[LuxWeeklyNews]
LUX weekly news - events and openings in London this week
luxweekly at lux.org.uk
luxweekly at lux.org.uk
Tue Oct 10 14:53:33 CDT 2006
LUX Weekly news – 10th October – 15th October
EVENTS AND OPENINGS IN LONDON THIS WEEK
1. Artprojx and Anthony Reynolds Gallery presents
Mark Wallinger 'THE END' (2006)
Prince Charles Cinema, 9 - 15 October
2. Gillan Wearing, Family History
Maureen Paley, 10 October – 19 November
3. Artprojx with Christina Wilson Gallery and Perry Rubenstein
Gallery presents: Jesper Just: It Will All End In Tears, 2006
Prince Charles Cinema, Tuesday 10 October 7-8pm
4. Doug Fishbone: The Idea Store
Gimpel Fils, 10th October - 18th November
5. Julian Opie, Walking Dancing Undressing Smoking
Alan Cristea Gallery, 11 October – 18 November
6. Fast and loose (my dead gallery) / London 1956-2006
curated by the Centre of Attention
Fieldgate Gallery, 13 October – 5 November
7. The Artists Cinema, a LUX / Frieze Projects collaboration
Frieze Art Fair, 12-15 October
8. Ryan Gander, Is this guilt in you too— (Cinema Verso)
Whitechapel Library building, STORE Gallery, 14 October – 5 November
9. Martin Creed, Sick Film
Curzon Mayfair, Friday 13 October 9.30pm & 11pm
10. Flavia Muller Madeiros, Twang Twang Dreamland, a new film project
Bearspace, 13th October - 11th November
Wed - Sat 12 - 5pm
1.
Artprojx and Anthony Reynolds Gallery presents
Mark Wallinger 'THE END' (2006)
35mm film (12 mins)
9 - 15 October 2006
Prince Charles Cinema
7 Leicester Place, London WC2.
www.princecharlescinema.com
The title of the work implies both termination and intent. Taking one
of the most routine elements of any movie, the credits that wrap up
the picture, Wallinger presents an ultimate cast of characters that,
accompanied by a classic cinema soundtrack, gives us the complete
experience, the greatest story ever told, the beginning and the end.
With the simplest of means, a scrolling text, Wallinger evokes the
grandest, most thrilling and awe-inspiring cinematic epic.
Over the last 12 years, he has consistently made some of the most
challenging film and video works. Addressing the structure of the
medium, the nature of the cinematic experience, the relationship
between still and moving image, the quality of illusion, the power of
narrative, the live act and its representation, Wallinger's film and
video works have explored an astonishing thematic range with great
intelligence and originality. An artist able to work in any medium,
Wallinger has a major installation opening at Tate Britain in January
2007.
Wallinger's film 'A Lark Ascending' was screened to great acclaim
with Artprojx at the Prince Charles Cinema in February 2004.
'The End' will be showing before all main features during the week.
Visit the cinema's website to see which films are showing, get to the
cinema early and get your ticket for the feature film of your choice.
2.
Family History, Gillan Wearing
Maureen Paley
10 October – 19 November
21 Herald Street
London E2 6JT
0207 729 4112
info at maureenpaley.com
www.maureenpaley.com
3.
Artprojx with Christina Wilson Gallery and Perry Rubenstein Gallery
presents:
Jesper Just: It Will All End In Tears, 2006
35mm (20 mins)
Tuesday 10 October 7-8pm
Prince Charles Cinema
7 Leicester Place, London WC2.
Box Office: +44 (0) 20 7494 3654 (open 1-9pm)
Tickets £7.50
Artist and Student ticket discount information visit
www.artupdate.com/artprojx
www.princecharlescinema.com
The works of Jesper Just (born 1974) have often been interpreted as
homo-erotic, but the word ‘queer’ with all its connotations would
perhaps be more appropriate. The films could perhaps be construed as
feminist, at least, to the extent that feminism is about the
recognition of sexuality as a social construction, and not merely
concerned with the problem of sexual equality.
In Jesper Justs new film "It Will All End In Tears" Just, as often
seen before in his works, present the problem of the relationship
between generations – or – more precisely, the relationship between
father and son, both in literal and metaphorical terms.
Jesper Just is not simply concerned with a representational-critical
reiteration of cinematic clichés; he also manages to pose questions
of a more existential character, questions that touch on men¹s way of
being and being together.
