LUX UPCOMING EVENTS AND OPENINGS IN LONDON THIS WEEK
luxweekly at lux.org.uk
luxweekly at lux.org.uk
Fri Sep 7 19:14:07 CDT 2007
UPCOMING EVENTS AND OPENINGS THIS WEEK
1. 8 - 16 September. PROJEKTOR : NEW VIDEO at Cafe Gallery, London.
2. 8 September. The Harrachov Exchange at DILSTON GROVE, London.
3. 8 September. Schooling Artists - Case Study: Chelsea School of Art
at BFI Southbank, London.
4. 11 September. Landscape / Portrait / Still Life at BFI Southbank,
London
5. 12 September. Vertigo Launch Event at Curzon Soho, Shaftsbury
Avenue, London.
6. 12 September. Babette Mangolte's The Camera: Je or La Camera: I at
Whitechapel Gallery, London.
7. 13 September. Mark Lewis at BFI Southbank Gallery, London.
8. 15 & 16 September. Open House London: Luis Carvajal and Annie
Davey/ 15mm Films at Beaconsfield, London.
9. 15 September & 16 September. LUX EVENT: PingPong d'Amour Weekend
film season at Whitechapel Gallery, London.
10. 16 September. Look what they done to my Song, Michael Curran.
Matts Gallery, London.
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1.
Sat 8 - 16 September, 11:00 - 17:00.
PROJEKTOR : NEW VIDEO
Cafe Gallery, SE16 2UA, London
Annual survey of current video practice featuring Richard Wilson
www.cafegalleryprojects.org
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2.
Sat 8 September, 15:00 - 18:00.
The Harrachov Exchange.
DILSTON GROVE, Southwark Park, London SE16 2DD.
LAUNCH: 8 September 3 – 6. DATES: 8 - 16 September 2007 Wed - Sun
DILSTON GROVE, Southwark Park, London SE16 2DD.
+44 (0)20 7237 1230
The Harrachov Exchange - Film and sculpture installation
Installation by Guy Bishop, Matt Hulse, Ben Rivers and Joost van
Veen. ( http://www.harrachov-exchange.info) An ingeniously crafted,
sublime film installation transforming Dilston Grove's unique space
into an haunting spectacle of light, sound & movement. Pulled
together by an unseen force in the dark belly of the Grove, an
eccentric accumulation of disparate objects have melded into a
bizarre, intricate and chaotic kinetic machine-system. Multiple
projected animated film loops reinforced by unsettling sonic
interactions create a spectacular, ever-changing, fractured 'live
documentation' of the machine's evolution and re-animation. It has
proved particularly suitable for adults accompanied by children. The
film section of The Harrachov Exchange has just won the Best
Experimental Film Award at the 2007 Melbourne International Film
Festival.
---
3.
Sat 8 September, 18.20PM
Schooling Artists - Case Study: Chelsea School of Art
BFI Southbank, London.
NFT2 Tickets £8.60, £6.25 (BFI Members pay £1 less).
Newsprint (Guy Sherwin 1972); Wind Vane (Chris Welsby 1972); Portrait
No 2 (Anne Rees-Mogg) (David Pearce 1974); Muybridge Film (Anne Rees-
Mogg 1975); Three Short Landscape Films (Renny Croft 1979); Parallax
III (Richard Welsby 1977); Her Eyes They Shone Like Diamonds (Jock
McFadyen 1975); Film School Photo (Ian Owles 1976); Mourning Garden
Blackbird (Anna Thew 1985); Heaven of Animals (Nick Gordon Smith
1984); The Case Continues (Jock McFadyen & Helen Chadwick 1980).
Total c85min
Artists' film and video first seriously invaded the art-school
towards the end of the 60s, and by the early 70s had achieved a
notable impact on the degree-shows of graduates at Hornsey, Saint
Martins School of Art, Maidstone, the RCA, NELP, Newcastle Poly,
Exeter, Sheffield and Brighton. This programme looks at Chelsea,
where the moving-image never formed a single-subject course, but
nonetheless thrived for many years thanks to the presence of Anne
Rees-Mogg, followed by her protégée Anna Thew, and the quiet
encouragement throughout of Nick Wadley.
---
4.
Tue 11 September, 20:45 - 22:45
Landscape / Portrait / Still Life
BFI Southbank, London.
NFT2 Tickets £8.60, £6.25 (BFI Members pay £1 less).
Liverpool, Panorama pris du chemin de fer éléctrique (Alexandre
Promio 1896); Three Portrait Sketches (Margaret Tait 1951); Colours
of This Time (William Raban 1972); Still Life (Jenny Okun 1976);
Streamline (Chris Welsby 1976); Metronome Candle and Clock (Guy
Sherwin 1976); Portrait with Parents (Guy Sherwin 1976); Academic
Still Life Cezanne (Malcolm Le Grice 1976); Hoy (Chris Newby 1984);
Cuckoo - Self-Portrait (Marty St James 1994); Still Life with Small
Cup (Paul Bush 1995); Two into One (Gillian Wearing 1996); Still Life
(Sam Taylor Wood 2001); All the Time in the World (Semiconductor
[Ruth Jarman & Joseph Gerhardt] 2005); The Defenestrascope (Steven
Ball 2003). Total c95min Landscapes, portraits and still-lives - the
stock-in-trade subjects of painting - only began seriously to cross
over into the moving-image repertory with the arrival of cheaper film
cameras and 'home-movies' in the 50s. Since then (and with more than
an occasional nod to the panoramas and portraits made by cinema's
1890s pioneers), moving-image artists have made these traditional
genres very much their own.
