Filtering by: Screening

Elegy  by Paul Bush
Mar
24
3:00 PM15:00

Elegy by Paul Bush

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Stone and light, just stone and light.

‘Elegy is a form of poetry natural to the reflective mind. Sorrow and love became the principal themes of the elegy. Elegy presents everything as lost and gone or absent and future.’ (Samuel Taylor Coleridge). Paul Bush's films challenge the boundaries that separate fiction, documentary and animation. His background in Fine Art is an influence on all his work and this is reflected in its inclusion in art collections and exhibitions as well as cinema distribution and television broadcast. During the 1980's he wrote and directed several short and medium length films that were critically acclaimed but it was not until the 1990's that his films became widely distributed and he was able to concentrate all his attention on film-making. During the 90's his films were commissioned by all the major broadcasters, won numerous awards and were shown in cinemas, exhibitions and television all round the world. During this period he usually used single frame techniques often involving live action elements. In 1999 he was polled in second place in Creation's list of top directors of animation. In 1996 he set up his company Ancient Mariner Productions to produce his own films and he also directs commercials and his clients have included Panasonic and Philips. In 2003 he was awarded a Nesta fellowship to develop feature films. His first feature Babeldom was completed in 2012. Due to the uncertainty of funding in the UK since 2000 he has increasingly relied on teaching to finance his work.

Bush was born in 1956 and studied Fine Art at Central School and Goldsmiths College, London. He taught himself how to make films while a member of the London Film-makers Co-op and Chapter Film Workshop in Cardiff. From 1981 to 1993 he taught film-making, establishing a film workshop in South London and supervising a wide variety of courses and the production of numerous student films. between 1995 and 2001 he taught on the visual arts course at Goldsmiths. He has lectured, run workshops and tutored at numerous art and film courses around the world including the Media Academy of Cologne, National Film Board of Canada, The Netherlands Institute of Animation Films, La Poudrière in France, TAW in Denmark, St Lukas in Brussels, KASK in Ghent, Anadolou University in Turkey, EIC-TV in Cuba, and the Royal College of Arts, Duncan of Jordanstone and the National Film and Television School in Britain. He runs workshops every year at Centro Sperimentale di Cinematografia, Turin, and Lucerne University, and he is currently a visiting lecturer at Harvard.

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Polymer by Astrid Goldsmith
Mar
24
3:00 PM15:00

Polymer by Astrid Goldsmith

Mock Duck Studios is an stop-motion animation studio, run by independent animator Astrid Goldsmith.
Based in Folkestone in Kent, Mock Duck Studios was set up by animation director Astrid Goldsmith in 2012, after a decade of industry experience as a model maker for film and TV. While making puppets and props for clients including Duracell; Ford Fiesta; Chivas Regal; Leeds Castle; Hammer & Tongs (Hitchhiker’s Guide to the Galaxy); and a weird commission for the boyband Blue, Astrid completed her debut short film Squirrel Island in 2016. Squirrel Island went on to compete at many top international film festivals (including Clermont-Ferrand, Tampere, LSFF, Aesthetica, and Warsaw Film Festival), and won several prizes for Best Film.

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La Faim (Hunger) by Peter Foldès
Mar
24
2:00 PM14:00

La Faim (Hunger) by Peter Foldès

In this animated short, director Peter Foldès depicts one man’s descent into greed and gluttony. Rapidly dissolving and ever-evolving images create a contrast between abundance and want. One of the first films to use computer animation, this satire serves as a cautionary tale against self-indulgence in a world still plagued by hunger and poverty.

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Works by Katherine Araniello
Mar
24
1:00 PM13:00

Works by Katherine Araniello

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Katherine Araniello is a London-based performance artist, who uses performance, video and subversive humour in response to the mundane, social awkwardness and the negative representation of disability. She twists taboos and the everyday into works which are never quite as they seem and are constantly challenging notions of ability. No-one is exempt and everyone is under scrutiny. Araniello uses improvisation, interaction and the use of technology to create unpredictable scenarios that can range from large scale productions to DIY and workshop activities. She has worked with artists including Teresa Albor, Kim Noble, Ursula Martinez, Daniel Oliver, Aaron Williamson and Marcia Farquhar; and organisations including the Southbank Centre, Battersea Arts Centre, The Yard Theatre, China Plate, Tempting Failure, The Wellcome Trust and Guest Projects. Her recent collaborative work uses fun aesthetics which create quick unplanned performances.

Araniello also works under a number of guises, including as SickBitchCrips(SBC), a persona that allows her to present disability in outrageous and politically incorrect ways, provoking audiences to reassess their own notions of disability in contemporary society. She also works with Aaron Williamson as The Disabled Avant-Garde (DAG), a satirical arts organisation, creating pitch-black and self-knowing performances, videos and interventions.

Her work has been shown internationally at galleries and festivals including; Tate Modern, Tate Britain, The Nunnery, the Canadian Arts and Disability Festival, ICA, Purcell Room at Southbank Centre, Hitparaden - an international festival for performance at the Pumpehuset in Copenhagen and at the Urban Institute for Contemporary Arts (UICA), Michigan.

