Screening Programme

Tuesday 2 June - Tuesday 23 June 2026

Danielle Arnaud is pleased to present a curated series of screenings accompanied by discussions.

Booking is essential: please contact danielle@daniellearnaud.com

Doors open at 6pm. The screenings will start promptly at 6.30pm

 

Tuesday 2 June

Keira Greene
Eustatic Drift 2018
8' 37"
The screenings will be followed by a discussion with Maria Walsh

Keira Greene Eustatic Drift 2018 HD video, 16:9, colour, stereo.

“once we were plankton slouched in the ocean but now we are code, surfaced and held in the laminae of rock like open scores.”
This narrative voice comes to us from the fossils of Graptolites, our long extinct plankton ancestry. Their speculative voice speaks to us from within deep time as they coil past and future, blending evidence of our interspecies story. In Eustatic Drift we experience the real and imaginary potential of the Graptolites, as a tangible index of a once dominant species, and as a latent oracle. The film opens with wide images of the remote landscape of Dobs Linn, Scotland, significant for its graptolite-bearing strata.
[…]
In a studio environment dancer Katye Coe performs the Graptolite as an open score. She unfolds the rock and imagines how the species may have moved. In one instance we read in their script: “perhaps we were swimming?”

Keira Greene
x comme x 2017
3'  6"
The screenings will be followed by a discussion with Maria Walsh

Keira Greene x comme x 2017 3 minutes  6 seconds

x comme x delivers a narrative text in which we hear incarnate words speak to the deep time that the geological fossil record offers. The text spoken on the film, which imagines cross-temporalities that extend from the contemporaneous, is a response to the visible strata of time recorded in a gorge in southern Scotland.
x comme x suggests an equivalence in time in which chronological duration and myth—measured both geologically and semantically—are given new sonic rhythms and visual patterns.
x comme x was translated into French by Fatima Djabri and Des Brennan. The text is performed by Fatima Djabri.

Keira Greene is an artist working across film, installation, photography and performance. Her work is preoccupied with the social and organic life and landscape of specific environments. Her practice is produced through a collaborative and conversational approach of looking, writing and forming enduring relationships. Recent works are concerned with ideas of the body and the experience of emotion, in dialogue with an embodied filmmaking practice.

Recent screenings and exhibitions include Close-Up, London (2026), The Model, Sligo (2025), International Film Festival Rotterdam (2025), Arnolfini, Bristol (2024), Docs Ireland, Belfast (2024), International Film Festival, Cork (2024), Beursschouwburg, Brussels (2024), Site Gallery, Sheffield (2023), La Chapelle de l’Oratoire – Musée d’arts de Nantes, Nantes (2023), Arcade, Brussels (2022), Kelder, London (2022), Arko Art Center, Seoul (2022)... Arcade, Brussels (2021), Sofia Art Projects, Sofia (2021), Café Oto, London, (2020), Stanley Picker Gallery, London (2019), LUX, London (2019), Cubitt, London (2018), Jerwood Space, London, (2018).

Maria Walsh is Reader in Artists’ Moving Image at Chelsea College of Arts/UAL, and author of Therapeutic Aesthetics: Performative Encounters in Moving Image Artworks (Bloomsbury, 2020), a monograph exploring toxicity and the curative in artists’ film and video in a context of neoliberal cognitive capitalism. Recent publications include book chapters: ‘The Space of Thirdness: Intermediating Performative Treatments in Artists’ Moving Image’ in Audiovisual Healing and Reparation: Recuperative Affect of Mediation, (Routledge, 2025), and ‘Affective Impingements in Nina Cristante’s The Richest Man… and Ilona Sagar’s Correspondence 0’ in Affect and Neoliberalism, (Routledge, forthcoming 2026). She is also an art critic, contributing to Art Monthly, Burlington Contemporary, e-flux and Third Text Online. Her research interests lie at the intersection of art and film, and philosophy and psychoanalysis through a feminist lens. She is currently researching the poetics of the essay form in practice.

