LUX
Weekly News 21 - 27 May 2007 EVENTS AND OPENINGS IN LONDON THIS WEEK
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Mon May 21 19:18:09 CDT 2007
LUX Weekly News 21 - 27 May 2007
EVENTS AND OPENINGS IN LONDON THIS WEEK
1. Alice Neel, a documentary by Andrew Neel. Artprojx at Prince
Charles Cinema, Monday 21 May, 7 pm
2. Patrick Bokanowski, Short Film Programme + L'Ange, Ciné lumière,
Tuesday 22 May
3. Invisible Mend, Lounge Gallery, 24 May – 24 June. Private view:
Wednesday 23 May 6-9 pm,
4. Retrospective- The Subjective Camera: Sandra Lahire, Greenwich
Picturehouse, Wednesday 23 May, 6.45 pm
5. Hannah Collins, A Current History, BFI Southbank, Wednesday 23
May 6.10 pm
6. Maya Deren/Ikue Mori, Tate Modern, Turbine Hall, Friday 25 May, 9 pm
7. EXPERIMENTA, ICA, London, 25 May - 7 June
8. Muntean/Rosenblum, Maureen Paley, 26 May – 15 July
9. Sleep: Warhol/Cage/Satie, Tate Modern, Turbine Hall, Sunday 27
May, 7.30 pm
LUX LONDON EVENTS CALENDAR the most comprehensive daily listing of
artists' moving image events, screenings and exhibitions in London
www.lux.org.uk/resources/calendar.htm
1.
Monday 21 May, 6.30pm
The UK premiere of ALICE NEEL a documentary by Andrew Neel
Artprojx at Prince Charles Cinema
7 Leicester Place, London, WC2H 7BY
Tickets £10.00 Full, £5.00 Members/Students
http://www.princecharlescinema.com/
A special presentation with an introduction by Andrew and Hartley
Neel. Director Andrew Neel, Alice Neel’s grandson, puts together the
pieces of the painter's life using intimate one-on-one interviews
with Neel’s surviving family and personal archival video. The
documentary explores the artist’s tumultuous life, legacy and
determination to paint her era. The film features interviews with
artists Chuck Close and Marlene Dumas, Robert Storr, Dean, Yale
School of Art, and Neel’s children.
Presented by Artprojx and Victoria Miro Gallery
2.
Tuesday 22 May, 6.45pm
Patrick Bokanowski
Short Film Programme + L'Ange
Ciné lumière
Queensberry Place
London
SW7 2DT
Tel: 020 7073 1350
Tube: South Kensington
www.institut-francais.org.uk/cinema
Schedule
6.45pm Short Film Programme cert. 15
8.30pm L'Ange (The Angel) cert. 18
Ticket Prices
Single Film: £7, conc. £5
Double Bill: £9, conc. £7
attended by Patrick Bokanowski
...this unclassifiable artist-alchemist of celluloid, author of the
most fantastic visions of the French cinema. (Vincent Ostria, Cahiers
du cinéma)
a 2001: Space Odyessy produced under the same conditions as
Eraserhead (Jean-Michel Frodon on L'Ange, Cahiers du cinéma)
Ciné lumière, in collaboration with animate! and the film magazine
Vertigo, is pleased to welcome French animator Patrick Bokanowski for
an exceptional evening devoted to his work on Tuesday 22 May.
Screening alongside his acclaimed full-length feature L'Ange (1982,
70 mins) will be a selection of six of the director?s short films: La
Femme qui se poudre (1972, 18 mins), Déjeuner du matin (1974, 12
mins), La Plage (1991, 14 mins), Au bord du Lac (1993, 6 mins),
Flammes (1998, 4 mins), Canard à l'orange (2002, 9 mins).
Bokanowski (b. 1943) has produced only seven films in thirty years,
each meticulously crafted and exploring the optical effects of
reflective surfaces, diffraction, liquid mirrors, distorted
perspectives, motion and stillness. All are dialogue-free, combine
live action, models and engravings, and are scored by Bokanowski's
wife Michèle. L'Ange, his best-known work and only feature-length
film to date, depicts a giant stairway where characters seem to be
prisoners of an endlessly repeated action on each floor: a man
practices fencing against a hanging dummy; a housemaid serves her
master; a library bristles with frenzied (and identical) researchers
carrying absurdly large stacks of books; and, in the haunting
sequence that appears to give the film its title, not-quite-human
figures make their fluttering ascent amid reflected and refracted
beams of ethereal sunlight.