Jesper Just will be in conversation after the screening.
4.
Doug Fishbone: The Idea Store
Gimpel Fils
10th October - 18th November
30 Davies Street
London
www.gimpelfils.com
Doug Fishbone recycles the language of the mass media in order to
critique some of the more unseemly aspects of life in the modern
age. Appropriating photographic and digital imagery from the
internet, he constructs witty and occasionally shocking film
narratives from apparently unrelated material, questioning the way
the mind processes controversial visual images and concepts.
Downstairs at Gimpel Fils, Fishbone will expand upon his interest in
stand up-comedy, investigating the operation of humour from a number
of different perspectives and media: a series of digital prints each
depicting a story-board of individual jokes and visual puns; a silent
film in which all the humour is delivered through subtitled
photographs; and a sound box which delivers jokes at the touch of the
button. He is particularly interested in the operation of jokes as
commodified pieces of language and thought.
Alongside these, Fishbone will exhibit a short film in which he tries
to hustle money from the audience to fund a film project he has in
the works, pandering to them with all the glib charm of a two-bit
salesman or, possibly, a contemporary politician. Go on, he says, do
it for the kids…
5.
11 October – 18 November
Julian Opie
Walking Dancing Undressing Smoking
Alan Cristea Gallery
31 Cork Street
London W1S 3NU
020 7439 1866
info at alancristea.com
http://www.alancristea.com
6.
fast and loose (my dead gallery) / London 1956-2006
curated by the Centre of Attention
Fieldgate Gallery
13 October – 5 November
67 Clapton Common
London
E5 9AA
020 8880 5507
on at thecentreofattention.org
http://www.thecentreofattention.org
7.
12-15 October 2006
The Artists Cinema
Frieze Art Fair
Regent’s Park, London
The Artists Cinema is a Frieze Projects/LUX collaboration to
construct, programme and run a cinema for artists’ film and video
within Frieze Art Fair. First realised at the fair in 2005, The
Artists Cinema programme focuses primarily on recent international
artists’ film and video and this year includes premieres of the first
co-commissions by Frieze Projects/LUX from Manon de Boer, Miguel
Calderón, Bonnie Camplin, Phil Collins and Apichatpong Weerasethakul.
Their 35mm films will be screened daily alongside an invited
programme of film and video selected by specialist artists and
curators. Each invited curator was asked to compile a programme that
focussed on contemporary film and video, its relationship to
historical legacies or modern life. For the first time, these
programmes are complemented by special presentations of expanded
cinema and performance projects.
Access to The Artists Cinema is included in the Frieze Art Fair
admission ticket. Seats are limited so please arrive early to avoid
disappointment. There will be no admission to the auditorium after
each programme has started and the organisers reserve the right to
make programme changes.
The Artists Cinema is clearly indicated on the Frieze Art Fair map
and is located in the top right hand corner. Please bear in mind it
may take at least 10 minutes to walk to the cinema from the fair’s
entrance point.
Frieze Art Fair, Regent’s Park, London
12-15 October 2006
Thursday 12 October to Saturday 14 October, 11am – 7pm
Sunday 15 October, 11am – 6pm
One Day Advance £12 Door £18
Concessions Advance £6.50 Door £10
Four Day Pass Advance £30 Door £50
Book in advance, before 4 October, and benefit from discounts & fast
track entry. Booking fee applies.
Box Office & 24 hour credit card hotline:
See Tickets +44 (0)870 890 0514
Group Bookings +44 (0)870 899 3342
Online Bookings wwww.seetickets.com
www.frieze.com
The Artists Cinema is a Frieze Projects/LUX collaboration and is co-
ordinated by Ian White.The Artists Cinema is supported by Frieze Art
Fair, Arts Council England and the Culture 2000 programme of the
European Union.
THE ARTISTS CINEMA COMMISSIONS
Five artists have been commissioned by Frieze Projects/LUX to make
short 35mm films that will premiere at the fair. The artists have
been invited to make works that respond to, comment on, interrupt or
reflect their cinematic context. The films will be screened daily in
The Artists Cinema and will subsequently tour to UK cinemas to show
before main features, through the Independent Cinema Office.
