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.

Imaging Time: Understanding Photography as Time-based Media Discussion launches the 2019 Strangelove festival. This event is brought to you by Strangelove and The Photographers’ Gallery, London.

The panel features Phoebe Boswell, Lucy Reynolds, Erica Scourti and Catherine Yass aims to explore the various relationships that photography has with, makes use of, and represents time.

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.

Fill the gallery with 3D drawings you can only see through your phone.  Join a workshop, draw, then make tiny videos to show your creations. We'll share the best on social media to tell the story of the Strangelove day.

You'll need a compatible phone and Just a Line https://justaline.withgoogle.com app.

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.

In response to Paterson’s materialist re-enchantment of the scientific, this piece explores the pressing contemporary context in which the artist thinks through, and with, nature. This headphone work attempts a parallel of Patterson’s transformational method. Here rather than a sublime rendering of the physical world, a political viewpoint is theatricalised. In so doing, that which has been presented as fact moves into the context of the dramatic and by inference the fictitious.

Solitude drenched in melancholy. Repose harks back to early childhood fears, instilled and developed through adolescence, manifesting in adult anxiety. Synthesised rhythmic loops are reminiscent of the artist’s memories of a looming clock tower which once stood over him in a seaside town he called his childhood home. Repose is a desperate search for meaning and understanding in a world that offers none. It is a despairing search for solace, and a journey of discovery - inviting the listener to take time in this moment, to be, to reflect and let go.

Strangelove have invited Pop-Up Brighton to curated a screening of moving image that explores the festival’s theme of Duration.

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.

Foreign Sleep (2019) is a revised iteration of the original Choreophobia performance by artist Lilian Nejatpour. The performance borrows its name from the theory of dancer and choreographer Anthony Shay, who examined the intervening occurrence of colonialism and Western thought on Middle Eastern dance practices. Shay articulates Western involvement in the Middle East as transforming gender and sensuality in non-Western male bodies, arguing that this interference influenced a phobia toward transgressive and fluid forms of gender display.

A selection of artists based in Kent

Four artists working with performance seek to establish / carve out the foundations for a live space in which aspects of physicality in each working practice can be brought to the surface and deployed by each artist as they see fit; aiming to draw out similar notions and parallels that may have not coincided with each other before.

Works from Tina Keane, Lynn Macritchie and Anne Bean curated by Jane England.

Peter grew up in Denmark and came to the UK in his early twenties to work in the TV industry. He trained in post-production and later progressed into production, working on ‘DANCER IN THE DARK’ by Lars von Trier, and reality shows for TV. In 2000 he started producing content for pioneering internet companies and later founded Klip Films, a production company to serve the corporate, arts and public sector.

Throughout his career he has written, directed and produced many short films of which some have screened at international film festivals. Two of his short films was nominated for the TIME OUT AWARD: ‘MEAT’ in 2007, and ‘THE PREACHER’ in 2008. In 2016 he shot his first feature film ‘SEAGULL’. 

Some of most creative documentary films are often under ten minutes long and over the last couple of years there has been an explosion of high quality films that were usually only available at film festivals and a brief life on iTunes. These films deserve more love and attention rather than just being seen as a training ground for feature documentaries.

Strangelove have invited Pop Up Brighton to curated a screening of moving image that explores the festival’s theme of Duration.

In partnership with La Plate-Forme, Dunkirk's contemporary art laboratory, Strangelove held an open call for international performers with an important link over the duration, the time given to the action to have their work was screened in Dunkirk in November 2018.

As part of the 3 week programme at La Platform Strangelove presented 2 contemporary performances by Folkestone based Artists Bean and Local Foreigner.

The selected artists work will be  exhibited in this year festival at UCA Project Space Brewery Tap for those who didn’t manage to get across the channel in November!

Dominic Pillai is a film director and video artist based in Folkestone. Taking a uniquely holistic approach to the moving image, Dominic aims to explore the therapeutic potential of the medium by creating work that blurs the boundaries between narrative, documentary and experimental film.