---
5.
Wed 12 September,18.00.
Vertigo Launch Event.
Curzon Soho, Shaftsbury Avenue, London.
Tickets can be booked by emailing vertigo at vertigomagazine.co.uk or
calling the ticket office on 0870 756 4620. www.curzoncinemas.com
The launch event for the summer issue of Vertigo magazine is taking
place on 12 September, 6pm at the Curzon Soho, featuring screenings
of films by writer and film-maker Iain Sinclair and other
experimental film-makers, including Anna Lucas (2007) and Andrew
Kötting (2006).
The summer issue will be available for sale after the event and at
the Curzon Soho anytime.
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6.
Wed 12 September, 19:00 - 21:00
LUX EVENT: Babette Mangolte's The Camera: Je or La Camera: I
Whitechapel Gallery, London, E1 7QX
£5 booking recommended www.whitechapel.org
LUX and Whitechapel present Babette Mangolte's The Camera: Je or La
Camera: I In conversation screening with filmmaker Babette Mangolte
and Ian White, Adjunct Film Curator, Whitechapel. 'An experimental
film which acts out the view of a photographer on her subjects and
the city she lives in, New York. The film uses a technique of
subjective camera, to give to the spectator an active sense of the
problematics in the relation of camera to subject, photographing to
photographed. "The film is a description of the act of making
photographs from the point of view of the still camera and therefore
the point of view of the photographer. This technique of 'subjective
camera' places the person who looks at the film in the same relation
with the screen as the one of the photographer with her subjects,
therefore giving to the spectator, on a first-hand basis, so to
speak, a direct experience of the tension as well as the wanderings
and timing of a photographic session, and a way to understand and
perceive the relation between photographer and subject, a relation
which is not about dialogue but about power, power of saying yes or
no to the taking of the photograph, power however undermined by the
elements of anxiety (coming from both sides, the subject and the
photographer). The situation is turned around at the end of the film
when the power is shown to belong to the performer on the screen,
acting as a critic, looking at the photographs displayed in front of
him, and questioning by his look the work of the photographer. "We
guess along the way the character of the photographer, a woman,
through the kind of pictures she is taking: portraits in the first
part, streets and buildings in the second part. This double structure
is conceived as a metaphor of the inherent dual aspect of the act of
taking a photograph: being outside with the still camera, being
removed and maintaining the distance which is felt necessary to judge
and take the picture as opposed to the desire to participate and be
included, to be inside of it..."A going back and forth between
observation and sentiment or imagination, the film is a self-portrait
of the photographer-filmmaker during the years 1976-1977.' Babette
Mangolte, March 1978. Presented in association with John Hansard
Gallery, Southampton as part of the exhibition Live Art on Camera, 18
September - 10 November which includes other work by Babette Mangolte.
---
7.
Thu 13 September, 18:00 - 21:00.
Mark Lewis.
BFI Southbank Gallery, London.
14 September - 11 November.
Lewis' first solo show in London - includes three recent films shot
in 35mm and transferred to High Definition. Rear Projection (Molly
Parker), 2006 - co-commissioned by the BFI - investigates the idea of
portraiture in film in relation to landscape images. Shot in Lewis'
lush, pictorial style, the footage of a desolate Canadian landscape
is combined with a filmed 'portrait' of the actress Molly Parker by
using the traditional method of rear projection, a technique commonly
used in films up to the 70s to shoot live action against a backdrop
of seemingly moving images. The exhibition will also include
Downtown: Tilt, Zoom, Pan, 2005 and Isosceles, 2007, a work recently
shot in Smithfield, London and premiering at BFI Southbank.
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8.
Sat, 15 Sep, 13:00 - Sun, 16 Sep, 17:00.
Open House London: Luis Carvajal and Annie Davey/ 15mm Films.
Beaconsfield, London, SE11 6AY.