Manon de Boer’s film Presto – Perfect Sound depicts composer and
violinist, George Van Dam, performing the fourth movement of a Bartok
violin sonata. The film is a structuralist meditation on the
relationship between sound and image and offers an intense reflection
on a moment of creative concentration, when the subject is fully
absorbed, almost as if out of sync with the world around him.
Miguel Calderón’s Guest of Honor is one of an ongoing series of
narrative shorts films which will one day come together as a longer
film. Guest of Honor follows a family who encounter a deer on a
Sunday picnic excursion and adopt it as a domestic pet with bizarre
and scatological consequences.
Bonnie Camplin’s film Special Afflictions by Roy Harryhozen is
inspired by the British horror film of the 1970’s The Mutations.
Camplin’s film features four characters diabolically altered with a
‘special effect’. Combining live action and animation it is a surreal
meditation on man’s hopeless relationship with his own consciousness.
Phil Collins’s film he who laughs last laughs longest was produced
over the summer of 2006 at an event the artist organised to find the
person who could laugh continuously for the longest interval for a
cash-prize. Filmed in Columbus, Ohio, a well–known battleground of
the 2004 election, the validity of which has been contested, he who
laughs last laughs longest touches upon ideas of denial, hollowness
and hysteria, while focusing on the struggle to sustain one of the
most primitive and deceptive forms of communication. Co–produced with
the Wexner Center for the Arts.
Apichatpong Weerasethakul’s The Anthem is a celebration of film
making and the viewing experience. Weerasethakul uses the format of a
ceremonial blessing ritual to present a ‘Cinema Anthem’ that praises
and blesses the approaching feature for each screening. The ritual is
supposed to make any film a masterpiece.
Running time: approximately 25’
The Artists Cinema commissions are produced by Frieze Projects and
LUX in collaboration with the Independent Cinema Office and supported
by Arts Council England.
LUX is an agency for the support and promotion of contemporary and
historical artists' moving image work, through distribution,
exhibition, publishing and research. LUX is financially supported by
Arts Council England. www.lux.org.uk
Frieze Projects is the annual curatorial programme presented at
Frieze Art Fair. It comprises installation and site specific
interventions, film, performance, debate and conversation through
Frieze Commissions, Frieze Talks and The Cartier Award.
Frieze Projects is curated by Polly Staple.
Frieze Projects is supported by Arts Council England, and Culture
2000 programme of the European Union (2005-07), in association with
International Studio Programme in Sweden, Stockholm; Stedelijk Museum
Bureau Amsterdam; Project Arts Centre, Dublin and Platform Garanti,
Istanbul.
Frieze Projects is presented in association with Cartier.
NOTHING IN COMMON
40 YEARS OF THE LONDON FILMMAKERS’ CO-OP
Friday 13th October 5.00pm
The London Film-Makers’ Co-operative (LFMC) was established 40 years
ago today, on 13 October 1966. An artist-led project it incorporated
a distribution collection, screening room and film workshop. It grew
from an informal film society into one of the major international
centres of avant-garde cinema and its films form the basis of the
current LUX collection. Many LFMC filmmakers experimented with
projection techniques, creating expanded cinema performances,
installations and multi-screen films, with artists such as Malcolm Le
Grice prefiguring much of contemporary practice with his remarkable
body of work. In Castle One, made from scraps of footage found
outside commercial film labs, a photoflood light bulb is hung
directly in front of the screen and flashed intermittently during
projection, bleaching out the image, illuminating the screening room
and breaking down the relationship between film and audience. Gill
Eatherley’s Aperture Sweep, from her ‘Light Occupations’ series of
film related activities, is a double screen performance in which
Eatherley, armed with a broom (amplified to be both seen and heard),
appears to sweep the screen clean for future projections. Both pieces
attempt a kind of erasure of the onscreen image, conceptually and
physically challenging the roles of maker and spectator. MW
CASTLE ONE, Malcolm Le Grice, UK 1966, 16mm/performance, 20’
APERTURE SWEEP, Gill Eatherley, UK 1973, 16mm/performance, 10’
‘Nothing in Common’ is a special presentation of The Artists Cinema,
curated by Mark Webber.