 

Tuesday 9 June

Susan Francis
We Are Multi-Storey Creatures 2026
Single channel video installation
18' 37"

Susan Francis We Are Multi-Storey Creatures 2026. Single channel video installation 18 minutes 37 seconds

‘We are Multi-Storey Creatures’ sees the artist attempt to enter the online world and join her digital counterpart. Power shifts between the characters as a relationship between the gamer, their online presence and the SIMS avatar, Alice, fluctuates between indifference, frustration, and fleeting moments of connection. Building an ever-expanding house for the character, the artist becomes a sort of analogue Virgil to Alice’s digital Dante, leading the character from depression and disengagement to re-enchantment and transcendence as she ultimately ascends through the lived space. Dabbling in cloud symbolism from mediaeval mysticism to digital skeuomorphism, this is orchestrated through the introduction of a cloud chamber, a home-made particle physics experiment capable of revealing the immaterial and subatomic activity within the house.

In her 1929 book, ‘The House of the Soul’ theologian and mystic Evelyn Underhill wrote, ‘We are two story [sic] creatures’, reinforcing the dualist nature of the embodied spirit. As the fragmented self continues to extend across ever more multiplicitous platforms this work questions if the term multi-storey creatures may prove more appropriate, or is the divide between the material, the digital and the immaterial still a gulf we have yet to overcome.

Susan Francis is a Belfast born artist with a practice that focuses largely on film, sculpture and installation. Past international exhibitions and residencies include the Center of Polish Sculpture in Oronsko, The Bemis Center for Contemporary Arts in Nebraska, and ‘Cicatrix Imprimé’ at Atelier Circulaire in Montreal, Canada in 2018. She has received a number of awards from Arts Council England, the British Council, the Gane Trust, and the Juliet Gomperts Trust. Her films have been shown at numerous venues including Chisenhale Art Space, Coexist galleries, and Bermondsey Project Space. Recent exhibitions include Insect Odyssey at Salisbury Museum in 2022, the touring exhibition, Drawing the Night In, in 2024-25, and Perpetual Bendhu a solo exhibition at CAS, Andover, Hampshire in 2025. As a member of the Royal Society of Sculptors her work has also been selected for exhibition in their London gallery in 2023, 24 & 25. With a master’s degree in theology, imagination and culture, Susan Francis is currently studying a practice-based PhD at Winchester School of Art, entitled ‘Walking Through Walls’. She also has work held in public and private collections in the UK, North America and in the Arts Council Collection of Northern Ireland.

Friday 12 June

Cathy Sisler
The Better Me 1995
Video, 20'

Cathy Sisler The Better Me 1995, Canada Video, 20 minutes SD Digital file.

Using the codes of TV, halfway between an commercial, a talk show and a therapy session, the artist humorously reflects upon the transformation and appreciation of self. A ghostly presence progressively seeps in. ‘It is possible to invent someone who will be with us all our lives (…) She stands over there watching me. Watching me with those eyes. One look back into her eyes watching me makes me question everything I do and say. (…) She invented herself as separate from me because she knew our integrity was in danger here. And now, our separation is our integrity. She has the body of a particular adolescent girl: my body… then.’

 

Cathy Sisler
Mr. B 1994
Video, 7'

Cathy Sisler Mr. B 1994 Video, 7 min. DVD / Digibeta tape / SD Digital file.

Mr B is the romantic male alter-ego of Cathy Sisler. Through dress and gesture she recreates herself on the streets of the city. Archetypal movement and poses reveal the transparency of identity formed through visual reference. The romantic music urges the viewer to narrativise the scenes, highlighting the manipulative process of the medium.

 

Cathy Sisler
Aberrant Public Speaking 1994
Video with sound, 18'

Cathy Sisler Aberrant Public Speaking 1994, Canada Video with sound, 18 min

Learning public speaking , the required development of various verbal and physical communication strategies. ‘I am here to give a speech, but each of my teeth is tied to a thread to a part of the stage-set. I speak carefully, but at the end of my speech, the set crashes down, and I have to drag it with me.’

