LUX Weekly News 30 May - 3 June 2007 EVENTS AND OPENINGS IN LONDON THIS WEEK

[luxweekly at lux.org.uk]

LUX Weekly News 30 May - 3 June 2007
EVENTS AND OPENINGS IN LONDON THIS WEEK

1. Light Reading Series 7, Hilary Koob-Sassen / Steven Ball,  
No.w.here, Wednesday 30 May, 7pm

2. Invisible Mend Salon: Shulie, LUX offices, Fully booked, Wednesday  
30 May, 7pm for 7.30pm start

3. Retrospective- The Subjective Camera: Sarah Pucill, Greenwich  
Picturehouse, Wed 30 May, 6.45 pm

4. Whitechapel Project Space presents La Commune, Serpentine  
Gallery,  Sat June 2 & Sun June 3

5. Cogcollective presents One Minute, Candid Arts Trust, Sunday 3  
June, at 4pm

6. Avant-garde screening, Tony Conrad and Finnish Experimental films,  
Sunday 3 June, 12.30-4pm (Screening inc break); 4-5pm (reception)

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.

Wednesday 30 May, 7pm
Light Reading Series 7
Hilary Koob-Sassen / Steven Ball
No.w.here
3rd Floor, 316-318 Bethnal Green Road
London, E2 0AG
Nearest Tube / Train: Bethnal Green
Tickets: £5 door / £4 advance
Telephone: 020 7372 3925
Email: courses at nowhere-lab.org
Booking is essential for this event, as places are limited.
www.nowhere-lab.org

no.w.here is excited to launch it's forthcoming Light Reading series  
at its
new location in the East End. Light Reading¹s 2007 series will open  
with a
conversation between the artists Hilary Koob-Sassen and Steven Ball.
Extracts of work by Hilary Koob-Sassen will be screened during the  
event.

Hilary Koob-Sassen is an artist living in London. He performs with his
experimental band The Errorists. His audio-visual performances and  
public
syntax experiments work towards a trellis of post-modern political  
proposal.
He shows his sculpture, film, and performance internationally. His solo
show, New Vernacular, is currently running at 1+2 Artspace, London,  
and a
forthcoming screening and performance New Lands, is planned at the  
National
Film Theatre this June.

Light Reading is an on-going series of critical dialogues that engage
artists, writers and curators in conversation around a selected artist's
body of work. To be included on the mailing list please contact
courses at nowhere-lab.org


2.

Wednesday 30 May, 7pm for 7.30pm start
INVISIBLE MEND SALON: SHULIE
LUX Salon takes place at LUX office, 3rd Floor, 18 Shacklewell Lane,  
London, E8 2EZ.
FULLY BOOKED
On the occasion of the Invisible Mend exhibition, LUX Salon takes the  
opportunity to screen Elisabeth Subrin’s SHULIE in a female only  
study salon.
Subrin resurrected a little-known 1967 documentary portrait of a  
young Chicago art student, Shulamith Firestone, who a few years later  
would become a notable figure in Second Wave feminism and the author  
of the radical 1970 manifesto, The Dialectic of Sex: The Case for  
Feminist Revolution. Subrin’s version re-creates the original, shot  
for shot, and in the process arcs 40 years of feminism. Using the  
film as a catalyst to form a discussion group we will look at the  
issues that resonate through the film; about identity, the  
construction of histories and how they reflect on the current  
interest in feminist work and assess the significance. Facilitated by  
Jackie Holt and Emma Hedditch.

3.

Wed 30 May, 6.45 pm
Retrospective- The Subjective Camera: Sarah Pucill
Greenwich Picturehouse
180 Greenwich High Road, SE10 8NN
www.picturehouses.co.uk, 08707 550 065

Subject-object relations and the space between are core concerns in  
the breadth of Pucill’s work. From the surface of a face projected on  
objects, hair entangled in crockery, a bowl as mouth gasping for  
breath, to her more distanced and contemplative later works that  
feature her mother and late partner, there is a turning and switch of  
place between inside and outside. The body as expression, as surface,  
and as film underscores the trajectory of her practice. The  
unsettling character of Pucill’s early films, derived from their  
formality and stillness, remains present in her more recent work.  
However, films such as Stages of Mourning and Taking My Skin, while  
still rooted in concerns of femininity and sexuality, shift emphasis  
and employ a more meditative approach that foregrounds the filmmaking  
process, mortality, death and being. Sarah Pucill’s films explore a  
sense of self which is transformative and fluid, where mirroring and  
merging are sought in the Other. Her work is concerned with the idea  
that as subjects we are not separate and draws together surfaces of  
inside and outside, the animate and inanimate. Focusing on the  
materiality of film and the body, her films probe the journey between  
mirror and surface.

Sarah Pucill will be taking part in a Q&A session after the screenings.

MILK AND GLASS (1993, 10 mins, 16mm)
The film follows the projected table scene of Pucill’s earlier film  
You Be Mother, where a frozen image of the artist’s face is projected  
onto weighty pieces of crockery atop a table. This time the camera  
homes in on the mouth which here is projected onto a bowl of milk.