After each programme, Patrick Bokanowski will attend Q&A sessions
with critic & Vertigo editor Gareth Evans.
3.
24 May – 24 June
Private view: Wednesday 23 May 6-9pm
Invisible Mend
Lounge
28 Shacklewell Lane, London E8 2EZ
www.lounge-gallery.com
Opening times: Thursday – Sunday 1–6pm or by appointment
Chrissy Coscioni, VALIE EXPORT, Emma Hart & Benedict Drew, Jasmina
Fekovic, Ursula Mayer, James Richards, Jonty Semper, Elizabeth Subrin
Since the beginning of the twentieth century artists making moving
images have exploited industrial cinema as ‘found’ images to be
reinterpreted, manipulated and represented as art. Invisible Mend, a
group show of mainly young artists, presents a collection of works
that seem to strategise in a similar way while actually drawing their
material from radically different sources, simulating the look of
the ‘found’ or exploring as much a set of radical (over)
identifications with their subjects as a set of formal, political or
historical questions.
The works vary wildly in their aesthetics but what they have in
common is an exploitation of the invisible: refutations of the
permissible in the name of personal or political expression, a
rewriting of history and to travel through time and space, through
imaginary forays against and within dominant culture, escaping into
new landscapes of desire. Criticality is manifested through an
ebullience that replaces strict analysis with intuition, an interplay
of emotional registers and often a disarming sense of celebration.
As well as the exhibition at Lounge, Invisible Mend extends into a
series of events throughout June. For more details please see the LUX
project page http://www.lux.org.uk/projects/invisiblemend.htm
Invisible Mend is curated by Ian White and LUX.
A LUX/ Lounge collaboration
4.
Wednesday 23 May, 6.45 pm
Retrospective- The Subjective Camera: Sandra Lahire
Greenwich Picturehouse
180 Greenwich High Road, SE10 8NN
www.picturehouses.co.uk, 08707 550 065
Lahire’s use of light and sound as raw elements generate an energy
throughout the body of her work that fuses magical poetics with a
piercing severity that swings between blinding light and pitch dark,
the raw bones of film material. Interweaving her own body into her
films, connections between the personal and the social were core to
her practice. Lahire eliminated the borders of discipline and genre;
the documentary, the avant-garde, the autobiographic and the
biographic. Her first film Arrows, draws on fellow anorexic sufferers
as shared experience. In her Uranium trilogy, interviewing (Uranium)
minors in Canada, she places herself physically into the position of
her subject. This self-other interchange is explored later in her
trilogy based on the writings of the poet Sylvia Plath; where viewer
and viewed, reader and writer turn place. Lahire’s films are
constructed in the form of a weave, building layers of image, sound
and voice, drawing circular and plural narratives. The work is often
confrontational, no subject was taboo and in her final film, Johnny
Panic, Lahire goes deepest into her exploration of the complex
relationship between death and its attractions. Moving between micro
and macro politics, her work tackled the impossible, from her own
personal suffering to the political realities of Fascism, McCarthyism
and Ecological disaster.
NIGHT DANCES (1995, 17 mins, 16mm)
"Night Dances is for my mother, who died whilst helping me to make
this piano musical. The Dance of Death is bound to life - Lechaim -
as we whirl together by Hebrew gravestones. A dreaming woman is
ferried through our decaying city. This is the age of the Personal
Computer - the Private Catacomb for the switched-on elite. Its dark
doorways are for the wandering homeless... true survivors." SL
JOHNNY PANIC (2000, 46 mins, 16mm)
“Within this film Lahire deftly combines the fictional aspects of
[Sylvia] Plath's writing with the stark reality of her life. Johnny
Panic is a filmic and poetic text that evokes and adds to Plath's own
dreams in the story, Johnny Panic And The Bible Of Dreams, and which
grounds Plath's own recorded statement: “one should be able to
control and manipulate experiences, even the most terrifying - like
madness and being tortured...” Gill Addison
5.
Wednesday 23 May 6.10pm
Hannah Collins, A Current History
BFI Southbank
http://www.bfi.org.uk/whatson/southbank/film/7409
The latest in an ongoing series of FLAMIN supported artist screenings
at the BFI Southbank will present Hannah Collins' 2006 LAFVA-funded A
Current History.
