Screening Programme

Wednesday 29 May - Thursday 6 June 2024

Booking is essential: please contact danielle@daniellearnaud.com

Doors open at 6pm - the screenings will start promptly at 6.30pm

 

Wednesday 29 May

The event will screen artists videos where the role of music is central. The screenings will be the pretext for a mediated 30 minute discussion about how genres of music and moving image work in relation to experimental artistic video practices, offering a critical lens onto both the production and the reception of work. The event is also a strategy to extract artistic video practices from the white cube to develop curatorial contexts where audiences can engage with video work in new ways.

 

Mick Finch One Thing After Another 2024
7:07 min

Alex Schady These are not my dreams 2024
6:00 min

 

Daria Blum Big Baby (I owe you nothing) 2021
HD Video, sound, 7:00 min

 

Oona Grimes Etruscan moth 2020
Music by Jem Finer, 4:51 min

 

Mario Rossi In Media Res 2022
Collaborative work made with the Glasgow Improvisors Orchestra
7:00 min from 30 minute performance

 

Paulette Phillips Marnie's Handbag 2008
Single-channel video with audio, 10:30 min

 

Louisa Fairclough A Rose 2017
16mm film, 9:00 min, and a vinyl dubplate recording 20:00 min

 

Mark Dean The Way Of The Saints 2018-2023
Film and sound, 5:00 min

 

To view more information on the artists and work please click here

 

Friday 31 May

Sarah Pucill Double Exposure 2023
16mm 28:30 min

In conversation with curator Helena Reckitt

 

Double Exposure re-stages photographs of Pucill and her once partner Sandra Lahire, shortly before Sandra’s death from anorexia in 2001. These black and white photographic images are projected onto an interior wall, where the filmmaker steps inside. Alone with the camera, the filmmaker blindly positions herself into a place that she cannot see, to re-play the image, to meet herself then and Sandra, who both keep getting younger. ‘Double Exposure’ is a space created between two time-frames, between two women and between material and light as odd objects from the projections are placed in position with their ‘light projection’ double eg a dress, shoe, mirror, table, chair etc. Inside this imagined intimacy that is also empty, the silence in the room is interrupted with street sounds from the world outside. The monochrome static camera and slow-paced performance of unbroken time that constitutes the body of the film, is bookended with colour 16mm film of a sunny beach, where colour emulsion bleeds between the sea, sky and sun and Sandra dances spontaneously whilst chatting and joking with the filmmaker who is present at that time, soon after, and 21 years after the death. Sandra’s piano playing ‘Prelude in E minor’ by Chopin accompanies her spinning dance and puppet performance on the beach. Lines from a text Sandra was writing at the time the photographs were made, are read over the images by the filmmaker that include quotations from the painter Georgio de Chirico and poet Sylvia Plath, reflecting on enigma, love, camera memory and a body that cannot be heard.

 

Sarah Pucill is a London-based artist and academic who holds a doctorate and works as a Reader at the University of Westminster. Her body of work is archived and distributed by LUX, London, and LightCone, Paris, including three DVDs accompanied by commissioned essays. Pucill's unique visual language emerged in the 1990s in the field of experimental film and visual arts, and her films have been exhibited internationally in galleries and cinemas. The majority of her films are set in domestic spaces, where the physical reality of the house serves as a gateway to a complex and layered psychological realm. Her two long films on the Surrealist artist Claude Cahun that re-stage her photographs with her writing, , ‘Magic Mirror (16mm, 75min, 2013) and ‘Confessions to the Mirror 16mm, 68min, 2016), re-stage many photographs by Claude Cahun alongside her writing. Pucill’s most recent film ‘Double Exposure’ 2023 premiered at Frankfurt Experimental Film Festival in 2023, where she curated a programme of British women filmmakers from 1990s and recently won Best Experimental Film at Toronto Women Film Festival 2024. Pucill’s photographs that appear in both ‘Double Exposure’ and in its predecessor, ‘Stages of Mourning’ (16mm, 20min 2004), are published in ‘Mirror Mirror: The Reflective Surface in Contemporary Art’ Ed by Michael Petry, Thames and Hudson, 2024 and in ‘Photography: a queer history’ by Flora Dunster and Theo Gordon, Iles Press, 2024. A forthcoming book on the film and writing and still images of Sandra Lahire and Pucill is due to be published early 2025, by Francisco Algarin and Carlos Saldana in Spanish and English. An interview on Pucill in the forthcoming publication ‘Experimental narrative film and women’s practices at the London Film-maker’s Co-op’ compiled by Nina Danino, Research: Claire Holdsworth UAL to be published 2024 online with LUX.

Her films have shown in galleries and museums internationally: ‘Magic Mirror’ premiered at Tate Modern, ‘Magic Mirror: Claude Cahun and Sarah Pucill’ Exhibition at Nunnery Gallery with, London, Confessions to the Mirror as an installation at Ottawa Art Gallery Museum, and as a film in ‘Under the Skin’ which toured at Cobra Museum of Modern Art Amstelveen+ Kunsthal, Rotterdam, also at Tate Modern, White Cube, Bermondsey, London Art Fair, National Portrait Gallery, ICA, Danielle Arnaud Contemporary Art, Wellcome Institute. International retrospective screenings include BFI Southbank, LUX, Tate Britain, Anthology Film Archive, NY, Millennium FIlm, NY, LightCone, Paris, LA Film Forum, LA, Pleasure Dome, Toronto.