Katherine Araniello is an Artsadmin Associate Artist and is on the board of the Live Art Development Agency. She holds a First Class Honours Degree in Fine Art from London Guildhall University and a Master’s Degree in Fine Art from Goldsmiths, University of London.

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Descent by Catherine Yass
Mar
24
12:00 PM12:00

Descent by Catherine Yass

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Catherine Yass’ work Descent shows a camera being lowered to the ground from a crane over a construction site at Canary Wharf, London, through thick fog.

Catherine Yass is best known for her distinctive photographic and film-based work. Typically she manipulates her subject matter by overlaying the negative and the positive from photographs she has taken and then realises the resultant images as lightboxes, prints and films. In 2017 RIBA held a screening of the artist's film, Aeolian Piano, with the BBC. Recent solo exhibitions include Milton Keynes Gallery (2014); Alison Jacques Gallery, London (2012) a mid-career retrospective at De La Warr Pavilion, Bexhill-on-Sea (2011); The Phillips Collections, Washington D.C. (2011); Stedelijk-Hertogenbosch Museum, The Netherlands (2009) and St Louis Art Museum, Missouri (2009). She was short-listed for the Turner Prize in 2002.

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Every Second Counts
Mar
24
11:00 AM11:00

Every Second Counts

Strangelove Festival 2019 invited artists to submit 30 second films, responding to the festival's theme of duration - reflecting our fast-paced consumer culture of digital media. Thirty seconds is: how long most adverts last, how long most people look at an artwork in a gallery, 12 breathes and an 0.008th of an hour.

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Queertopia curated for Daata Editions by Gemma Rolls-Bentley
Mar
23
8:45 PM20:45

Queertopia curated for Daata Editions by Gemma Rolls-Bentley

Queertopia curated for Daata Editions by Gemma Rolls-Bentley, features artists: Holly Blakey, Rindon Johnson, Zoe Marden, Rashaad Newsome, Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite and Puck Verkade.’ The artists included in Queertopia straddle London and New York, two cities at a pivotal moment in their queer history.

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Bodyscapes: new film and video from Japan
Mar
23
4:00 PM16:00

Bodyscapes: new film and video from Japan

Bodyscapes is a collection of new films by Japanese artists whose use of the body is central to their work – either as a landscape, a political metaphor or method of expression – the body acts as a vehicle and subject to communicate ideas. In Fuyuhiko Takata’s Little Mermaid inspired Cambrian Explosion, Takata’s character Princess Mermaid attempts to create his own legs by bloodily sawing his own tail in half. Aya Momose attempts to speak and converse with a goat, to share feelings of forgiveness and pain in her film, To Cuddle a Goat, a Poor Grammar Exercise. And in The Educational System of an Empire by Hikaru Fujii, the artist asks a group of young South Korean’s to reenact actions of historical colonial Japan upon the nation of Korea.

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Works From Tintype curated by Tony Grisoni
Mar
23
11:00 AM11:00

Works From Tintype curated by Tony Grisoni

Mozzarella in Carrozza, 2018, Oona Grimes

Mozzarella in Carrozza, 2018, Oona Grimes

Works From Tintype curated by Tony Grisoni

OONA GRIMES

mozzarella in carrozza 

2018


JORDAN BASEMAN
E
2015

HELEN BENIGSON
Essex Road Hen Party
2015

SEBASTIEN BUERKNER
Eaves Apart
2015

BENEDICT DREW
Incantation to rid this place of cars, without the help of Elon Musk (Essex road dub)
2017

GEORGE EKSTS
Essex Boulevard
2014

JUDITH GODDARD
Derange X
2017

TONY GRISONI
Bootstrapped
2014

XIAOWEN ZHU
Brief Encounters on the Milky Way
2017

ANDREA LUKA ZIMMERMAN
Lower Street, A Night Journey
2016

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Fantastic Pleasure
Mar
22
8:00 PM20:00

Fantastic Pleasure

  • Quarterhouse Auditoruim and Clearing (map)
  • Google Calendar ICS

Fantastic Pleasure is a collaboration between DJ Scott Humphrey and Artist/Illustrator Jordan Gray, both based in Kent. The pair began curating parties in Margate in 2018, seeking to create a night that combines music with animation and installation with fun at its core. The result is an interactive and inclusive experience that aims to relieve people of their inhibitions by use of Cosmic Disco grooves from Scott and absurdly humorous projections from Jordan

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Berlin Horse by Malcolm Le Grice
Mar
22
6:50 PM18:50

Berlin Horse by Malcolm Le Grice

“This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences.