Running time: c. 30’
BOHEMIAN LOBOTOMY
k2 Aufbau Organisation (featuring k2ao & Stephan Dillemuth)
Sunday 15th October 5.00pm
k2 Aufbau Organisation is an artists’ collective from Munich. They
have been collaborating on artistic research projects since they
founded in 2005. The group’s inquiry into recent changes in the idea
of the public sphere takes place against the backdrop of our
globalised, localised and fragmented playgrounds. Considering the
impact of 'lifestyle' as a new ideology of self-fulfilment and
liberation, k2 Aufbau Organisation has investigated the Munich
Bohemia leading to the Munich soviet republic of 1918/19 and present
a video/performance work derived from this.
At the turn of the 19th century, Munich had the most vigorously
booming art market and was in competition with Paris for the coolest
place to be a bohemian. Art Nouveau, the Cosmic Circle, Aesthetic
Fundamentalism and a lively cabaret scene were the pus-filled pimples
on the face of the empire of the day (the Wilhelminian Reich). Some
of these activities were perhaps no more than cosmetic irritations,
whilst others, purposely or otherwise, contributed to the venomous
flow that poisoned most of the brains in Europe. And then, after the
common man realised that carnage was no fun and militarism and
nationalism went out of fashion in the autumn/winter season of 1918 –
then it happened: a group of artists and intellectuals succeeded in
introducing a homemade soviet republic - peacefully. So anarchy ruled
for a few months – but eventually the bloodbath resumed and the
rotting corpses of workers and artists, this time involuntarily, made
Munich a fertile ground for more disasters to come.
Having looked at various ways in which new and sometimes fragile
artistic ideas can be exploited, both today and back in the first
half of the 20th century, it appears that the artist’s scope for
action has always been extremely narrow. Questioning these phenomena,
as well as pre-conceptions of the ‘new’ in art, k2 Aufbau
Organisation tries to explore the boundaries of the artist’s range of
activity. SD
Bohemian Lobotomy is a special presentation of The Artists Cinema
Running time: approximately 40’
FOUR INSTRUCTIONS FOR FILMS
Yoko Ono
Yoko Ono pioneered the conceptual practice that employed the written
instruction as an artwork. Drawing in part from traditional Japanese
culture, in part from the avant-garde compositions of artists such as
John Cage and La Monte Young in the late 1950’s and early ‘60’s she
began by making paintings that were completed by the artist and/or
the viewer following a set of directions. These and other pieces
were published in the seminal book Grapefruit (1964). The often
strikingly beautiful simplicity of the instruction’s phrasing and
content invokes the imagination at the same time as rooting the works
very much within a social context, through the numerous levels on
which they might be interpreted.
Ono’s ‘Instructions for Films’ are less well known despite some also
being included in Grapefruit. The Artists Cinema republishes four of
them: Mona Lisa & Her Smile, Film Script 3, Film Script 4 and Film
Script 5, distributing for free a different work each day to those
attending the cinema. IW
‘Four Instructions for Films’ is a special project of The Artists
Cinema.
RITUALS
Curated by Cristina Ricupero
Thursday 12th October 11.30am
Friday 13th October 2.45pm
Saturday 14th October 1.30pm
This programme brings together works that create uncanny, bizarre and
sometimes threatening situations. Most of the films and videos
presented here are highly staged, sometimes theatrical. In contrast
to the social-political documentary style, which has been extremely
prominent in the visual arts recently, these works plunge the viewer
into artificial, absurd and even phantasmagorical worlds. In many of
the works one is confronted with groups performing ritualistic
activities. References to science fiction, suspense, soft-porn and
horror B-movies are very prominent and filmmakers such as Jean-Luc
Godard, David Lynch, Stanley Kubrick and Dario Argento are clearly
quoted as inspiration. ‘Rituals’ is a loose, generic title, which
tries to give a glimpse of this renovated interest for fictitious
artificial contexts. CR
TEN IN LOVE, Markus Schinwald, Aus 2006, 35mm, 5’ Courtesy Georg
Kargl, Vienna
SECRET STRIKE / RABOBANK, Alicia Framis, Neth 2004, video, 10’
Courtesy Annet Gelink Gallery, Amsterdam
1984 AND BEYOND (extract), Gerard Byrne, Neth 2006, DVD, 6’
Courtesy the artist and Lisson Gallery
SCENE FOR NEW HERITAGE, David Maljkovic, Croatia 2004, video, 5’
DO IT, Aïda Ruilova, US 1999, DVD, 31”
MORNING OF THE MAGICIANS, Joachim Koester, It/Den/Bel 2005-6, 16mm on
DVD, silent,4'
UM, Aïda Ruilova, US 2005, DVD, 16”
IN THE PALACE, Daria Martin, US 2000, 16mm, 7’
TIGER LICKING GIRL’S BUTT, Nathalie Djurberg, Swe 2004,DVD, 2’
BODY DOUBLE 16, Brice Dellsperger, Fr 2003, DVD, 6’
ON FIRE, Nathalie Djurberg, Swe 2006, DVD, 3’
LIFE LIKE, Aïda Ruilova, US 2006, DVD, 5’
URBAN SURFACE, Gabriel Lester, Neth 2005, video, 10’
Collection museum De Paviljoens, Almere, The Netherlands. Courtesy
Gallery Fons Welters, Amsterdam. Running time: 64’
ART IS WHAT MAKES LIFE MORE INTERESTING THAN ART
Curated by The Otolith Group: Anjalika Sagar & Kodwo Eshun
Thursday 12th October 1.30pm
Sunday 15th October11.30am
What happens when art does not aspire to represent an event but
instead tries to be at one with an event, to be contemporary with
whatever is occurring? Under what conditions does art lose its place
and its role in order to live the temporality of an event? What
happens when art achieves presentation rather than representation?
