Date: March 5th 2010
 |
||
4. 5 March, 11:00am, it, heat, hit by Laure Prouvost at Tate Britain 5. 5 March 7pm, PhotoFilm Programme One: How Much Movement Does the Image Need? at Tate Modern 6. 6 March 7pm, PhotoFilm Programme Two: The Dancing Photo on Film at Tate Modern 8. 7 March 3pm, PhotoFilm Programme Three: Recall and Memory at Tate Modern 10. 8 March 7pm, 'Visions, Divisions and Revisions: Political Film and Film Theory in the 1970s and 80s': Screening of Night Cleaners at Raven Row 11. 9 March 7pm, 'Visions, Divisions and Revisions: Political Film and Film Theory in the 1970s and 80s', Edinburgh International Film Festival in the 1970s: A Panel Discussion at Raven Row 12. 10-12 March 10am, Workspaces: Doa Aly, recent video works at The Delfina Foundation 1. American artist Sharon Lockhart’s films are an exhilarating act of sustained looking. They propose a radical, minimal cinema that looks back to the pivotal interest in gesture and the ‘everyday’ of the late 1960s and examines contemporary manifestations of ‘work’ through highly crafted, rigorously structured and staged portraits. Goshogaoka, Lockhart’s major early film, is a study of the exercise routines and drills of a girls’ basketball team in suburban Japan. Six ten minute long takes, shot from a fixed camera in the school gymnasium develop into a mesmerising account that hovers between the otherwise opposing impulses of documentary filmmaking and aesthetic formalism. It is shown here with an early film of the dancer Trisha Brown’s astonishing 1978 solo Water Motor by the acclaimed filmmaker and cinematographer Babette Mangolte, with a series of videos by a younger generation of artists that also propose a reassessment of the relationship between realism and spectacle. Works by Pauline Boudry and Renate Lorenz (featuring Wu Ingrid Tsang and Yvonne Rainer), Matthew Lutz-Kinoy and Oliver Husain reinvestigate and renew an interest in choreography as political and personal expression and radical, theatrical artistic practice. ... A screening of John Smith’s Lost Sound (collaboration with Graeme Miller, 1998-2001) followed by a conversation with Conor Kelly, John Levack Drever and Will Prentice. Lost Sound documents fragments of discarded audio tape found on the streets of a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative and musical connections between images and sounds linked by therandom discovery of the tape samples. The conversation will reflect on sound ethnography, incidental sound and the notion of the soundscape in relation to Lost Sound. It will also address the implications of changing technology, examining how new mediums alter our experience and perception of sound. John Smith was born in London in 1952 and studied film at the Royal College of Art. Since 1972 he has made over forty film, video and installation works that have been shown in cinemas, art galleries and on television throughout the world and awarded major prizes at many international film festivals. John Smith lives and works in London. He teaches part-time at the University of East London where he is Professor of Fine Art. He is represented by Tanya Leighton Gallery, Berlin and his work is distributed by LUX, London. http://www.johsmithfilms.com
In conjunction with the PhotoFilm! screening programme, this symposium explores the wider discourse raised by and around photofilms in the contemporary context of photography, film and digital media. The changing relationships of stillness and movement and the ways in which we conceive and experience time are considered by distinguished speakers including Raymond Bellour, David Campany, Ian Christie, David Claerbout, James Coleman, David Cross, Dieter Daniels, Laura Mulvey, Leslie Thornton and more. Devised by Sigune Hamann. Organised by Tate Modern. Supported by CCW Graduate School and SCIRIA Research Centre, University of the Arts, London. With additional support from the Goethe-Institut London. Friday 5th March 2010, 10.20–17.30 Tate Modern Starr Auditorium £15 (£12 concessions), booking recommended Price includes wine reception. ... Through witty and mesmerising juxtapositions of text and image, Laure Prouvost uses the irresistible pull of the narrative tradition within film to seduce and entertain the viewer. Yet implied storylines are quickly undermined by out-of-context comments and visuals that often introduce a more surreal dimension to the viewing experience. It, heat, hit 2009 is a new work that builds up and moves forward an inferred story through a fast-moving sequence of written commentary and excerpts of everyday incidents and pictures that have been filmed by the artist. Innocent and pleasing images of observed visual anecdotes, such as a swimming frog or snowy street scene, are followed by statements of love and implied violence. These are inter-cut with strange, disconnected images, such as close-ups of flowers, body parts or food. The mood of the film gradually becomes darker and more unsettling, though nothing is directly stated. The growing intensity of the film is reinf orced by the oppressive rhythm of a drum which plays alongside snatches of music and speech. As with Prouvost’s other films the pace makes it hard to take in every image and comment, as the limits of perception are tested and thwarted. Repeated viewing subtly shifts what is understood each time, as Prouvost playfully highlights the slipperiness of meaning and notions of reality. Friday 5th March 11.00-18.00, Tate Britain Lightbox
The hybridity of the still photograph in a cinematographic context often provokes an element of surprise for the viewer. This programme presents films that question the nature of the image as well as its relationship to other image forms with work by Chris Marker, Alain Resnais, Leonore Mau, Hubert Fichte, Katja Pratschke and Gusztáv Hámos. Programme duration 90 min. Friday 5 March 2010, 19.00 Tate Modern Starr Auditorium £5 (£4 concessions), booking recommended A season ticket is available for the Photofilm series, £20/£15 concessions. Please tel 020 7887 8888 to book.
