[LuxWeeklyNews] This Friday you are invited to Select: A Night with Rosalind Nashashibi

[luxweekly at lux.org.uk]

you are invited to

Friday 4th May 8pm
Select: A Night with Rosalind Nashashibi
as part of Late at Tate Britain, Clore Auditorium, Millbank

Admission free, no bookings taken. Free tickets are available on the  
night from 18.00 at the Clore Foyer desk. Seated on a first-come,  
first served basis.

http://www.tate.org.uk/britain/eventseducation/film/8366.htm

Artist Rosalind Nashashibi presents a night of films and  
performances. Including work by Thomas Bayrle, Bonnie Camplin, Morgan  
Fisher, John Smith, Apitchatpong Weerasethakul and performances by  
Sue Tompkins and Will Holder.
Select is a LUX/ Tate collaboration inviting British artists to  
curate a night of film and performance which inspires them

Sunbeam (extract)- Thomas Bayrle (1994, 16 mm film and video,  
computer, sound, 6 min)
In this work, the leaf-containers of the plant are used again. They  
are "filled" with a car-park scene ... just like a pot can be filled  
with tea or coffee, the contents have been replaced. TB

Autobahn-Kopf (Motorway Head) - Thomas Bayrle (1989, 16mm, 10 min)
– Filmed a stretch of motorway with a 35mm camera
– Selected sequences from the film and made a loop from them
– Made contact prints of alternate frames on photographic paper
– Made printing plates from 89 of these photographs
– Printed the plates on latex
– Used a film camera to shoot pictures of a blackened head with  
white lines stuck on it
– Selected three pieces that, together, formed a flowing sequence
– Enlarged them on photographic paper and traced through alternate  
images
– Enlarged the tracings to four different sizes on a photocopier
– From these enlargements drew on transparent foil some interior  
areas that matched the latex print
– Used the photocopier to copy the latex images continuously onto  
the interior areas
– Cut out the copied images and glued them to the collages
– Photographed each collage three times on 16mm film
– 490 prints = 1470 frames approx. 1 min.
– Made the whole into a loop again
TB

Get Me a Mirror - Bonnie Camplin (2004, DVD, 6 min)
Get me a Mirror is an attempt to emulate a thought process as it free  
associates so it is a linear description of unfolding mental events  
as they occurr. The material of this cognition is decaying femininity  
and its existential and survival implications for the subject. It is  
spiritual fatigue done with a tired motif (i.e. the mask) it makes a  
path from the painted face (the war paint) to the death mask. The act  
of feminine transvestation is arrested as a way of considering the  
potentially corrupt, perverse and malignant manifestations of woman.  
It’s also a melancholy contemplation of mortality. Physical,  
spiritual existential fatigue the way only a woman of a certain age  
can understand. BC

Projection Instructions - Morgan Fisher (1976, 16mm, 4 min)
'“It is the overcoming of theater that modernist sensibility finds  
most exalting and that it experiences as the hallmark of high art in  
our time. There is, however, one art that, by its very nature,  
escapes theater entirely – the movies.” Michael Fried, “Art and  
Objecthood”
Contrary to Michael Fried, Morgan Fisher argues that the movies does  
not escape theater, at least not entirely. If just one film can  
demonstrate that the movies does not entirely overcome theater then  
all movies are essentially theatrical. That one film is non other  
than Fisher’s very own Projection Instructions. Counter to Fried’s  
claim that in “the movies the actors are not physically present”,  
Fisher’s film unveils the physically present projectionist. This is  
achieved by means of simple instructions that the projectionist must  
carry out, a kind of “script” that appears doubly on the screen  
and by voiceover. Basic operations such as throwing the projector  
lens in and out of focus or turning the projector off and on are  
designed to call attention to the invisible “actor” who is present  
during the film’s projection.
If just one film is capable of demonstrating theatricality at the  
movies it is from the perspective of Fisher’s exemplary film that  
all projected films harbor the potential to be understood and  
experienced as theater. Once you’ve experienced Projection  
Instructions a trip to the movies will never be quite the same, at  
least not the same thing twice. A different projectionist or even the  
same projectionist will never perform the same film in exactly the  
same way. And to de-anthropomorphize the scenario, no two projectors  
will ever be alike, even the same models. Which is to say that the  
props of cinema are just as important to acknowledge as the star- 
projectionist.' from 'On Morgan Fisher's lecture at the Guggenheim'  
Luis Recoder (Millenium Film Journal, Fall 2004)

Associations - John Smith (1975, 16mm 7 min)
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. JS
''Associations is a straightforward rebus (a game in which words are  
replaced by pictures). But the text is so dense (contemporary  
linguistic theory) and the combination of visual puns so extensive  
that a simple, unique reading of the film is impossible.'' - A.L.  
Rees. 'Unpacking 7 Films' programme notes.

The Anthem - Apichatpong Weerasethakul (2006, 35mm on video, 6 min)
"In Thailand there is a Royal Anthem before the feature presentation.  
The purpose is to honour the King. One of the rituals imbedded in our  
society is to give a blessing to something or someone before certain  
ceremonies. I would like to propose a Cinema Anthem that praises and  
blesses the approaching feature for each screening. An older lady  
will perform a ritual channelling energy to the audience to give them  
a clear mind. The ritual will ensure that after the feature film  
ends, life the outside world will be better." AW
Apichatpong Weerasethakul's The Anthem is a celebration of film  
making and the collective viewing experience. An old lady is planning  
a ritual to channel energy to the audience to give them a clear mind.  
In a large set piece the old woman performs a ritual with friends as  
young men dance to an especially composed electric soundtrack both in  
praise of the Cinema God. The ritual is supposed to make a very bad  
film — such as many Hollywood fares — watchable, and make a good  
film a masterpiece. Commissioned by LUX and Frieze Projects.

Plus

Elephants Galore a performance by Sue Tompkins  and readings by Will  
Holder

Select is a Tate/ LUX inviting British artists to select a programme  
of film and video works and host an evening of screenings and talks.


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