STAGES OF MOURNING (2003, 19 mins, 16mm)
Ritualised through performance to camera, Stages Of Mourning is  
Pucill’s journey of bereavement. In as much as this is a meditation  
on coming to terms with loss, the film is an exploration of how our  
relationship with the dead is made different through film. The artist  
orders image fragments of her late lover and collaborator, Sandra  
Lahire. By trying to physically immerse herself into photographs and  
film footage or by restaging these, Pucill forms a continuous stream  
of a life of two lovers. Through this doubling and layering,  
illusions accumulate as if these were a product of a machine that  
didn’t stop.

TAKING MY SKIN (2006, 35 mins, 16mm)
“I’m not aware of you taking my skin”, says the artist’s mother to  
the camera as it zooms in on her eye as close as the lens will allow.  
Taking My Skin tracks a dialogue between the artist and her mother.  
Their exchange ranges from narrating the filming process ‘in the  
moment’ to relations in an earlier time – ‘how long do you think it  
takes for a child to become separate?’ Throughout the journey film  
spaces continuously dissolve and collapse only to separate again.  
Sometimes the artist is behind the camera, sometimes the mother,  
sometimes both simultaneously behind and in front, or neither. Both  
perform, film, and alternately instruct, position and direct the  
other. Formally and thematically, the film is an exploration of  
closeness, of synching, and the threat this poses to the self.

4.

Sat June 2 & Sun June 3
La Commune
Serpentine Gallery
Kensington Gardens
London W2 3XA
T 020 7402 6075
Free. No reservations, first-come, first-served

Nearest Undergrounds: Knightsbridge, Lancaster Gate and South Kensington
Buses: 9, 10, 52, 94, 148

La Commune
A weekend of events at the Serpentine Gallery organised by  
Whitechapel Project Space.

Whitechapel Project Space presents La Commune, two days of  
performance, presentations, screenings and publication launches  
focusing on counter-histories of self-organisation, and the  
philosophical, personal and aesthetic legacies of such activities.
For timings of events please see below. For additional information  
please visit www.whitechapelprojectspace.org.uk

Saturday June 2nd
1pm
Lilla Khoor and Will Potter - Khoor Miklós’ vision of the Inca-Maya  
Culture in Hungary and Singular History
Will Potter and Lilla Khoor will present elements from, and discuss,  
two recent works that address the formation of personal and community  
identities in relation to the histories and mythologies promoted by  
the Hungarian State.

Potter and Khoor are artists currently living and working in London  
who have recently exhibited at Kunstverein Frankfurt, Kunstlerhaus  
Hamburg, and Trafo, Budapest.

4pm
Melanie Gilligan - Prairial, year 215
Melanie Gilligan will present Prairial, year 215, a dramatic dialogue  
exploring the aesthetics of politics, the politics of aesthetics and  
the political economy of both. The inherently theatrical character of  
modern representational democracy is dissected (like a corpse), then  
reanimated by a shot of Rancièrean partage.
Counterposing the French Revolution (financial bubble and great art)  
to the current hedge fund revolution (financial bubble and great  
artmarket), the sensible is redistributed, but there is still not  
enough to go round.

Gilligan has recently completed the Whitney Independent Study  
Programme in New York, and has exhibited at Greene Naftali Gallery,  
New York. She writes for ArtForum, Texte zur Kunst and Mute magazine.
The performance will be repeated on Sunday at 4pm.

Sunday June 3rd
2pm
Anthony Iles and Tom Roberts - 'All knees and elbows of  
susceptibility and refusal’: talking history and history from below.
In opposition to the histories of great men and institutions,  
‘history from below’ aimed to show how working people had agency  
within historical events; produced themselves, their culture and an  
analysis of their own conditions.
Following a screening of the 1983 film by H.O. Nazereth Talking  
History: C.L.R. James and E.P. Thompson, Anthony Iles and Tom Roberts  
will take up the legacy and problems of the project of making  
‘history from below’.

Anthony Iles is a cultural engineer and writer researching and making  
experiments in the disappearing public sphere. He is Assistant Editor  
of Mute magazine.
Tom Roberts is a writer and digital technician with an interest in  
class, autodidact history and knowledge production (among other things).

4pm
Melanie Gilligan - Prairial, year 215

5.

Sunday 3 June, at 4pm
ONE MINUTE is presented by COGCOLLECTIVE.
Candid Arts Trust
3 Torrens Street, London, EC1V 1NQ
Nearest Tube: Angel

Tickets: £5 / £3 concessions
Email: info at cogcollective.co.uk
www.cogcollective.co.uk

A programme of experimental, oblique and poetic video featuring the  
work of
a number of artists at varying stages of their careers. A myriad of
approaches, techniques, media and processes have been employed, creating
elusive, challenging and memorable work. All have one thing in  
common: that
they have been edited within the time limit of 60 seconds.
Curated by Kerry Baldry.