Photography subtracts sound and movement from everything it captures. Photofilms, however, can add both to photographs; extensive montages even seem to make them dance. Including films by Agnès Varda, Dryden Goodwin, Jean-Pierre Jeunet, Paul & Menno de Nooijer, this programme explores how different techniques of animation can facilitate a multitude of transitions from stillness to movement, from the photograph to film. Programme duration 90 min. Tate Modern Starr Auditorium
£5 (£4 concessions), booking recommended
A season ticket is available for the Photofilm series, £20/£15 concessions. Please tel 020 7887 8888 to book. Serpentine Cinema: CINACT is a series of monthly artists’ film screenings and events at The Gate cinema in Notting Hill. CINACT takes its name from American artist Henry Flynt’s 2007 cinema manifesto. Each programme focuses on two artists who investigate and experiment with the medium of cinema. Amy Granat will premier two new films and we are delighted that Melvin Moti will be joining us to screen The Prisoner’s Cinema. The Prisoner’s Cinema (2008, 35mm), is named after the term used for visions of coloured lights and abstract patterns reportedly seen by prisoners or pilots after long stretches of visual deprivation. Moti’s protracted, mesmerizing film explores this phenomenon with the projection of subtly changing light filtered through a stained-glass window, while a scientist’s voice narrates the visions she experienced after many hours in a darkened room. Melvin Moti, born in Rotterdam in 1977, studied at the Academie Voor Beeldende Vorming in Tilburg from 1995 to 1999 and worked at De Ateliers in Amsterdam from 1999 to 2001, where he now teaches. In 2006 he received the Charlotte Köhler Prijs and the J.C. van Lanschot Prijs. His works have been shown at the Frac Champagne in Reims, the Stedelijk Museum in Amsterdam, the Kunstverein Köln and elsewhere. He recently participated in the 5th Berlin Biennale. He lives in Rotterdam. Sunday 7th March 1.45pm Tickets are £6, £5 for students, over-60’s and income support (with proof) Book on 0871 704 2058, or at http://www.picturehouses.co.uk/cinema/gate Gate Picturehouse, 87 Notting Hill Gate, London, W11 3JZ T: 020 7792 8939
'That-has-been,' wrote Roland Barthes: photography stands for something that has happened. Film, in contrast, always unfolds in the here and now and can be seen as a container for memory. This programme featuring films by Thierry Knauff, Agnès Varda, Franz Winzentsen and Sergei Eisenstein investigates these functions in the context of personal and historical memory. Programme duration 90 min . Sunday 7th March 2010, 15.00 Tate Modern Starr Auditorium £5 (£4 concessions), booking recommended A season ticket is available for the Photofilm series, £20/£15 concessions. Please tel 020 7887 8888 to book.
To mark the 30th anniversary of the Women’s Liberation Movement, Free Word has organised two public screenings of artists’ films and videos. The videos, all by women artists, have been selected to celebrate this anniversary rather than to illustrate the history of the movement. None of the works were made with the political movement specifically in mind but neither could they have been made without barriers being broken down in 1970 and since. The two programmes are divided into You and Me and Work and Play. Work and Play looks at women as they undertake repetitive tasks of manual skill, dance, imitate horses, crawl round the room without touching the floor and undertake classes in self-assertion. You and Me contains works that look at some of the roles played by the mother, the daughter, the lover and the self. Each programme is selected to keep a balance between poetry, wit, tenderness and home truths and the categories are very loose. The artists come from Britain, The United States, Portugal, Norway, Serbia and Beirut but all are based, at least part time, in Britain. You and Me will be followed by a panel discussion led by the curator Gill Hedley, including some of the artists represented in the screenings and other related speakers including Althea Greenan, Lucy Reynolds and Dr Jean Wainwright. YOU AND ME running time: 42 minutes, 20 seconds The screening will followed by a panel discussion chaired by independent curator Gill Hedley. Speakers include Althea Greenan, Lucy Reynolds and Dr Jean Wainwright. Monday 8th March, 6.30pm, The Free Word Centre is located at 60 Farringdon Road, opposite 119 Farringdon Road and next to the Betsy Trotwood pub.