 

Cathy Sisler
Aberrant Motion #4 (Face Story, Stagger Stories) 1993
Performance, 14' 31"
The screenings will be followed by a discussion with Miriam Rafael Sampaio and Althea Greenan

Cathy Sisler Aberrant Motion #4 (Face Story, Stagger Stories) 1993. Veideo with sound, 14 min 31 sec

Face Story. An ironic story about a body which has lost control over its closest associate: the face. Stagger Stories. Walking to dissolve the rage and buried anger left by having had to learn to walk so as not to attract attention, to become integrated. ‘I don’t remember it , but I know there was a time when I could neither walk nor talk. Then walking and talking became these ongoing obsessions which I totally took for granted as being normal.

Cathy Sisler (1956-2021) was born in Wisconsin (USA) and based in Canada since 1965. Cathy Sisler was a videographer, musician, performer, painter and writer. During the 1990s and at the beginning of 2000, she created different characters: the Spinning Woman, the Staggering Woman and the Falling Woman. Her work raises the question of a fragility that is explored through the notion of the double and the marginalized body. She won the Jury Prize at the Festival du cinéma et des nouveaux médias (Montreal, 1997), and was nominated for best video at the 16th Rendez-vous du cinéma québécois (Montreal, 1997). Her video The Better Me (1995) is part of the permanent collection of the National Gallery of Canada. Recently Cathy Sisler worked for Start Me Up Niagara, a shelter for the homeless, where she collaborated with the Art Garage, a space where street people are invited to create, make art and express themselves without constraint or judgement.

Miriam Rafael Sampaio is an interdisciplinary artist working with photochemical film, photography, photo-etching and installation, an independent curator and researcher. She is a Sephardic Portuguese Jewish Roma queer woman of colour born in Montréal and holds an MFA from Concordia University. Sampaio’s practice embodies ‘camadas’ - in Portuguese ‘layers’ or ‘palimpsests’ which reflect and embody epigenetic memory, trauma, loss, the (in)visible traces these leave on and in the individuated bod(ies) and philosophical lines of enquiry they inevitably pose. Her work has been shown in Europe, the USA, Canada and Mexico and has been recognized with awards from the Canada Council for the Arts, Arts Council England and the Calouste Gulbenkian Foundation amongst others. Her video work is distributed by Groupe Intervention Vidéo (GIV) in Montreal.

Sampaio’s 2023-2024 project with the personal book collection of Helen Chadwick recently donated to the Women’s Art Library, catalysed her interest in the archive space as a feminist strategy to secure access to critical artwork. Since then, she has liaised with networks in Canada to create a research resource collection dedicated to the work of Cathy Sisler in the Women’s Art Library. She met Cathy when the artist was a postgraduate student in Open Media at Concordia University’s and doing activist work for the Women’s Centre there.

Dr Althea Greenan works in Special Collections and Archives at Goldsmiths, University of London and curates the Women’s Art Library (WAL) collection. She programmes artistic research supporting artists, students and academics and this work is the subject of a film by Holly Antrum commissioned by the Art360 Foundation titled Yes to the Work!: The Women’s Art Libraryhttps://www.art360foundation.org.uk/media Additional roles include co-curating the Animating Archives website https://sites.gold.ac.uk/animatingarchives/ and advising the Feminist Art Making Histories, oral history, digital humanities project, funded by the Irish Research Council and the AHRC.

The Women’s Art Library (WAL) is a collection of photographic, ephemeral, personal and published art documentation initiated by women artists in the late 1970s. Thriving as an artists’ organization and publishing a magazine until 2002, the collection was then gifted to Goldsmiths and forms part of its Special Collections where it continues to collect and support artistic research, teaching and a feminist ethics in archive work.

Groupe Intervention Vidéo (GIV) Founded in Montreal in 1975, is one of the few centers in the world dedicated to the preservation and promotion of media artworks by women (women is used here in the most inclusive sense of the term), distributing and disseminating them while actively supporting production. Anchored in an intersectional approach, GIV supports artists of different ages, backgrounds and communities, and the practice of media arts in its various forms and currents, both artistic and action-oriented.

Its distribution catalogue reflects a plurality of approaches and treatments and bears witness to the multiple social, technological and artistic transformations of our world and the constant redefinition of our identities. The catalogue currently features 1,950 works by 490 artists from Quebec, Canada and abroad. Throughout the year, GIV organizes year-round programming and creative activities in collaboration with artists from a variety of disciplines, guest curators, festivals and community organizations, as well as streaming a wide range of digital works. GIV’s policy is to pay royalties and artists' fees for all its activities.