These films neither answer nor ignore these questions; instead, they
disperse them, through innumerable pathways that never quite manage
to converge. In Bani Abidi’s Shan Pipe Band Learns the Star Spangled
Banner, musicians practice the American anthem in a back room in
Lahore. In doing so, they inadvertently deconstruct its overbearing
nationalism. Richard Couzins’ Meat offers an object lesson in
slapstick structuralism and the noise of art. Amar Kanwar’s To
Remember proposes a sombre meditation on the aftermath of a massacre
while Philippe Welsh’s The Drift offers a passage across and between
the dimensions of time, space and water. In Zhou Hong Xiang’s The Red
Flag Flies, 21st Century teenagers re-enact Maoist model worker opera
in our age of Communist Capitalism and in Phillipe Reichenheim’s
Civilization Virus, mute ethnographers explore the behavioural
responses of white crowds at winter time. AS/KE
SHAN PIPE BAND LEARNS THE STAR SPANGLED BANNER, Bani Abidi,
Pakistan 2004, video, 8’
MEAT, Richard Couzins, UK 2003, 16mm, 3’
TO REMEMBER, Amar Kanwar, Ind 2003, video, 8’
LA DERIVE/THE DRIFT, Philippe Welsh, Fr 1998, 35mm, 8’
THE RED FLAG FLIES, Zhou Hongxiang, China 2003, video, 25’
CIVILIZATION VIRUS, Philippe Reichenheim, Ger 1993, 16mm, 13’
Running time: 64’
NO MATTER WHAT, I WILL ALWAYS BE DISTANT FROM YOU
Curated by Christine Tohme
Thursday 12th October 2.45pm
Saturday 13th October 11.30am
In theatre, the use of particular genres – for example the epic or
realism - assists the spectator in distancing him/herself from the
dramatic action that unfolds before his/her eyes. Could the staged
performance play the same role in video?
In Sharif Waked’s Chic Point, the ironically staged fashion show
prepares us for the atrocious reality of the work’s second part,
distancing ourselves from complacency in its misery and melodrama. In
The Cave, Wael Shawky chooses an ‘inappropriate’ space to recite - or
perform? - his prayer. He highlights a distortion, somehow Brechtian,
reminding us of Islam’s complicity with liberalism, consumer society,
and bourgeois values, making relative ‘the clash of civilisations.’