’Visions, Divisions and Revisions: Political Film and Film Theory in the 1970s and 80s': Night Cleaners (1975) by Berwick Street Film Collective, Screening and discussion with Humphry Trevelyan at Raven Row. 'Visions, Divisions and Revisions' revisits the idea of ‘film as a political practice’, as it was conceived, practiced and theorised in the 1970s and 80s in the UK. Over the course of six events we will look at some of the key debates that enlivened these years: the limits of auteur theory and issues around authorship; the use of psychoanalysis in film; the role of the audience; the relation of theory to practice; and different ideas of collectivity. The first event in the programme will be a screening of the seminal political film, Night Cleaners (1975) by the Berwick Street Film collective, followed by a Q&A with former member of the collective, Humphry Trevelyan. When Night Cleaners was released in 1975 it polarised opinion, sparking heated debate about the role of political film. The film broke with many of the accepted conventions of political filmmaking, abandoning documentary realism in favour of a more searching, poetic mode. As Clare Johnston put it at the time, writing in Spare Rib, ‘Night Cleaners could provide the basis for a new direction in British political filmmaking’. Although the film was influential it never quite functioned in this way, as a pathfinder. Humphry Trevelyan will trace the film’s influence and look back at its lengthy production and post-production phases. This programme takes place during the exhibition 'A History of Irritated Material', 25 February to 2 May 2010. Monday 8th March19:00 – 21:00, Raven Row, Raven Row, 56 Artillery Lane London E1 7LS Events are free but booking is essential as space is limited. Please emailinfo@ravenrow.org to reserve a place. ... 11. Visions, Divisions and Revisions: Political Film and Film Theory in the 1970s and 80s', Edinburgh International Film Festival in the 1970s: A Panel Discussion Panel discussion entitled Edinburgh International Film Festival in the 1970s at Raven Row, London on 9 March 2010, from 7-9pm. 'Visions, Divisions and Revisions' revisits the idea of ‘film as a political practice’, as it was conceived, practiced and theorised in the 1970s and 80s in the UK. Over the course of six events we will look at some of the key debates that enlivened these years: the limits of auteur theory and issues around authorship; the use of psychoanalysis in film; the role of the audience; the relation of theory to practice; and different ideas of collectivity. The panel, which will comprise of Colin MacCabe, Paul Willemen, Margaret Dickinson, Noreen MacDowell, Felicity Sparrow and Esther Leslie (chair), will discuss the contribution that the festival made to British independent film culture in the 1970s and 80s, and critically assess the theories that were advanced and debated during these years. The panel will be the second event in a programme of talks, discussions and screenings taking place at Raven Row in the context of the exhibition A History of Irritated Material. Tuesday 9th March19:00 – 21:00, Raven Row, Raven Row, 56 Artillery Lane London E1 7LS The event is free but booking is essential as space is limited. Please emailinfo@ravenrow.org to reserve a place. ... 12. Workspaces 10 - 19 March 2010 at The Delfina Foundation A collaboration with Visiting Arts With participants in Artist-to-artist 2010: Doa Aly, Volkan Aslan, Ali Cherri, Robin Deacon, Delta Arts, Iz Oztat, and the Western Alliance. What is an artist studio today? Artist-to-artist participants explore ideas around collaboration, mobility and site-specifity in relation to their working environments. The space where artists work often represents an interface for their professional practice, in which four components play an important role: social architecture, spatial architecture, peer exchange and cultural context. Workspaces proposes to look atartists’ relationships to their working environment, considered both in a spatial and interpersonal sense. How are artistic workspaces reshaped by international mobility? How does the place where one lives influences one’s practice? Have identification and contextualization remained the main two modes through which artists relate to the place where they live and work? How do international artistic networks alter artists’ perception of their immediate environment? How can we update the late 20th century fantasy of an ultra-mobile artistic community, who envisions the ‘world as its studio’, in the light of a new geo-political and environmental order? How are artistic practices, networks and support structures responding to this change? Events: Doa Aly in conversation with Eline van der Vlist 10 March, 19:00 - 20:00 Doa Aly, recent video works A Tress of Hair (2008) and The Girl Splendid in Walking (2009) 10 - 12 March, 10:00 -18:00 All events are taking place at The Delfina Foundation (unless otherwise stated) All events are free. Limited capacity, early rsvp essential: info@delfinafoundation.com
|
|
<< Previous: LUX Weekly Newswire LUXNEWSWIREmarch2010 |
| Archive Index | |
|
)
LuxWeekly is a monthly e-newsletter giving information on International and UK shows and screening series, calls for work from festivals, open exhibitions, conferences and other events, opportunities for artists, new publications and LUX news. Submit your information and links to info@lux.org.uk.
Powered by Dada Mail 3.0.2, Installed by SimpleScripts
Copyright © 1999-2008, Simoni Creative.
Go back to LUX Main Site