UPCOMING EVENTS AND OPENINGS

1. 29 May 10am, Haris Epaminonda, VOL. VI at Tate Modern

2. 29 May 10.30am, Instances of Serendipity: A Super 8 workshop with Helga Fanderl at no-w-here

3. 29 May 2.10pm , BFI Filmstore Event: Resistance(s) III at BFI Southbank

4. 29 May 3pm, An afternoon with Khalil Joreige and T.J. Demos at Gasworks

5. 30 May 2pm, Centre for Possible Studies: We’re Open! at the Centre for Possible Studies

6. 2 June 6.30pm, Renzo Martens: Episode 3 - 'Enjoy Poverty' at Tate Modern

7. 3 June 7pm, New Work UK: Luke Fowler's A Grammer for Listening at the Whitechapel Gallery

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1. Haris Epaminonda, VOL. VI

29 May  – 30 August 2010

In the latest Level 2 Gallery series, Tate Modern's dedicated strand for emerging art, Cypriot artist Haris Epaminonda creates a new installation responding specifically to the architecture of the space. Using layers of imagery and sculpture to create a false history or new journey through time, Epaminonda will transform the gallery into a three-dimensional collage using the gallery space and walls to juxtapose found objects, such as vases and statues, paper collage and video projection.

Free entry.

Tate Modern

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2. Instances of Serendipity: A Super 8 workshop with Helga Fanderl

Sat 29 May 10:30 – 18:00  

Helga Fanderl is one of a small number of filmmakers who continues to make serious formal innovations with Super 8. She was introduced to film in the mid 1980s and subsequently studied with Peter Kubelka and Robert Breer. Since the mid 1980s she has completed over six hundred short films. Most of them consist of a single roll of Super 8, lasting around three minutes, but many are shorter, and some but a single shot of a few seconds duration. Uniquely, all the films are edited in-camera. Helga Fanderl’s work is characterised by a fascination with grids, meshes and layers and the complex optical interplay between them. Her films arise from intense observation and a honed improvisatory approach that depends on rapid reactions and spilt second timing.

This workshop is aimed at artists and filmmakers with an empathy to Super 8 as it is an opportunity to hear one of the greatest exponents of Super 8 as a medium, discuss the many themes and concerns arising from her practice and the poetics of her Super 8 filmmaking.

Saturday May 29th 2010, 10:30 – 6pm, £75 per person. Please note that the price includes admission to a screening and discussion between Helga Fanderl and Nicky Hamlyn at no.w.here on the 26th May, 7pm, and film screenings at the Goethe-Institut on Thursday 27 & Friday 28 May, at 7pm. For more information please see http://www.goethe.de/london and http://www.no-w-here.org.uk

no.w.here, 316 - 318 Bethnal Green Road , London E2 0AG

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3. BFI Filmstore Event: Resistance(s) III

29 May 14:10 NFT3,

We mark the release of a new DVD collection of experimental film and video art from the Middle East and North Africa.

To celebrate the release of RESISTANCE III the third volume of a DVD collection of experimental film and video art from the Middle East and North Africa by French DVD label Lowave, we are thrilled to present a programme curated by Silke Schmickl and Christine Sehnaoui. The programme will feature films by artists from a variety of cultural and disciplinary backgrounds, showing challenging works that witness the region's complexity, vitality and diversity of creative energies.

The programme will be introduced by Silke Schmickl and we hope to have some of the artists present for a Q&A after the screening. DVD launch reception at the Filmstore after the programme.

Full screening programme:

Fabian Astore & Mireille Astore 3494 Houses + 1 Fence Australia/Lebanon / 2006 / 6'

Basma Alsharif We began by measuring distance Palestine / 2009 / 19'

Larissa Sansour Run Lara Run Palestine / 2'

Ismail Bahri Résonances Tunisia / 2008 / 7'

Halida Boughriet Les illuminés Algeria / 2007 / 1'37

Danielle Arbid This smell of sex Liban-France / 2008 / 20'

Waheeda Malullah Play Bahrein / 2005 / 2'40

Khaled Hafez Revolution Egypte / 2006 / 4'

Nazim DjemaÏ La parade de Taos France/Algeria / 2009 / 19'

BFI Southbank, Belvedere Road, London SE1 8XT

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4. An afternoon with Khalil Joreige and T.J. Demos

Saturday 29th May 2010, 3pm

An afternoon with Khalil Joreige and art historian and critic T.J. Demos, including a lecture performance, a screening and a conversation.

3pm : LECTURE PERFORMANCE: Aida, Save Me Taking as a starting point an extraordinary incident that took place during the Beirut premiere of Hadjithomas and Joreige's second feature film A Perfect Day (2005), Aida, Save me explores the artists and filmmakers' relationship to the 'latent image'. Accompanied by film samples and visuals, the lecture performance takes the viewer through several of their works, placing the image and its potential at the centre of a discussion about representation and recognition, fiction and documentary.

4pm: SCREENING: The Lost Film (2003, 42 min) A copy of the filmmakers's first feature film disappeared in Yemen on the day of the tenth anniversary of the reunification of North and South. A year later the artists returned, following the track of the lost film. The Lost Film is an enquiry that takes Hadijthomas and Joreige on a personal quest focusing on the image and on their status as filmmakers in this part of the world.