Composer and sound artist Emily Peasgood discusses participant voices in community art with reference to VOICE100, a project she created in 2018 that includes the speaking voices of 100 men, women and children augmented into a contemporary beat poem. VOICE100 is a contemporary electronic surround sound work about how women are perceived 100 years since they started to receive the right to vote. 

In this one hour  conversation with Jessica Hynes with Terry Smith  will discuss and share favourite beginnings and endings of films that had a significant affect on their practice. The conversation will be moderated by Jennifer Thatcher.

John Woolrich : Music in Film

What is music for in cinema? Is it just Mickey Mousing, or can it be an essential part of a film

A conversation with John Woolrich Terry Smith and Jennifer Thatcher     

In a sense all time-based works are about duration, whether acknowledged or not, it is a vital element. Artists always make work about where they are, perhaps to understand who they are. The where can be geographic or phycological, or both.

Paul Bush animation

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.

New Animation works…

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.

A screening of works

Single Channel work

We are delighted to have Sister Seitan taking over the Quarterhouse Kitchen to bring delicious vegan food across the weekend of the Folkestone element of the festival. Timings: 12pm to 3pm

Melanie Manchot’s Dance (All Night, Paris) focuses on the act of dancing in public and examines a range of meanings embedded in dancing as a collective experience. Collective dancing, is intrinsic and indigenous to all civilisations, including our own western cultures.

Timeslice is a pulsing three-dimensional light sculpture with infinite viewing angles. Rows of suspended translucent organza sheets create many projection surfaces, and flickering, organic waves of motion pass across them, giving light form and depth.

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.

This film is a sort of visual diary from March 2017 - March 2018, logging changing landscapes, people, weather, animals and collected conversations from Folkestone's bus passengers. Soundtracked by local musicians and friends.

The Slave's Lament, Graham Fagen, 2015

Single Screen version, Loop duration 14mins 33secs

 Originally produced for Scotland + Venice 2015, commissioned and curated by Hospitalfield, Arbroath.

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. This will be screened in The Quarterhouse Auditorium 4-6pm Saturday 23rd March and the curator, Jamie Wyld will be talking about the screening in the Quarterhouse Clearing at 4pm - 5pm.

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.

Exhibiting Artists: Niyaz Saghari, Vicky Smith, Katie Davis, Dani Landau, Laura Phillips, Melanie Clifford, Marcy Saude.

Curated by: Vicky Smith

Discussion and talks

Exhibiting Artists: Niyaz Saghari, Vicky Smith, Katie Davis, Dani Landau, Laura Phillips, Melanie Clifford, Marcy Saude.

Curated by: Vicky Smith

We are delighted to have Sister Seitan taking over the Quarterhouse Kitchen to bring delicious vegan food across the weekend of the Folkestone element of the festival. Timings: 12pm to 3pm and 5pm to 7pm Saturday 23rd March

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

Strangelove are pleased to present works collaboratively made by David Blandy and Larry Achiampong.

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.

We are delighted to have Sister Seitan taking over the Quarterhouse Kitchen to bring delicious vegan food across the weekend of the Folkestone element of the festival. Timings: 12pm to 3pm and 5pm to 7pm

What the work ‘Mic Drop’ attempts to explore is not just the theatrics and implications of the April 2016 Obama mic-drop moment, but the potential empowerment of human linguistic ‘labour’ through its relationship with the microphone as a ‘tele’ enabling device. It is a device that endows the power to ‘voice’ over distance through a sequence of encoding/ transmission/ decoding protocols. I would argue that this enabling technology has been of particular significance to diasporic or scattered peoples in its ability to reconnect severed linguistic connections and to rearticulate disconnected knowledge systems across geographic space (in itself a decolonizing act).

The Playback features over 300 short films made by up and coming artist filmmakers aged 16 – 24 from across England.

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.

“The twelve short films in this programme, made between 1960 and 1993, reveal the astonishingly tireless talent of a filmmaker not afraid to grapple with sex and war, or to experiment with visceral soundtracks and brutal animation techniques.”

“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

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!

“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

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!

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.