has been developed by Catherine Elwes and Dr Chris Meigh- 
Andrews in collaboration with Professor Lisa Steele, Peggy Gale and  
Tate.

6.
Friday 24 November 2006, at 7pm
ANALOGUE: PIONEERING ARTISTS' VIDEO FROM POLAND (1968-89)- Screening
Tate Modern, Starr Auditorium
Tickets: £4, booking recommended
Box Office: 020 7887 8888 or online www.tate.org.uk

This screening forms a crucial part of a tripartite event taking  
place over
two consecutive weekends at Tate Britain and Tate Modern, presenting  
seminal
early video from the UK, Canada and Poland. Video art appeared in  
Poland in
the early 1970s within the creative community known as the Workshop  
of the
Film Form. The Workshop's open, multidisciplinary nature and its  
members?
fundamental, shared interest in new media inspired them to adopt  
video as
the primary medium for their activities almost as soon as the  
appropriate
technology appeared. Members also possessed an analytical stance that
compelled them to explore and reveal the inherent qualities of the media
they used. Thus, this other art of the moving image apart from cinema
became the focus of their singular, artistic exploratory interest, an
interest they directed toward the structural and expressive qualities  
of the
medium.

Pawel Kwiek, Video A, 1974, 8.30 min
Pawel Kwiek, Video C, 1974, 8.30 min
Janusz Kolodrubiec, Transmisja, 1977, 3 min
Janusz Szczerek, Disturbance, 1977, 6 min
Janusz Szczerek, Sumberge Messiah, 1984, 6 min
Zbigniew Libera, jak tresuje sie dziewczynki, 1986, 16 min
Jerzy Truszkowski, Pozegnanie Europy, 1987, 14 min
Jozef Robakowski, Moje Videomasochizmy, 1989?90, 5 min
Jozef Robakowski, Taniec z drzewami, 1985, 2.30 min
Jozef Robakowski, Boli mnie moja noga, 1989, 3 min
Jozef Robakowski, Piesni nastrojow, 1988, 2 min
Adam Rzepecki, Every dog has his day, 1989, 5 min


Through a series of exhibitions, screenings, performances and  
discussions
Analogue, aims to illuminate the early histories of artists' video,  
linking
the work of artists in the UK, Canada and Poland in order to broaden an
understanding of how, in the course of thirty years, a versatile and
politically charged medium made the transition from the margins to the
mainstream of contemporary practice.

Analogue has been developed by Catherine Elwes and Dr Chris Meigh- 
Andrews in collaboration with Professor Lisa Steele, Peggy Gale and  
Tate.

7.
Friday 24 November, doors 8pm, performances 8.45pm
Shoot Shoot Shoot DVD launch and special performance event
Basement Gallery, Candid Arts
3 Torrens St, Angel
Directions from www.candidarts.com
ADMISSION FREE arrive early to avoid disappointment.
Special expanded cinema performance event to mark the launch of the  
new LUX/Re:Voir DVD, Shoot Shoot Shoot: British Avant-Garde Film of  
the 1960s and 1970s. Guy Sherwin’s Configuration (1975) has been  
unseen since the 1970s, and William Raban’s Wave Formations  
(1977-2006) will be projected for the first time in its new  
arrangement. The DVD will be on sale on the night for a special  
reduced price of £15 (usually £19.99)

CONFIGURATION (Guy Sherwin, 1976, 10 minutes)
for 2 x Super-8 projectors, live performer
“In this film performance a hand-held projector and a stationary  
projector
reproduce the movements of the two cameras used in making the film.  
The film
was made outdoors in a clearing in a wood. The filmmaker held one  
camera and
moved in a circle around the stationary camera while recording  
variations of
the same view. The two cameras occasionally cross each other’s path.  
In time
we see the gradual approach of a figure towards the two cameras and her
subsequent involvement in the act of filming. During the performance,  
the
two films are projected together onto a screen. The performer holds one
projector and moves in a circle around the stationary projector,  
echoing the
original camera movements. At times, shadows of projector and  
projectionist
are thrown upon the screen." (Guy Sherwin, 2006)

WAVE FORMATIONS (William Raban, 1978, 25 minutes)
for 5 x 16mm projectors, 2 x strobe lights, live performer
"Part one: Variation in Density: The picture on each of the five  
screens are
identical, seven second fades from black, through clear, to black  
again. The
same fade is printed onto the optical sound track to synchronise with  
the
picture. Then follow fades from light to dark. And from dark to  
light. Part
Two: Intermittency: Relative patterns of occlusion and exposure  
occupy two
screens. Each exposure fires a stroboscopic flash of colour: yellow  
for one
screen; blue for the other, filling the centre of both screens with  
colour,
haloed with after-image complementaries.” (William Raban, 1978)

8.
Friday 24 November 6.30 - 8pm
The Black Moving Cube: Black Figuration and the Moving Image
Tate Britain Auditorium, entrance near Clore Gallery
£7 (£4 concessions), booking recommended. Price includes drinks  
afterwards
For tickets book online http://www.tate.org.uk/britain/ 
eventseducation/talks/7772.htm
or call 020 7887 8888.
www.blackmovingcube.co.uk
This panel discussion and screening marks the London launch of a  
major season presenting key works made by black artists working in  
the moving images. The curators – David A Bailey (Curator Autograph  
ABP), Cylena Simonds (Exhibitions Coordinator, inIVA) and Trevor  
Schoonmaker (Curator Contemporary Art Nasher Museum of Art at Duke  
University, Durham North Carolina) – come together to discuss works  
by Sanford Biggers, Inge Blackman, Mark Bradford, Jonathan Calm,  
Grace Ndiritu, Harold Offeh, Kole Onile-Ere, Kaz Ove, John Sealey,  
Hank Willis Thomas and Kambui Olujimi.

9.
Saturday 25 November 1.30pm
London: City of Disappearances. Film screening and reading
The London Butterfly House
Syon Park
Nearest tube/ rail: Gunnersbury - district line, then buses 267 / 237  
or Hounslow East (piccadilly line) then buses 235 / 237, Kew Bridge  
Station (overland) then buses 267 / 237.
See www.londonbutterflyhouse.com for directions.
Screening free with price of admission to the Butterfly House.

To mark the publication of Iain Sinclair's book London: City of  
Disappearances a special artists' film screening and reading takes  
place at the London Butterfly House, which is threatened with closure  
in the next year. As well as readings by Iain Sinclair and other book  
contributors, there will be a screening of artists' films reflecting  
on the themes of the book.
See www.lux.org.uk/resources/calendar.htm for full programme details.


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