A Current History follows the Chiline family and other inhabitants of
the village, as they each adapt differently to life in the post-
Soviet era. Filmed in the depths of winter in temperatures of minus
20 degrees, A Current History was beautifully captured on Super 16mm
before being transferred to High Definition, resulting in a fine
filmic quality. Collins' elegantly structured document is reminiscent
of the films of Robert Flaherty.
Hannah Collins, who was shortlisted for the Turner Prize in 1993, has
worked in both still photography and moving image and has exhibited
widely in Europe and the US. Following the screening Collins will be
in discussion with curator Mark Nash.
6.
Friday 25 May, 9 pm
Maya Deren / Ikue Mori
Tate Modern, Turbine Hall
£18.00 For tickets book online www.tate.org.uk or call 020 7887 8888
This screening of seven landmark experimental films by the legendary
filmmaker Maya Deren is accompanied by live, newly commissioned
soundtracks by the Japanese musician Ikue Mori, icon of downtown New
York’s improvisation and experimental music scene.
With original soundtrack:
Meshes of the Afternoon, 1943
The Very Eye of Night, 1959
Meditation on Violence, 1948
Accompanied live by Ikue Mori:
At Land, 1944
Ritual in Transfigured Time, 1946
A Study in Choreography for the Camera, 1945
Witch’s Cradle, 1943
Russian-born Maya Deren was an outspoken and influential filmmaker,
writer, theorist and dancer and spent much of her adult life in New
York. Her first and most well-known film, Meshes of the Afternoon,
1943, is recognised as a seminal American avant-garde film and
indicates her interest in dreams, ritual, psychological states, and
the manipulation of space and time. Although heavily influenced by
surrealism, Deren disliked labels, so when the film was called
‘surrealist’ and ‘Freudian,’ she added music composed by her
third husband, Teiji Ito, in 1957. Deren was a key figure in the post-
war avant-garde, and many of her contemporaries – including Marcel
Duchamp, Anaïs Nin, John Cage and Gore Vidal – appear in the films.
She pioneered dance performance in film through ground breaking
experimental short films from the 1940s, which a New York Times dance
critic termed ‘choreocinema’.
Ikue Mori moved to New York from Tokyo in 1977. She formed the
seminal New York No Wave band, DNA, with Arto Lindsay and Tim Wright.
In 1985 Mori started using drum machines and has created her own
highly sensitive signature style in the filed of improvisation and
experimental music. In 1999 she won the Distinctive Award for Prix
Arts Electronics in the digital music category.
7.
25 May - 7 June
EXPERIMENTA
ICA, London
12 Carlton House Terrace, London, SW1Y 5AH
Nearest Tube: Charing Cross / Piccadilly
Tickets: £8 / £7 concessions / £6 members
Box Office: 020 7930 3647
www.ica.org.uk
An essential part of The Times BFI London Film Festival, Experimenta
is the place to discover innovative and challenging cinema. The 2007
edition of the annual Experimenta Tour presents some of the
highlights from last year's programme. The Festival's 50th
anniversary was an appropriate moment to celebrate the work of
KENNETH ANGER, one of the most distinctive artists of film history.
For the touring programme, Anger's recent video MOUSE HEAVEN joins
four of his classic films in 'CINEMA AS MAGICK WEAPON,' a selection
spanning six decades of uncompromising creativity. In the documentary
portrait ANGER ME, the filmmaker tells his own story and enhances his
already legendary mythology.
WILD TIGERS I HAVE KNOWN, the first feature by CAM ARCHER, has a
theme of adolescent longing reminiscent of Anger's debut. This highly
stylised film charts the coming of age of a young gay teenager in a
haze of dreamy visuals and atmospheric music.
'TRAVELLING LIGHT' is a programme of 16mm films in which three
artists respond to diverse locations: NICK COLLINS documents a lush
valley in the South of France, BEN RIVERS ventures to the Scottish
Highlands, and BILL BROWN's illuminating essay film traces the border
between the USA and Mexico, a landscape is infused with political
tension.
