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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
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Wednesday 29 May |
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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
Alex Schady These are not my dreams 2024
Daria Blum Big Baby (I owe you nothing)
2021
Oona Grimes Etruscan moth 2020
Mario Rossi In Media Res 2022
Paulette Phillips Marnie's Handbag
2008
Louisa Fairclough A Rose 2017
Mark Dean The Way Of The Saints 2018-2023
To view more information on the artists and work please click here
Friday 31 May
Sarah Pucill Double Exposure 2023 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.
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.
Tuesday 4 June Simon Faithfull in conversation with Melanie Manchot
Reenactment for a Future Scenario #1: EZY1899 2012
A figure clad in a silver, fire-protection suit seems to be caught in a sisyphean dream – endlessly enacting the rituals of cheap air-flight, as he boards and re-boards a burning jet plane. ‘Reenactment for a Future Scenario no.1’ presents an action that is stranded in time and space – a state where the adrenalin of emergency has dissipated into the tedium of the everyday.
Re-enactment for a Future Scenario #2: Cape Romano 2019
A figure is stranded on the half-submerged
ruins of a futuristic ‘Dome Home’ off the coast of Florida. Haunted
by memories of the former dwelling, the figure seems to be caught in
a strange dream. A memory from a future that never quite happened.
Simon Faithfull (b. 1966, UK; lives and works in
Berlin) 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.
Thursday 6 June
Kihlberg & Henry Slow
Violence 2018
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.
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.
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