Open House London: Luis Carvajal and Annie Davey/ 15mm Films
Beaconsfield Commissions 2007 Saturday 15 and Sunday 16 September
Opening hours 1-5pm http://www.londonopenhouse.org/ For Open House
London 2007, two co-existing activities will take place within the
Beaconsfield venue at 22 Newport Street, each performance reflecting
the respective characters of two linked sites: a 19th century school
building that now houses Beaconsfield in its remaining wing and the
adjacent double railway arch. The former Lambeth Ragged School, Lower
space Luis Carvajal and Annie Davey: Puss and Mew London Dry Gin
Puss and Mew London Dry Gin is an inter-disciplinary project by Luis
Carvajal and Annie Davey who have collaborated since 2004, exploring
the relation of gin to English social history through the recreation
and reinvention of cultural artefacts and phenomena. The artists
speculate that the Lambeth Ragged School (opened by the Beaufoys in
1851) was perhaps built as an act of philanthropic guilt, by a family
that had made its fortune distilling. It is said that they made gin
until one of their members saw a copy of Hogarth's Gin Lane and
resolved to have no more to do with this 'destructive force', turning
instead to the production of vinegar. A Puss and Mew London Dry Gin
bar will be in operation in the former girls wing over Open House
weekend. The Arch space 15mm Films: The Way In A semi-fictional film
set in a festering railway arch squat. A disability-led collective
rehearse scenes inspired by 1970's terror factions, contemporary
reality TV and lo-fi spontaneous performanace art, for a disability
terrorism film they seem to be about to make. Katherine Araniello,
Brian Catling, Charlie Fennell, Laurence Harvey, Simon Raven, Juliet
Robson, Philip Ryder and Aaron Williamson are the core artists of the
15mm Films collective. The group work collaboratively on a project
basis and are linked by a willingness to describe themselves as
"disabled". http://www.15mmfilms.com/
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9.
Sat, 15 Sep, 15:00 - Sun, 16 Sep, 21:00
LUX EVENT: PingPong d'Amour
Whitechapel Gallery, London, E1 7QX.
Tickets £5 per screening £15/12* day £25/16* weekend * concs and
Whitechapel Members. Free for Whitechapel Patrons & Associates.
Booking essential.
PingPong d'Amour Weekend film season Le PingPong d’Amour is a
Nouvelle Vague soap opera - a project in three parts by a
collaborative group of German artists and filmmakers. It brilliantly
exploits the populist form while referencing the work of radical
German playwright Heiner Müller and examining contemporary artistic
practice, philosophical and theoretical discourses through role play,
humour, conceptual and symbolic codes, text and computer graphics.
This is the first time these extraordinary works are being shown
outside of Germany. In Part I, a group of friends share a flat and
undergo peculiar yet systematic discussions and experiments that
investigate style, work, money and love. Following their essay on the
life/work conundrum in and enriched by their new-found knowledge, our
protagonists come together again in Part II. Emblematic of the
nouveau riches they abandon their Berlin apartment for the Rodin
Museum in Paris, to explore genius and doomed rebellion. Eventually
they are irrevocably affected by a funeral on a strange volcanic
island and descend into personal conflict. The virtuous utopia of
collective living is revealed as futility. The friends embark on a
process of separation and consequent political engagement that result
in a series of six films with one mission: to move beyond the self
into The World… Part III. To make an account of representation, the
ethnographic gaze and our post-colonial condition, small groups of
friends are dispatched across the globe to locations as diverse as
Cameroon, Togo, Guadeloupe, Turkey and Syria. Each group turns their
experiences into a short film, shown here in separate programmes with
related artists’ work: new video by American artist Vanalyne Green
that examines anxiety; Sarah Vanagt’s Little Figures, a beautiful and
deeply moving exegesis of post-colonial doubt spoken by the voices of
young children; queer aesthetics and political activism in work by
Luc Compernol, Frédéric Moffet and the notorious pop video for Mark
E. Smith and Mouse on Mars’s new joint venture Von Sudenfed; Mark
Aerial Waller’s Senegal-set science fiction prelude Superpower: Dakar
Chapter and Jean Rouch’s seminal essay on imperialism, documentary
filmmaking and radical authority Les Maîtres Fous; the incisive
poetics of Jimmy Robert’s Brown Leatherette. Ian White is Adjunct
Film Curator, Whitechapel. Curated in collaboration with Ken Pratt,
supported by Goethe Institute, London and presented in association
with LUX. www.whitechapel.org
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10.
Sun, 16 Sep, 15:00 - 18:00.
Look what they done to my Song, Michael Curran.
Matts Gallery, London, E3 4RR.
Michael Curran: Look What They Done to My Song 19 September–18
November 2007 This is the first time that Michael Curran has shown at
Matt's Gallery and is his first solo exhibition in London. For this
new commission Michael Curran presents a site-specific installation
exploring filmed spectacle, performance and the dynamic that is
created between a sculptural composition and video projection. Three
songs The Devil is Afraid of Music, Look what they done to my Song
and How does it Feel to Feel? were performed and filmed in the
exhibition space of Matt’s Gallery making it into an open recording
session and film set for a three-day period. Through the subsequent
editing process the material is subjected to radical temporal shifts
in the form of loops, overlays, speeding, slowing and repetition
creating a series of rhythms, counterpoints and silences, all
exploring the construction of song and narrative expectation forming
a drama (or crisis) of performance. The songs themselves are
literally at stake, their survival questioned through these processes
of translation. The overall feeling is that of a séance in which the
enquiry is what have they done to my song? This exhibition is
accompanied by a free publication, the 14th in the second series of
Matt's Gallery booklets. The film Look what they done to my Song will
tour to the Arnolfini, Bristol Open Wednesday–Sunday 12–6pm during
exhibitions | 42–44 Copperfield Road, London E3 4RR |
info at mattsgallery.org | +44 (0) 20 8983 1771 www.mattsgallery.org
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