ONE MINUTE

Metanoia by Gordon Dawson
Night Cooking 1 by Katherine Meynell
No-way Street by Steven Ball
Punch by Kerry Baldry
World Language by Erica Scourti
Indian Movie by Deklan Kilfeather
Talkie by Gordon Dawson
Trout Descending a Staircase by Steve Hawley
Train Ride With Mom 2 by Lynn Loo
Taunt 2 by Lynn Loo
Jiggery-Pokery by Philip Sanderson
Untitled by Kerry Baldry
Fragment by Andy Fear
4th July 2006 by David Leister/Harris
The Electric Hare by Phillip Warnell
Untitled Without You by Riccardo Iacono
Cut by Claire Morales
S-Ego by Unconscious Films
Grey by Laure Prouvost
Green by Laure Prouvost
Light Blue by Laure Prouvost
Red by Laure Prouvost
Night Cooking 2 by Katherine Maynell
The Mouse's Trap by Claudia Digangi
Orbit by Eva Rudlinger
8 x 8 Light Instants by Fil Ieropoulos and Lilly Zinan Ding
Smile by Stuart Pound
Bitten by Kerry Baldry
Last Dance by Gordon Dawson
Lost by Tina Keane
Storm by Tina Keane
Vampire Virus by Tina Keane
Untitled 513 by Nick Herbert
Untitled 514 by Nick Herbert
Turquoise Bag in a Tree by Hilary Jack
Found Cinema by Martin Pickles
Knight by Martin Pickles
Roof Tops by Mark Wigan
Parade by Mark Wigan
Point and Shoot by Esther Johnson

6.

Sunday 3 June, 12.30-4pm (Screening inc break); 4-5pm (reception)
AVANT-GARDE SCREENING
TONY CONRAD and Finnish Experimental films
Tube: Leicester Square, Piccadilly Circus. Buses: 14,19, 38.
http://no-signal.net/tonyco/screening/

SCHEDULE
Part 1 (12.30pm - 1.30pm)
A SHORT FINNISH EXPERIMENTAL SELECTION
JUHAVAN INGEN - (dis)integrator (1992) - 4'
SWISSAIR - Hermafrodiitit (1979-1984, double projection / super8  
transferred to DVD, 20')
MIKA TAANILA - 'Optical Sound' (music by The User) - 2005, 5'
SAMI SAMPAKILA - film works selection (super8 and 16mm transferred to  
DVD, 15'
Total running time: ca 55 minutes

Part 2 (2.00pm - 4.00pm)
TONY CONRAD's selection with Talk and Presentation
THREE FILMS MADE IN THE 1960s TO DISRUPT EXPECTATIONS OF VISUAL  
EXPERIENCE
The Flicker (1966, 16mm B&W, 30')
Straight and Narrow (1970, 16mm B&W, 10')
The Eye of Count Flickerstein (1967 - revised 1975, 16mm B&W, silent,  
7')

THREE FILMS MADE IN THE 1970s TO DISRUPT EXPECTATIONS OF STRUCTURE
Articulation of Boolean Algebra for Film Opticals (1975, 16mm B&W,  
optical sound, 10' excerpt)
4-X Attack (1973, 16mm B&W, silent, 1')
Cycles of 3's and 7's (1977, NTSC video on mini-DV, 12' excerpt)

THREE RECENT VIDEO CARTOONS
Tony's Oscular Pets (2001, NTSC video on mini-DV, 7')
Grading Tips for Teachers (2003, NTSC video on mini-DV, 13')
Conversation II (2005, NTSC video on DVD, 5'40'')

OVERVIEW

To coincide with the live live music event taking place on Friday  
June 1 at St Giles in the field (w/ TONY CONRAD feat. PAAVOHARJU,  
RICHARD YOUNGS and ISLAJA), the London based experimental music  
production [no.signal] - in collaboration with the Curzon Soho, the  
Finnish Institute and LUX - is presenting a special screening of Tony  
Conrad's films along with a selected few Experimental Finnish films.

TONY CONRAD (b. 1940, living in New York) is a giant in the American  
soundscape, avant-garde video artist, experimental filmmaker,  
musician/composer, sound artist, painter, teacher and writer. A  
contemporary living legend of avant-garde music and films - he will  
be showing and commenting a personal selection of his film works  
broken down in 3 categories, from his most groundbreaking  
experimental work in the late 60s to his more recent cartoon-based  
work. The screening will start with The Flicker (1966) a key early  
work of the structural film movement consisting of alternating black- 
and-white film images producing stroboscopic and flickering effects  
causing optic impressions which simulate colors and forms. Straight  
and Narrow (1970) is the second ‘flicker’ film with the rock-jam  
collaborative work of Terry Riley and John Cale, later released as  
the track 'Church of Anthrax'.

The first part of the event will be 'A short Finnish experimental  
selection' will be showing two UK premiers: Swissair's Hermafrodiitit  
originally - a double super8 projection - and a selection of Sami  
Sampakila, Fonal Records founder, of early film works. The other  
films have been rarely shown and only at limited festivals. Taanila's  
'Optical Sound' is based on the live performance of the Symphony for  
12 Dot Matrix Printers by the Canadian artist duo [The User].

This screening has been programmed by Tony Conrad and Eric Namour  
with the kind support of Curzon Soho, the Finnish Institute in London  
and LUX.


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