The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm black and white. The black and white material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early black and white newsreel of a similar subject in the same way. As a two screen film the second screen has a black and white version of the whole film.” Words by Malcolm Le Grice

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Wavelength for Those Who Don't Have the Time by Michael Snow
Mar
22
6:30 PM18:30

Wavelength for Those Who Don't Have the Time by Michael Snow

Michael Snow's film "Wavelength" has been acclaimed as a classic of Avant Garde filmmaking since its appearance in 1967. In February 2003, Snow created a new work consisting of simultaneities rather than the sequential progressions of the original work. WVLNT is composed of three unaltered superimpositions of sound and picture.

Wavelength For Those Who Don't Have the Time: Originally 45 minutes, now 15!

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Berlin Horse by Malcolm Le Grice
Mar
22
6:20 PM18:20

Berlin Horse by Malcolm Le Grice

“This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences.

The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm black and white. The black and white material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early black and white newsreel of a similar subject in the same way. As a two screen film the second screen has a black and white version of the whole film.” Words by Malcolm Le Grice

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Wavelength for Those Who Don't Have the Time by Michael Snow
Mar
22
6:00 PM18:00

Wavelength for Those Who Don't Have the Time by Michael Snow

Michael Snow's film "Wavelength" has been acclaimed as a classic of Avant Garde filmmaking since its appearance in 1967. In February 2003, Snow created a new work consisting of simultaneities rather than the sequential progressions of the original work. WVLNT is composed of three unaltered superimpositions of sound and picture.

Wavelength For Those Who Don't Have the Time: Originally 45 minutes, now 15!

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The Logic of the Birds by Sarah Beddington
Mar
22
3:00 PM15:00

The Logic of the Birds by Sarah Beddington

The Logic of the Birds was inspired by early 20th century photographs of Palestinian processions, showing people moving freely across the land, as well as by a 12th century Sufi poem about a group of birds who go in search of a leader only to realise, after crossing a landscape full of hardships, that collectively they are the leader they were searching for. The project began as a public processional performance with costumed actors in a remote valley close to the Jordan Valley – an area that is on a major trajectory for bird migration as well as being a route inscribed by infinite journeys of pilgrimage, exile and return. By working with a mythological story in the reality of occupied Palestine, the artist hoped to offer one of many possible scenarios in this controlled landscape that might open up a space for a potential future story yet to be created. 

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Past, Present, Future. What is Time-based Media?
Mar
22
1:00 PM13:00

Past, Present, Future. What is Time-based Media?

The afternoon will begin with a rough history of video art by artist and writer Chris Meigh-Andrews who also will chair the programme, followed by presentations by Larry Achiampong, Jane England, Keith Piper and Lois Keidan. The invited speakers will each present their own personal ideas and approaches to issues that are relevant to their practice and show visual examples of their work. This will be followed by an opportunity for further discussion about past, present and future of time-based media.

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Works by Matt Calderwood
Mar
22
11:00 AM11:00

Works by Matt Calderwood

Still from Suspension,2009

Still from Suspension,2009

Matt Calderwood was born in Northern Ireland (1975) and now lives and works in London and County Antrim. He received a BA(Hons) in Fine Art at Sunderland University, (UK) 1997

Calderwood has exhibited widely in the UK and internationally, recent solo exhibitions include; Matt Calderwood, HS projects, Howick Place, London (UK) 2017-18; More or Less There, 1961 Projects, (SG) 2017, White Noise, Farbvision, Berlin (DE) 2016; Exposure, De La Warr Pavillion, Bexhill on Sea, (UK) 2014; Paper Over The Cracks, BALTIC 39, Newcastle upon Tyne, (UK) 2013; Matt Calderwood, Dynamo Arts Association, Vancouver, (CA) 2012.

Group exhibitions include; Generation Loss, Julia Stoschek Collection, Dusseldorf, (DE) 2017-18; Idea Home, MIMA, Middlesbrough, (UK) 2017; Precarious Balance, CoCA (Centre Of Contemporary Art), Christchurch, (NZ) 2016; More Konzeption Conception Now, Museum Morsbroich, Leverkusen, (DE) 2015; Art Foundation Mallorca Collection – Special Edition, CCA Andratx, Mallorca (ES) 2012; Dublin Contemporary, Earlsfort Terrace, Dublin, (IE) 2011; Rogalski, Sammlung Haubrok, Berlin, (DE) 2010; I Want to See How You See, Deichtorhallen, Hamburg, Germany(2010); Quiet Revolution (Hayward Touring Exhibition), Milton Keynes Gallery, Milton Keynes, (UK) 2009; Material Intelligence, Kettle’s Yard, Cambridge, (UK) 2009.

Collections include; Julia Stoschek Collection (DE), Auckland Art Gallery, (NZ), Zabludovicz Collection, (UK) Dublin City Gallery, The Hugh Lane, (IE) Southampton City Art Gallery (UK) CCA Andratx, Mallorca (ES) Haubrok Collection, (DE) IKEA Museum, Älmhult (SE), Ekard Collection, (NL) West Collection (USA)

Matt Calderwood is represented by Anthony Wilkinson, London.

Strangelove will be screening Suspension, Tape, Six Sculptures and Gloss at Hop Projects CT20

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