Videos will be shown on a continuous loop during opening hours over the course of Stagings. Soundings. Readings. Free Jazz II.
21 – 30 September 2018
Mariana Silva, Digital Specimens: Pointcloudfallout, 2015, 10 min 35 sec
In Digital Specimens: Pointcloudfallout an offscreen dialogue, set in the near future, unfolds on the politics of scanning artefacts and monuments into 3-D. Amidst the consequences of climate change and war, the two characters discuss how digital copies unsettle repatriation claims and colonial tensions under the pretext of digital conservation.
Mariana Silva (Portugal/United States) has exhibited and screened her work at Anthology Film Archives, New York (2018); Gwangju Biennale (2016); Moscow Biennale (2016); and EDP Foundation, Lisbon (2015); among others. Solo shows include For more Information, fluent, Santander (2018); Camera Traps, Gulbenkian Museum, Lisbon (2018); Audience Response Systems, Parkour, Lisbon (2014); P/p, Mews Project Space, London (2013); Environments, e-flux exhibition space, New York (2013); and The Organization of Forms, Kunsthalle Lissabon, Lisbon (2011). She was a resident at Gasworks (2016), Zentrum Paul Klee Sommerakademie, Bern (2010), and at ISCP, New York (2009–10). Together with artist Pedro Neves Marques, she runs Inhabitants, an online channel for exploratory video and documentary reporting (inhabitants-tv.org).
2 – 7 October 2018
Justin Shoulder and Bhenji Ra, Deep Alamat, 2014, 4 min
Deep Alamat is a compelling narrative concerning two mythic figures, “OO” and “Beige Cantrell,” drawn from the artists’ collective imaginations. Shoulder’s OO is from his series of Fantastic Creatures that feature sculptural costumes and are animated in live performance, video, and photographic works. OO’s patterns are a form of Aposematism (warning colouration). OO performs a gestural dance drawing from animal signals and carnivalesque spectacle. Initially inspired by a one-hit-wonder pop star, Beige Cantrell derives from Ra’s obsession with digital failure, internet hype, software intelligence, and the online secondary experience. Ra’s understanding of movement, body control, and precision allows for his character to physically represent ideas of recognition software as he scans, detects, and aligns his body accordingly.
Club Ate is a Sydney-based collective founded by artists Justin Shoulder and Bhenji Ra (both Philippines/Australia), who draw from their own experiences and personal relationships as queer, bi-cultural Filipino-Australians in their art making. Justin Shoulder works in performance, sculpture, and video. His main body of work, Fantastic Creatures, comprises invented beings and alter-personas based on interpretations of mythology, folktale, and fantasy. These creatures are embodied through movement and elaborate, hand-crafted costumes and prostheses, forging connections between queer, migrant, spiritual, and intercultural experiences. Bhenji Ra is an interdisciplinary artist who reframes performance through a combination of dance, choreography, video, and installation. Her work is often concerned with the dissection of cultural theory and identity. She uses spectacle and her own personal histories to explore themes of race, sexuality, and gender, giving voice to hidden and marginalised communities, and suggesting alternative modules of community.
9 – 14 October 2018
Anton Ginzburg, Ultraviolet, 2015, 25 min
Ultraviolet explores the issues of perception and phenomenology at the intersection of nature and technology. The film is divided into three parts that correspond to the musical structure and composition. The film was conceived as an ongoing dialogue with its soundtrack composed by Michael Pisaro. The relationship between the cinematic image and the live sound is an experiment in a tradition of expanded cinema. It starts with very high frequencies in the first part, later working its way down into the guitar range. The film addresses the aura of representation through the video footage of various landscapes such as waterfalls, trees, and mountains, both in high- and low-res.
Anton Ginzburg (Russia/United States) is known for his films, sculptures, paintings, and text-based printed work that investigates historical narratives and poetic studies of place, representation, and post-Soviet identity. He earned a BFA from The New School for Social Research and an MFA from Bard College, Milton Avery Graduate School of Arts. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery, Canada; Palais de Tokyo, Paris; the San Francisco Museum of Modern Art; White Columns, New York; Lille 3000, Euralille, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery, London; Rotterdam International Film Festival; Dallas Symphony Orchestra; Nasher Sculpture Center, Dallas; Les Rencontres Internationales, Paris; Haus der Kulturen der Welt, Berlin; and New York Film Festival/Projections; among others.