Friday 25 May 2007, 8:45pm / Saturday 26 May 2007, 8:45pm
/ Sunday 27 May 2007, 6:45pm / Monday 28 May 2007, 8:45pm
/ Friday 1 - Monday 4 June 2007, 4:30pm
WILD TIGERS I HAVE KNOWN
Cam Archer, USA, 2005, 35mm, colour, sound, 81 minutes
Those lucky enough to see Cam Archer's short films, including the
irresistible bobbycrush, will have already caught a glimpse of his
ability to capture the moody world of adolescence and in particular
the twin pleasure and pain of the teenage crush. With WILD TIGERS I
HAVE KNOWN he develops and hones both this theme and his own
inventive visual style into a captivating and provocative first
feature. Protagonist Logan is 13 years old, and a dreamer. Soft
spoken and isolated, he has a crush on an older and infinitely cooler
boy, Rodeo Walker. His infatuation is fuelled by the fact that Rodeo
is one of the few people who doesn't go out of his way to make
Logan's life miserable. As a mismatched friendship develops, Logan is
inspired to create a new persona, the seductive Leah. It's not
overstating the case to say that Archer redraws the American avant-
garde with his poetic and sexy study of burgeoning sexuality and
youthful woes. With its daydreamy look and its little stabs of
recognition, this is a must for anyone who ever felt the pang of
loneliness or longing, teenaged or not.
...
Saturday 26 May 2007, 2:45pm / Tuesday 29 May 2007, 8:45pm
/ Sunday 3 June 2007, 3:00pm / Thursday 7 June 2007, 6:45pm
ANGER ME
Elio Gelmini, Canada, 2006, Beta SP, colour, sound, 72 minutes
A portrait of Kenneth Anger, legendary pioneer of independent
filmmaking.
Raised in Hollywood, a spell as the Changeling Prince in A MIDSUMMER
NIGHT'S DREAM (1935) provided his first taste of the fantasy world of
the movies. The nine films Anger made between 1947 and 1980 are shown
together as the 'Magick Lantern Cycle', emphasising his belief in
cinema as magical weapon. An authority on Aleister Crowley, his
dazzling montage invokes myth and ritual, exploring taboo subjects
and popular culture with a complex iconography. From the homoerotic
fantasy FIREWORKS to the transcendental LUCIFER RISING, his influence
reaches beyond the avant-garde and into the
mainstream, touching the work of Jarman, Lynch, Scorsese and
countless others. Anger's fascination with film history, memorabilia
and scandal eventually led to the bestseller Hollywood Babylon, a
dark exposé of Tinseltown's seamy side. He inadvertently invented the
music video with Scorpio Rising, and his acquaintances ranged from
Anaïs Nin and Alfred Kinsey to the Rolling Stones. ANGER ME takes the
form of an extended monologue, in which this visionary artist talks
at length about his
extraordinary life and remarkable body of work.
...
Sunday 27 May 2007, 1:30pm / Thursday 31 May 2007, 3:45pm
/ Sunday 3 June 2007, 4:45pm / Wednesday 6 June 2007, 6:45pm
CINEMA AS MAGICK WEAPON: THE FILMS OF KENNETH ANGER
'Kenneth Anger is a unique filmmaker, an artist of exceptional talent.'
(Martin Scorsese)
FIREWORKS
Kenneth Anger, USA, 1947, 16mm, b/w, sound, 15 minutes
"In Fireworks I released all the explosive pyrotechnics of a dream. A
dissatisfied dreamer awakes, goes out in the night seeking a 'light'
and is drawn through the needle¹s eye. A dream of a dream, he returns
to a bed less empty than before." (Kenneth Anger)
RABBIT'S MOON
Kenneth Anger, USA-France, 1950-79, 16mm, colour, sound, 7 minutes
"A fable of the unattainable (the Moon) combining elements of
Commedia dell'Arte with Japanese myth. A lunar dream utilizing the
classic pantomime figure of Pierrot in an encounter with a prankish,
enchanted Magick Lantern." (K.A.)
SCORPIO RISING
Kenneth Anger, USA, 1963, 16mm, colour, sound, 29 minutes
Anger's critique of the danger cult motorcycle gangs burst out of the
underground into the wider consciousness. Immensely influential for
its ironic use of pop music, it draws parallels with Christian and
Nazi imagery to invoke Scorpio, the sign that rules machines, sex and
death.
KUSTOM KAR KOMMANDOS
Kenneth Anger, USA, 1965, 16mm, colour, sound, 4 minutes
A slow and sensuous fragment that encapsulates the hot-rod craze. "To
the soundtrack of 'Dream Lover' a young man strokes his customized
car with a powder puff." (K.A.)
MOUSE HEAVEN
Kenneth Anger, USA, 2005, Beta SP, colour, sound, 10 minutes
A lively romp through the world's largest collection of antique
Mickey Mouse memorabilia. In signature style, it¹s assembled as a
series of vignettes to different musical tracks, ranging from The
Boswell Sisters to rather bizarrely the Proclaimers! Puckish fun
from the maestro.
...
Sunday 27 May 2007, 3:15pm / Saturday 2 June 2007, 4:45pm
/ Tuesday 5 June 2007, 6:45pm
TRAVELLING LIGHT
Three artists respond to landscape and environment.
ACROSS THE VALLEY
Nick Collins, UK, 2006, 16mm, colour, sound, 20 minutes
Across The Valley is a beautifully photographed response to the
landscape and environment of the Cévennes Mountains in Southern
France. Employing time-lapse and other techniques, the film records
variations in the distant and immediate surroundings over a range of
seasons.
THIS IS MY LAND
Ben Rivers, UK, 2006, 16mm, b/w, sound, 14 minutes
A folk film for the new millennium, This Is My Land is a portrait of
Jake Williams, who lives a hermetic lifestyle in a remote house in
the woods of Aberdeenshire. Through sunshine and snowfall, Jake tends
his garden, practicing a humble, self-sufficiency that has parallels
with the hand-made nature of the film.
THE OTHER SIDE
Bill Brown, USA, 2006, 16mm, colour, sound, 41 minutes
In this rich and revealing essay film, Brown shares his experiences
of travelling from Texas to California, recounting a history of the
landscape, its inhabitants and those that pass through. The border
between Mexico and the USA is crossed by thousands of undocumented
persons each year, and hundreds do not survive the journey through
the desert to the other side. Incorporating a personal voiceover and
interviews with migrant activists, The Other Side is a visually
striking work that examines the border as a
site of aspiration and insecurity.
8.
26 May – 15 July
Muntean/Rosenblum
Maureen Paley
21 Herald Street, London E2 6JT
http://www.maureenpaley.com
9.
Sunday 27 May, 7.30 pm
Sleep: Warhol/Cage/Satie
Tate Modern, Turbine Hall
£18, booking required
£25 combined booking with daytime panel discussion.
For tickets book online www.tate.org.uk or call 020 7887 8888
To mark the twentieth anniversary of his death in 1987, Andy
Warhol’s (1928–87) first ever film, Sleep 1963, is screened
throughout the night, accompanied by the legendary musical
performance that inspired it. The five and a half-hour film will be
looped to provide over eighteen hours of continuous viewing, and is a
meditative study of the poet John Giorno asleep in his apartment.
Warhol was inspired to complete the film with a new repetitive
editing structure after attending the writer and composer John
Cage’s (1912–92) historic 1963 performance at the Pocket Theatre
in New York of the French composer Erik Satie’s (1866–1925) epic
repetitive work for piano, Vexations, 1893. This transfixing event at
Tate Modern brings together two artistic landmarks from a momentous
year, and will be a contemplation on stillness, repetition, time and
death.
Cage was the first to stage a complete performance of Satie’s highly
idiosyncratic work for solo piano, a 52-beat segment accompanied by
the instructions that it be played ‘very softly and slowly’ 840
times. The piece was performed by ten relaying pianists each of whom
played twenty minutes or fifteen repetitions of the segment at a
time. The performance lasted 18 hours and 40 minutes. Andy Warhol
claimed he attended the whole performance and that same year, decided
on a new structure for Sleep based on the repetition of footage.
The performers at Tate will include renowned new-music specialists
including the composers Gavin Bryars and Michael Nyman, alongside the
composer and scholar Joshua Rifkin, who participated in the
performance in 1963, the acclaimed new music pianist Tania Chen, and
some of the brightest young pianists in London.
This landmark event is introduced by a special performance by John
Giorno, the subject of the film, and accompanied by a panel
discussion about the relationships between Warhol, Cage and Satie.
Concept by Lauren A Wright, developed in collaboration with Tate
Modern with additional support from the London Consortium
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