Narrator and storyteller Rabih Mroué, tells war stories – real or
fictional? - to develop a critical position towards sound and image
and to war itself. Face A Face B makes frantic, futile attempts to
bring sound and image together. Laden with subtleties, Love
manipulates scale: miniscule workers on a set/construction site of
surreal proportions are alienated from themselves through this
seemingly implacable, almost macrocosmic dimension. When a long close-
up restores the human to the more immediate and intimate, we are left
at prey to pure tragic emotion. CT
CHIC POINT, Sherif Waked, Can 2003, DVD, 7’
THE CAVE, Wael Shawky, Neth 2004, DVD, 15’
FACE A FACE B, Rabih Mroué, Leb 2002, miniDV, 10’
LOVE, Vlatko Giliç, Serbia and Montenegro 1973, DVD, 24’
Running time: 54’
AMERICA’S MOST WANTED
Curated by Stuart Comer
Thursday 12th October 5.00pm
Sunday 15th October 1.30pm
The programme pairs a 1974 documentary about the pivotal and
controversial auction of Robert and Ethel Scull’s Pop Art collection
with a screening of a work by American artist Sharon Hayes that
reconstructs another key event in 1974: the abduction of Patty Hearst
by the Symbionese Liberation Army. In addition to raising fundamental
questions about art, business and the market, America's Pop Art
Collector offers an important snapshot of the New York art world at
the time. Hayes’ video tapes are a documentation of herself reciting
to an audience, from memory, Hearst’s broadcasts to her parents
during her kidnapping. As she inadvertently forgets her lines Hayes
is prompted by the audience equipped with the original transcript.
The video tapes themselves are distributed for free during the event.
Juxtaposing two distinct approaches to the documentary - direct
cinema and re-enactment - and contrasting East Coast and West Coast,
the screening will reconsider the early 1970s as a transitional
moment that anticipated our current climate of market prosperity and
terror. SC
Director John Schott will introduce both screenings.
AMERICA’S POP COLLECTOR: ROBERT C. SCULL – CONTEMPORARY ART AT
AUCTION, John Schott and EJ Vaughn, US 1974, 72’
SYMBIONESE LIBERATION ARMY (SLA), Sharon Hayes, US 2002, video
([Saturday] SCREEDS #13 (9’) & #20 (21’) / [Sunday] SCREEDS #16 (10’)
& #29 (15’))
Running time: 102’ [Saturday] / 97’ [Sunday]
PERFORMANCE ANXIETY
Curated by Maria-Christina Villaseñor
Friday 13th October 11.30am
Saturday 14th October 2.45pm
Released in 1927, The Life and Death of 9413—A Hollywood Extra was
suspected of being ‘un-American’ for its sympathetic portrayal of the
movie extra as a menial and struggling worker. ‘Performance Anxiety’
explores agency and the fashioning of roles and personas - public and
private, studied and unstudied, witting and unwitting. Mac
Carbonnell examines attitudes toward the still and moving camera.
Contributing to the Ann Lee series, Philippe Parreno’s anime
character-for-hire contemplates her existence as commodity and
cipher. Bruno Varela reflects on using 300 rural inhabitants of
Oaxaca (Mexico) as video extras. Utilizing the heightened theatrics
of silent film, Shannon Plumb represents the quotidian though equally
theatrical performances of flight attendants. Gabrielle Jennings
explores ‘winning’ and ‘losing’. Gesture in Kota Ezawa’s work renders
a quietly potent reading of celebrity culture and public judgement.
Tamy Ben-Tor fashions outsized and outspoken characters in her
mockumentary, while Paul Chan’s playful iconography is a commentary
on pseudo-scientific characterizations. Finally, Anne-Marie Jacir
blurs the line between documentary and fiction, questioning where the
authority to validate identity lies. M-CV
THE LIFE AND DEATH OF 9413 – A HOLLYWOOD EXTRA, Robert Florey &
Slavko Vorkapich, US 1927, film-to-video, 13’
VIDEO PORTRAITS: SHIZU, THEO, LAUREN, Mac Carbonnell, US 2006, video, 9’
PAPELES SECUNDARIOS, Bruno Varela, Mex 2004, video, 10’
FILM SKETCHES: STEWARDESS, Shannon Plumb, US 2001, film-to-video, 2’
WIN/LOSE, Gabrielle Jennings, US 2006, video, 3’
THE SIMPSON VERDICT, Kota Ezawa, US 2004, video, 3’
WOMEN TALK ABOUT ADOLF HITLER, Tamy Ben-Tor, US 2006, video, 8’
NOW LET US PRAISE AMERICAN LEFTISTS, Paul Chan, US 2000, video, 2’
LIKE 20 IMPOSSIBLES, Anne Marie Jacir, Palestine/US 2003, video, 13’
Running time: 64’
FILM AS EVENT
Curated by Sharon Lockhart
Friday 13th October 1.30pm
Saturday 14th October 5.00pm
Each of these four films explores the complex set of relationships
surrounding the ‘performance’ of a film. They call into question the
role of the director, the projectionist, the audience, and the screen
in defining the event itself.