16 – 21 October 2018
Vladimir Erofeev, Pamir: Krysha mira (Pamir: Roof of the World), 1927, 49 min (original: 71 min)
Version with music by Carlos Casas
Vladimir Erofeev (1898–1940) was a pioneer of expedition cinema in the Soviet Union, advocating for increased attention and investment in edifying non-fiction films made to win the interest of broad audiences. In summer 1927, a trek to the mountainous Pamir region, known as the “Roof of the World,” in present-day Kyrgyzstan and Tajikistan, was organised by the Sovkino studio in co-operation with the Geological Committee. Erofeev worked with prominent geologist Dmitrii Nalivkin and ethnographer Mikhail Andreyev, who had both extensively researched the area and contributed to the planning for the crew’s journey. The film starts off in Moscow, the symbolic centre of the new empire, leading through Samara and Orenburg, to Tashkent and Osh, and further on to the Pamir Mountains of Central Asia. The film features the expedition’s progress through crossing mountain rivers, traversing snowy passes and descending into valleys in bloom, while at the same time recording the daily practices of the Krygz nomads, the religious customs of a Tajik village community, finally entering Dushanbe, observing the city life in the capital of Soviet Tajikistan. The final result demonstrates a portrait of a rich and vibrant region in which the interaction of various cultures have not yet fully streamlined to the requirements of the uniformed all-Soviet world.
23 – 28 October 2018
Phill Niblock, The Magic Sun, 1966, 60 min
Shot in 1966, while the Sun Ra Arkestra was still based in New York City (before relocating to Philadelphia in 1968), the composer and filmmaker Phill Niblock’s The Magic Sun is an obscure artefact of profound beauty. It features frenetic black-and-white footage of the band playing, and an incredible soundtrack. Its existence displays an often understated relationship between two contemporary iterations of the New York avant-garde. Considering the neglect that free jazz usually suffers in the face of its peer, the film could be considered important for that alone, being also a wonderful journey through sight and sound.
Phill Niblock (United States) is an intermedia artist using music, film, photography, video, and computers. Since the mid-60s he has been making music and intermedia performances shown at numerous venues around the world, including the Museum of Modern Art, New York; the Wadsworth Atheneum, Connecticut; the Kitchen, New York; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; Akademie der Künste, Berlin; ZKM, Karlsruhe; Harvard University’s Carpenter Center for the Visual Arts, Cambridge; World Music Institute, New York; Centre Pompidou, Paris and Metz; and the Maerzmusik Festival, Berlin. Since 1985, he is the Director of the Experimental Intermedia Foundation (EI) in New York, which he joined as member in 1968. He is the Producer of Music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI’s XI Records label. In 1993, he was part of the formation of an EI organisation in Gent, which supports artists-in-residence. Niblock’s music is available on the XI, Moikai, Mode, VonArchive, Touch, and Extreme labels. In 2014, he was the recipient of the John Cage Award from the Foundation for Contemporary Arts in New York. Recently, he presented films and photographs from 1970 and ’71 at Tate Modern, London, with music from the past three years.
30 October – 6 November 2018
Luke Fowler, Country Grammar (with Sue Tompkins), 2017, 18 min 29 sec
The film begins with Tompkins performing at Chem19 Recording Studio. The camera films from a multitude of perspectives, employing rhythmic pans, tilts, and opaque or reflective screens. These distorted views, combined with non-synchronised images of the performer, depart from a 70s “direct cinema” approach to filming musicians. After the ritualistic opening section, the film widens its view to locations outside of the studio. The repetition of actions (picking books from a shelf, re-arranging the contents of a fridge) suggest a searching for a threshold between the filmed image and Tompkins’ own spoken word acts. Taking cues from the performers’ hypnotic yet concrete play with words, the film creates a metaphoric, symbiotic language, where an open-ended approach to montage transcends both reductive imagery and straight documentation.
Luke Fowler (United Kingdom) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.
A public programme of Stagings. Soundings. Readings. Free Jazz II.
Image caption: Luke Fowler, still from Country Grammar (with Sue Tompkins), 2017. Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow.