Screening Programme

Tuesday 3 June - Tuesday 17 June 2025

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 3 June

Mark Dean Sampler 2025
Video and sound, 40 min
The screening will be followed by a discussion with artist Judith Dean

Mark Dean Our Moment (2024)

Sampler offers an opportunity to view a selection of tracks from Dean’s video albums, followed by a conversation with Judith Dean around questions of appropriation and remixing.

Mark Dean began looping appropriated film while studying photography and painting in the late 1970’s, and in the 1980’s extended this technique into music; these practices were eventually combined in the methodology for which Dean became recognised as a video & sound artist from the 1990’s onwards, with work held in collections including Arts Council of England, Leeds Art Gallery, MUDAM Luxembourg, and EMMA Finland. Music has remained an integral part of Dean’s art practice, with looped and layered sound samples often providing the structural basis for video works. This treatment of music as primary material is paralleled by a consistent use of film as objet trouvé; however, Dean’s use of appropriation differs, at least from some of the more reductive interpretations of such work, in that it is based not on a theory of the emptiness of images, but on a theology of kenosis, or self-emptying; a practice grounded in the lived experience of trauma.

Working via the gallery system in the 1990’s and 2000’s, Dean was ordained in 2010, and following this has produced cross-disciplinary and collaborative events. In 2021 Dean began publishing video albums on chaplachap records; while referencing vinyl LPs and EPs, they also recall a time when video artists conceptualised a future of dematerialised art, distributed outside of commodification systems. The technology to realise this eventually arrived, but along with it came both a shift in patterns of consumption and a convergence of media, such that ‘video art’ may no longer exist beyond its own history; and yet here we are…

Judith Dean uses her non-writing hand and Chinese brushes to overcome the control exerted by the conscious mind, making paintings to explore perspective and the singularity of the mind’s eye in framing and authorship. Using the contingency of found images on the internet, the compositions are framed as receding (empty) rooms, stages or galleries, producing diverse worlds of staged inevitability. Recent solo / duo exhibitions include South Parade, London (1.5.25-14.6.25); One Thing and the Others, Bodenrader, Chicago (2024;) Stolen Hours (with Georgia McGovern),12.26 Dallas, (2024); Of Strangers (with Li Yong Xiang), Shahin Zarinbal, Berlin (2024).

 

Tuesday 10 June

Kihlberg & Henry Slow Violence 2018
HD Video, 5.1 audio 29 min
The screening will be followed by a discussion with multimedia artist Imogen Stidworthy

Kihlberg & Henry Slow Violence 2018 HD Video, 5.1 audio 29 min. Commissioned
by Whitstable Biennale 2018 funded by Arts Council England and the Elephant Trust

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, known as Kihlberg & Henry, are a London-based collaborative duo whose practice explores the intersections of architecture, narrative, and the human voice. Their work considers architecture as a biological event—an external manifestation of the mind—and examines how storytelling, memory, and language shape our experience of space and time. Through research-based and collaborative approaches, they interrogate different models of artistic practice, often challenging conventional structures of authorship and perception.

Kihlberg & Henry are the founders of the international residency programme Springhill Institute in Birmingham and The Disembodied Voice research group in London, a platform dedicated to exploring disembodied narration and its role in contemporary art and media. Both were fellows at the Jan van Eyck Academy, Netherlands, and hold a Masters in Cultural Production from Linköping University in Sweden and a First Degree in Fine Art from BCU Birmingham. Kihlberg also holds an MA in Contemporary Art Theory from Goldsmiths, University of London.
Their work has been presented in solo exhibitions and projects at the Whitstable Biennale; fig-2 at ICA, London; Grundy Art Gallery, Blackpool; Camden Arts Centre, London; Plymouth Arts Centre; and Gallery Box, Gothenburg. They have participated in group exhibitions and projects at Ikon Gallery, Birmingham; Eastside Projects, Birmingham; Fundació Miró, Mallorca; Tate Modern; and the Hayward Gallery, UK. In 2012, they won the Great North Run Moving Image Commission, and they were artists in residence at Wysing Arts Centre, Cambridge (Department of Overlooked Histories).