Morgan Fisher’s Projection Instructions consists only of a succession
of written cards that are simultaneously read by a narrator and
detail a set of instructions to the projectionist to manipulate the
controls of his machine. Erika Vogt’s Surface Screen Projection is an
optically printed copy of a hand-animated film in which the film and
screen surface synchronously split over time. Lindsay Ljungkull’s
Darkness Silence Touch is a three-part film in which the director
plays a record live on a turntable, interviews her future self at the
back of the audience, and ultimately rejects performance in,
ironically, the most traditionally performance-related section of the
three sequences. In Richard Serra’s Color Aid monochrome colour cards
lying on top of each other and filling the whole screen are being
pulled away individually with a swishing sound by a single finger,
each time bringing a new colour into view. SL
PROJECTION INSTRUCTIONS, Morgan Fisher, US 1976, 16mm, 4’
SURFACE SCREEN PROJECTION, Erika Vogt, US 2006, 16mm, silent, 12’
DARKNESS SILENCE TOUCH, Lindsay Ljungkull, US 2006, 16mm, 25’
COLOR AID, Richard Serra, US 1970-71,16mm, 22’
Running time: 63’
8.
14 October – 5 November
Is this guilt in you too— (Cinema Verso), Ryan Gander
Whitechapel Library building
STORE Gallery
92 Hoxton Street
London N1 6LP
0207 729 8171 http://www.storegallery.co.uk/exhibitions/Cinema%20Verso/
The former Whitechapel Library plays host to Ryan Gander’s
installation 'Is this the guilt in you too— (Cinema Verso)', a poetic
meditation on disorientation and loss. The work locates the viewer in
an imaginary backspace behind a cinema screen: on the transluscent
screen a film flickers, but in reverse, while beyond it we glimpse
but cannot access a ghostly, empty auditorium.
To enter Ryan Gander's 'Cinema Verso' the viewer passes through a
drab, institutional corridor. A door at the end of that short
corridor opens up into a large, dark room that has a few odd objects
dotted about it. The room seems to be some sort of barely-used
storeroom - a non-space cut off from whatever the main function of
this building might be. The only light comes from a cinema screen,
but looking at the screen, it becomes clear that we are standing
behind it.
9.
Martin Creed Sick Film
Curzon Mayfair, Friday 13 October 9.30pm & 11pm
38 Curzon Street
London W1J 7TY
For further information please contact: HAUSER & WIRTH LONDON
Phone +44 (0)20 7287 2300, london at hauserwirth.com
Martin Creed's latest work Sick Film will be premiered during Frieze
week 2006 at the Curzon Mayfair cinema.
The film is of people vomiting. Creed transforms this violent - and
to some repulsive - act into an elegiac performance. With this
simple human gesture, the act of creation becomes a visceral and
convulsive impulse. Typically of Creed's work - which frequently
operates beyond the usual boundaries of art making – chance and
spontaneity are central to Sick Film.
“I am trying to get from the inside out.” (Martin Creed: from The
Roland Penrose Memorial Lecture, The National Gallery, London,
November, 2005.
10.
Flavia Muller Madeiros, Twang Twang Dreamland, a new film project
Bearspace, 13th October - 11th November
Wed - Sat 12 - 5pm
152 Deptford High Street
London SE8 3PQ
0208 691 2085 bearspace at thebear.tv
www.thebear.tv/bearspace
Solo exhibition of new film work.
In Flávia Müller Medeiros' "Inaugurate" shown at Beck's Futures 2006,
we were seduced by the long and slow take from "Easy Rider"
accompanied with the soundtrack featuring a public speaker on
steroids who spoke at an unintelligible pace. In her new piece "Twang
Twang Dreamland" we are drawn into the voice of a young woman
recalling in a Southern American drawl, moments and places of her
childhood. Our view remains locked on the still image capturing the
periphery of a town surrounded by debris. Both image and soundtrack
are snapshots gleaned from the net. The girl's intimate story is in
contrast with the lack of resolution of the projected image. The
spoken account draws us right into the house where the narrator grew
up. Simultaneously the snapshot of the town surrounded by signs of
war-like destruction, prohibits us from getting closer to the
subject. Behind the open space strewn with debris we can identify a
couple of houses and a tree in the middle distance.
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