With the kind support of Groupe Intervention Vidéo (GIV).

 

Tuesday June 16

Tessa Farmer and Sean Daniels
Nest of the Skeletons 2008
Stop motion animation
The screening will be followed by an conversation between the artist and Victor Rees

Tessa Farmer and Sean Daniels Nest of the Skeletons, 2008, 5 minutes, 50 seconds, stop motion animation.

Nest of The Skeletons was commissioned by Parabola for The Tatton Park Biennial 2008.

Tessa Farmer was born in Birmingham (1978) and now based in London. Farmer studied Fine Art at The Ruskin, University of Oxford. She creates intricate sculptures, installations and occasional stop motion animations, from organic materials and is best known for her macabre skeletal fairies, a malevolent species that has been steadily evolving within her practice since the late 1990s. In 2007 she was artist in residence at the Natural History Museum in London and was nominated for The Times/ Southbank Show Breakthrough Award. In 2011 she was awarded a Kindle Project 'Makers Muse' Award and in 2015 won the British Science Fiction Association BSFA Art Award.

Recent exhibitions include ‘Welcome to Fairyland’ (solo), The Viktor Wynd Museum of Curiosities, London, 2025, ‘‘Occupied: Strange Company’(May 2026) at The Safehouses, Peckham, ‘Elective Affinities: Centenary Exhibition’ Swedenborg House, London, 2025, ‘Common Creatures, Bewildering Beasts’, KH7 Artspace, Aarhus, Denmark, 2025 and ‘Kafka: Making of an Icon’, Weston (Bodleian) Library, University of Oxford, 2024. Her work can be seen in the permanent collections of MONA, Tasmania and The Viktor Wynd Museum of Curiosities, London.

‘In Fairyland: The World of Tessa Farmer’ was published by Strange Attractor Press in 2016. Edited by art historian and curator Catriona McAra, In Fairyland consists of eight carefully crafted chapters by Giovanni Aloi, Gail-Nina Anderson, Gavin Broad, Brian Catling, Jeremy Harte, Petra Lange-Berndt, and John Sears.

Victor Rees is a London-based writer, performer and academic whose work explores the intersection of the mystic and the grotesque. His short stories and articles have been published by Textual Practice, Swedenborg House, Albion Village Press and The Friends of Arthur Machen. He collaborated on the children’s alchemical primer _This into That_ (Child Be Strange, 2025) with world-renowned illustrator Monika Beisner. Another picture book, _The Lamb & The Cockatrice_ , is due to materialise soon. With Iain Sinclair he co-edited _A Mystery of Remnant and Other Absences_ , a collection of Brian Catling’s short stories published by Swan River Press. In 2025 he completed a PhD at University College London entitled _The Mystic and the Visionary in the works of Brian Catling_ .

Tuesday June 23

Neville Gabie
At Sea 2026
Video,12' 24"

Neville Gabie At Sea 2026. Video, 12' 24"

At Sea, commissioned by Hull Maritime Museum, focuses on the harrowing journeys of three unaccompanied child migrants. Whilst awaiting processing, the artist got to know them - in limbo. Simultaneously he was involved with documenting fulmars; birds which make vast journeys over oceans in search of food.

The tenacity of fulmars - their endeavour, echoes the trauma of these young migrants, hounded by police, used by traffickers, confronted by borders without family and literally ‘at sea’. Hull was a gateway for over two million mainly Jewish refugees in the early 1900’s. Ironically that included the artist’s own family, the insecurity of these particular boys becoming strangely personal. At Sea has been shortlisted for the Aesthetica Art Prize 2026 and will also be installed in the refurbished Maritime Museum due to open this summer.

With a background in sculpture, Neville Gabie’s practice has always been driven by working in response to specific locations or situations caught in a moment of change. Highly urbanized or distantly remote, his work is a response to the vulnerability of place. Gabie’s interest is in establishing a working relationship within a particular community as a means of considering its physical, cultural or emotional geography. Born in Johannesburg, South Africa – MA in Sculpture at the Royal College of Art, London 1986/88.