Imogen Stidworthy’s work has been presented in Documenta 12 (Kassel, 2007), Kiev Triennale 2015), Suzhou Documents (Suzhou Biennale, 2016), Sao Paolo Bienal (2014 ) and Busan Biennale (2012), among others; in solo exhibitions at ao. Netwerk Aalst (BE, 2019), Würtemburgischer Kunstverrein, Stuttgart (2018), Museum of Contemporary Art, Antwerp (MuKHA, 2007), and in the UK at ao. Imperial War Museum (2015), Arnolfini, Bristol (2010) and Matts Gallery, London 2003, 2011) as well as in numerous group exhibitions in the UK and internationally.

Imogen curated Die Lucky Bush at MuKHA in 2008 and In the First Circle at Fundació Antoni Tapiès, Barcelona (2012). Awards and prizes include shortlisted for the Freeland Award 2023, Special Prize for the David and Anneli Juda Award (2018), shortlisted for the Jarman Award (2011) and Becks Futures (2004), and winner of the Prix de Rome (NL, 1996). Her work is in collections including ao. Centre Georges Pompidou, Arts Council England and Museum of Contemporary Art, Antwerp (MuKHA). Imogen completed her PhD ‘Voicing on the Borders of Language’ at Lund University (SE) in September 2020. She is currently a Reader in Fine Art at Liverpool John Moores University.

 

Friday 13 June

Bevis Bowden Marginalia | song to the river
Cinemascope, 44 min
The screening will be followed by a discussion with artist Shona Illingworth

Bevis Bowden Marginalia | song to the river 44 min

Marginalia | song to the river was made as part of a Creative Arts Fellowship held at Merton College, Oxford last year.

Bevis Bowden graduated from Central Saint Martins with a Fine Art degree in Filmmaking. His first film Réalisé en Montagne, was selected for both the Kendal and Banff Mountain Film Festivals. He is now an active, commissioned filmmaker, working predominantly in long and short documentary forms and natural history. He has made films for both national and international broadcasters, arts organisations, museums and individual artists. Between 2023 and 2024 Bevis was a Visiting Research Fellow in the Creative Arts at Merton College, Oxford. He is based in both mid Wales and London.

Shona Illingworth is a Danish-Scottish artist based in London, UK and a Professor of Art, Film and Media at the University of Kent. Informed by her long-term investigations into the dynamic processes of memory, amnesia and cultural erasure, her work examines the devastating impact of accelerating military, industrial and environmental transformations of airspace and outer space and the implications for human rights. She is co-founder of the Airspace Tribunal with human rights lawyer Nick Grief. Recent solo exhibitions of her work include Topologies of Air at Cukrarna, Ljubljana (2025); Les Abattoirs, Musée – Frac Occitanie, Toulouse(2022-23), Bahrain National Museum, Manama (2022) and The Power Plant, Toronto (2022). Illingworth was a recipient of the Stanley Picker Fellowship and was shortlisted for the Jarman Award (2016). She is currently an Imperial War Museum Associate, Artist Fellow for the UKRI Polarities Network and sits on the international editorial boards of Digital War and Memory, Mind and Media. Topologies of Air – Shona Illingworth, Downey, A. (ed) was published by Sternberg Press and the Power Plant in 2022.

 

Tuesday 17 June

Sam Jury This You Must Remember 2022
Single channel video installation with sound by Rob Godman, 39 min

Sam Jury This You Must Remember 2022 Single channel video installation with sound by Rob Godman, 39 min

Suspended trauma, aftermath and the omnipresent reminders of loss in post-conflict Abkhazia are the central themes of This You Must Remember, a film co-produced with SKLAD Cultural Centre in the capital Sukhum/i. Located between Russia and Georgia, Abkhazia is a post-soviet state, site of the Georgian/Abkhaz war of 1992/93, with a long history going back to antiquity.

Taking the dual forms of a single-channel film and a multi-channel audio-visual installation, the project merges original and historical footage with photographic archive montage and personal narratives. The soundscape, in collaboration with composer Rob Godman, deploys experimental techniques of spatialisation and granular stretching to evoke the heightened sense of perception experienced during traumatic events. Produced over a four-year period, the project works with verbatim narratives internal to Abkhazia, driven by ordinary people’s enduring need to articulate their personal experiences of loss.

Sam Jury works across the forms of moving image, sound, photography and installation. She frequently collaborates with other disciplines, such as choreographers, writers and scientists. For many years she has been interested in what she terms ‘suspended trauma’ and what cultural theorist Rob Nixon calls 'slow violence' - the long, drawn-out effects of disaster. Since 2017, she has been working collaboratively with SKLAD cultural space in Abkhazia to co-produce artworks related to the long-term effects of post-conflict aftermaths.