5pm : CONVERSATION: T.J. Demos talks to Khalil Joreige about the themes approached in Aida, Save Me and The Lost Film and opens up the discussion to the public.

Gasworks, 155 Vauxhall Street, London SE11 5RH

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5. Centre for Possible Studies: We’re Open!

Sunday 30 May, 2–8pm

Celebrate the opening of the Centre for Possible Studies in its new location. View excerpts of the Free Cinema School archive and artists in residence Hiwa K, Rania Stephan and others.

Centre for Possible Studies, 64 Seymour Street, London W1H 5BW

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6. Renzo Martens: Episode 3 - 'Enjoy Poverty'

Wed 2 Jun 18:30 – 20:30

Dutch artist Renzo Martens's provocative film Episode 3 - 'Enjoy Poverty' (2009, 90 min) critically investigates the representation of Congolese poverty by pressuring the contradictions of humanitarianism, photojournalism, and concerned contemporary art.

The film asks 'who owns poverty?' and examines the ethics and economics surrounding images of post-colonial suffering.

Following the screening, Martens will be joined in conversation by T.J. Demos and Tamar Garb, both of UCL's Department of Art History.

With support from UCL's Centre for the Study of Contemporary Art, and Wilkinson Gallery

Tate Modern Starr Auditorium £5 (£4 concessions), booking recommended. For tickets book online or call 020 7887 8888.

Tate Modern, Bankside, London

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7. New Work UK: Luke Fowler's A Grammer for Listening

Thursday 3 June, 7pm

NWUK is a LUX/Whitechapel series that presents the best of new British work returns with three screenings that focus on the work of a single artist and its context:

The London premiere of Luke Fowler's new film A Grammer for Listening (2009, 60 minutes).

‘Over the centuries, Western culture has relentlessly attempted to classify noise, music and everyday sounds… Ordinary noises and the mundane sounds that are not perceived as either annoying or musical are of no interest.’

How to create a meaningful dialogue between looking and listening? Luke Fowler’s film cycle A Grammar for Listening (parts 1-3) attempts to address this question through the possibilities afforded by 16mm film and digital sound recording devices. In part 1, Fowler furthers his on-going dialogues with the sound artist Lee Patterson (Manchester, England). Parts 1 and 2 evolved from filming and recording trips, whose locations were chosen based on a number of geographic and acoustic possibilities.

Silence dominated “experimental film” of the 1960’s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to the experiments of early cinema, concentrated on rhythm, structure and material and thereby considered film’s potential as an art form with its own unique grammar.

Prior to this tendency in film, composer John Cage had foregrounded “silence” within his 1953 composition 4’33. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention. These foundational ideas, (in parallel with conceptual frameworks outlined by music-concrete pioneer Pierre Schaeffer in France, and latterly with the introduction of the R. Murray Schafer’s world “Soundscape” movement), have led to a burgeoning music scene focused on environmental sound and field recording.

Pierre Schaeffer’s early use of music created entirely with tape recorders and found sounds, posited the concept of the “acousmatic” (or reduced listening). He suggested that sounds should be perceived in and of themselves, stripped of instrumental and cultural contexts, in order to develop a language of purely sonic descriptions. These attempts to cultivate a focused and more thoughtful listening practice frequently supplanted a dominant visual order.

Part 1

Lee Patterson has been making recordings of various forms of underwater life (fish, aquatic plants, insects etc) using homemade hydrophones: “I’ve come to regard such places as special, self contained acoustic spaces with very specific sonic and biological qualities”. Within the film these environmental recordings are complimented by performances to camera involving found objects amplified by contact microphones. Patterson evokes complex, harmonic overtones in electro-magnetically “excited” springs (often found in discarded lighters) to the exploding and shifting micro-sound of burning walnuts.

Part 2

Eric La Casa often consults maps, not in order to locate the habitat of specific species or significant sights but more prosaically to calculate proximity to traffic noise. The aeleatory nature of the routes taken often suggests a drift with the character of an “open investigation” and a broad appreciation for all sound. “The whole of my work consists in finding a center, a listening point in relation to everything which is taking place. The microphones, then, amplify everything that this listening area transmits, that is to say, all the living substances in motion, from the interior of the body to the geophonic exterior”.

Part 3

Toshiya Tsunoda develops an on-going philosophical line of enquiry regarding the art of field recording, as a conceptual act, and that of the relationship between the “field”, the recordist and the audience. During these investigations, he came to think about the meaning of choosing an object to focus on; drawing the conclusion that “perhaps it is similar to a hunter who becomes more interested in shooting the bow than the prey itself”. His recent method of recording begins by fixing a stethoscope with built-in microphones to his and another’s temples: “the two of us sat side by side and made a recording whilst focusing on the landscape in front of us. In this way two people create one stereo sound image. It is about capturing one image with two inputs, which is normally what our eyes and ears do. From the spatial information that is sent to our two ears from our brains, we cannot distinguish the sound which only one of us hears. ” He concludes: “Recorded material is like a map. It is not a perfect reproduction of the information in the space.”

Luke Fowler (1978, Glasgow) is an artist and musician based in Glasgow. He is a former LUX Associate Artist and his films are distributed by LUX.

Tickets: £6.00

box office +44 (0)20 7522 7888

Whitechapel Gallery, 77-82 Whitechapel High Street, London E1 7QX

http://www.whitechapelgallery.org

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