 

Helena Reckitt has worked as a curator, public events organizer, lecturer, and academic editor in the UK, Canada, and the US. She is currently Reader in Curating in the Art Department at Goldsmiths, University of London.
Her longstanding interest in legacies of feminist and queer art, thought and collectivity is reflected across her various activities and projects. She is editor of the books Art and Feminism (Phaidon Press), Acting on AIDS (Serpent’s Tail), and Sanja Ivekovic: Unknown Heroine, A Reader (Calvert 22), and Consultant Editor for The Art of Feminism: The Images that Shaped the Fight for Equality (Chronicle and Tate Publishing). With Jennifer Fisher in 2015/2016 she edited two issues of the Journal of Curatorial Studies on affect, curating, and relationality. In 2022 she edited ‘Instituting Feminism,’ an issue of OnCurating, with Dorothee Richter.
She has curated group exhibitions including ‘Habits of Care,’ ‘Getting Rid of Ourselves’ ‘Not Quite How I Remember It,’ and ‘What Business Are You In?, and solo exhibitions with such artists as Yael Bartana, Keren Cytter, and (with Jon Davies) Ryan Trecartin.
In 2015 Reckitt initiated the Feminist Duration Reading Group, a monthly meeting dedicated to the collective exploration of under-represented feminisms from outside the Anglo-American feminist canon. The fdrg currently collaborates with Cell Project Space on the British Art Network-funded CEED (Central and East European Diaspora) Feminisms, and in residence at Goldsmiths Centre for Contemporary Art.

 

 

Tuesday 4 June 6 - 9 pm

Simon Faithfull in conversation with Melanie Manchot

Reenactment for a Future Scenario #1: EZY1899 2012
HD video 12:00 min

 

Re-enactment for a Future Scenario #2: Cape Romano 2019
HD video, 6:00 min loop

 

Simon Faithfull (b. 1966, UK; lives and works in Berlin)

Faithfull’s wide-ranging art practice is well known internationally, and his works are represented in many public collections including the Centre Pompidou, France and the Government Art Collection, UK. His practice combines video, drawing, writing and performance, and has been described as an attempt to understand and explore the planet as a sculptural object - to test its limits, to sense its processes and to report back on how it feels. Recent works have pictured human-kind’s fragile position on this planet and have explored our entangled interdependence with our fellow ‘Earthlings’. Within his practice Faithfull often travels to new contexts and collaborates with scientists and local people that help him bring back a personal vision from the ends of the world.
Recent projects include a body of work made in a watery, modernist ruin found off the coast of Florida; a journey across Europe and Africa tracing the 0º Greenwich Meridian; and a film featuring the artist walking the perimeter of a steadily shrinking island. Other older projects include a video-work recording the journey of a domestic chair as it is carried to the edge of space beneath a weather balloon and a drawing project sending back live digital-drawings from a two-month journey to Antarctica.
Recent exhibitions include solo shows at the Atchugarry Foundation Miami (USA), Galerie Polaris (Paris), Natural History Museum, Berlin and group shows at CaixaForum (Madrid), Fondation EDF (Paris), Parafin (London), Maison Rouge (Paris), ACC Gwangju (Korea), Turner Contemporary (UK), CCCB (Barcelona), and Palais de Tokyo (Paris).
Faithfull was born in Braziers Park – a utopian community in Ipsden, Oxfordshire, UK. He studied at Central St Martins and then the University of Reading and is now a Professor of Fine Art at The Slade School of Fine Art, UCL, London.

Melanie Manchot (b. 1966, Germany. Lives and works in London)

Melanie Manchot is a London based visual artist who works with photography, film and video as a performative and participatory practice.
Her projects often explore specific sites, public spaces or particular communities in order to locate notions of individual and collective identities. The mutability of subjectivity as well as the agency of the camera in creating a set of relations are key interests within Manchot’s investigation of personhood and its representations.

 

Thursday 6 June

Kihlberg & Henry Slow Violence 2018
HD Video, 18:00 min

 

A new-build flat in London forms the backdrop for a script primarily performed by three characters. The characters’ conversation – which doubles as a manifesto – describes the phenomenon of “slow violence”: a process of large-scale manmade environmental change, largely unnoticed due to its gradual pace. This phenomenon is deployed to describe the characters’ relationship to urban regeneration, which finds them oscillating between feelings of desire and entrapment.
Punctuated by a slide projector that appears to gain its own agency, images of construction and utopian urban developments jolt the characters into an awareness that they do not live in a city but a machine – “a machine which trains them for its use”.

Originally commissioned for Whitstable Biennale in 2018, the work has since been re-edited for the group exhibition Horror in the Modernist Block at Ikon Gallery, Birmingham, 2022-3.

Karin Kihlberg and Reuben Henry, a collaborative duo (Kihlberg & Henry) are based in London. Their work presents architecture as a biological event, an over-spilling of the human mind into exterior space. They often explore different models of artist practice though collaborative and research-based approaches. They are founders of the international residency programme Springhill Institute in Birmingham and The Disembodied Voice research group in London. Both were fellows at the Jan van Eyck Academy, Netherlands and both hold a Masters in Cultural Production from Linköping University in Sweden and a First Degree in Fine Art at BCU Birmingham. Kihlberg gained an MA in Contemporary Art Theory at Goldsmiths, University of London.
Kihlberg & Henry have had solo exhibitions and projects at the Whitstable Biennale; fig-2 at ICA, London; Grundy Art Gallery, Blackpool; Plymouth Arts Centre; Gallery Box, Gothenburg. They have participated in group shows and projects at Ikon Gallery, Birmingham, Camden Arts Centre, London; Eastside Projects, Birmingham; Fundació Miró, Mallorca; Tate Modern and the Hayward Gallery, UK. They won the Great North Run Moving Image Commission in 2012 and were artists in residence at Wysing Arts Centre, Cambridge (Department of Overlooked Histories).