the artists cinema programme (2005)

8/14/2019 The Artists Cinema Programme (2005)

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8/14/2019 The Artists Cinema Programme (2005)

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Access to The Artists Cinema is included in the Frieze Art Fairadmission ticket. Seats are limited so please arrive early toavoid disappointment. There will be no admission to t heauditorium after each programme has started and theorganisers reserve the right to make programme changes.

The Artists Cinema is clearly indicated on the Frieze Art Fairmap and is located in the top right hand corner. Please bearin mind it may take at least 10 minutes to walk to thecinema from the fair's entrance point.

Frieze Art Fair, Regent's Park, London21-24 October 2005

Friday 21 October to Sunday 23 October, 11am 7pmMonday 24 October, 11am 5pm

Book before 7 October for discounts and fast trackentry (booking fee)Box Office: See Tickets +44 (0)870 890 0514Online bookings www.seetickets.com

Day Pass 10 in advance / 15 on the doorConcessions 8 in advance / 10 on the doorFour Day Pass 20 in advance / 30 on the door

www.friezeartfair.com

Posterimage:RogerHiorns, FleetSt, 2005 and JimmyRobert, L'ducation sentimentale, 2005

Wewould liketo thankall of thecontributing artists and galleries and in particular,TrevorCarlson;IsabelleDaire,Centre-Pompidou;TomHeman,Metro Pictures;BeatricedePastre,CinmathqueRobert-Lynen dela Villede Paris;NovemberPaynter,AssistantCurator,Platform,Istanbul;C. Raman Schlemmer;CatherineSullivan;StacySumpman and David Vaughan atMerceCunninghamCompany.

TheArtists Cinemais a FriezeProjects/LUXcollaboration and is co-ordinated byIan White.Programmehighlights will tourto Baltic,Gateshead;FACT,Liverpool andArnolfini,Bristol in Spring 2006.

TheArtists Cinemais supported byFriezeArtFair, Arts Council ofEngland and theCulture2000 programmeoftheEuropean Union.

The Artists Cinema is a major initiativeby Frieze Projects and LUX, to focus onthe increasing importance of cinema asa mode of exhibition for contemporaryartists. A bespoke auditorium issituated inside the Frieze Art Fair forthe presentation of artists film andvideo works. The programme premieresboth Frieze Projects and LUX/SPACEXA Movie commissions. Daily screeningsof these commissions are accompaniedby a diverse series of programmes

presented by eight invited internationalcurators over the four days of the fair.The curated programmes surveycontemporary work in relation tohistorical legacies, our current politicalclimate, or prevailing formal andaesthetic concerns.

FRIEZE PROJECTS FILM COMMISSIONS

Daily 12.45pm & 4.30pm

Three British sculptors who have never previously workedwith the moving image have been commissioned to makeshort films, offering them the opportunity to develop theirpractice in an important new direction.

Roger Hiornsfilm BENIGN (2005) focuses on the simplenarrative potential of this time-based medium. Crafted to amodest degree and as self-sufficient as possible, the piece isminimally shot and features a play written by Hiorns,performed by an actor as a monologue delivered directly tothe camera.

Donald Urquharts film LEntracte(2005) is shot on blackand white, high definition video. It features an originalscreenplay and sets created by Urquhart, plus a cast andcrew assembled from a glamorous assortment of friends andassociates, set to melodramatic effect.

Cathy Wilkes combines sculpture, painting and writing tocreate detailed and immersive installations. Here she exploresrecurring themes of atmosphere, presence, loss, fabrication,bodily politics, art-historical posturing and economic analysis,all displayed and discarded with a tough precision that resistseasy interpretation.

Running time: approximately 30

Frieze Projects is a high-profile commissioning opportunity for artists realised annually at Frieze Art Fair. The programmehas expanded this year to encompass for the first timefilm and video commissions and the presentation of The

Artists Cinema.

Frieze Projects is curated by Polly Staple and commissioned under the auspices of Frieze Foundation which is generously

supported by the Arts Council of England and the Culture2000 programme of the European Union. Frieze Projects are

presented in association with Cartier.

THE ARTISTS CINEMAFRIEZE ART FAIRREGENTS PARK, LONDON21-24 OCTOBER 2005

LAND OF HOPE AND GLORYCurated by Chrissie Iles

Friday 2.45pmSaturday 1.30pm

Land of Hope and Glory presents a glimpse back to thecrumbling edifice of Thatchers Britain through the eyes ofsome of its key filmmakers and musicians. Re-visited atanother moment of crisis to our current one, these worksoffer critical perspectives on one of the most radical periodsin recent British history and by doing so reveal something ofour contemporary climate. Urban blight, the threat ofnuclear war, Section 28, the end of the London FilmmakersCooperative, the end of Empire, and perhaps the last ofEngland. CI

BLUE MONDAY/WAR MACHINE,Th e Duvet Brothers,UK1984,video,10

ABSURD,John Maybury,UK 1989, video,5THE CHILD AND THE SAW,Daniel Land in and

Richard Heslop,UK1984,23PEDAGOGUE,Stu art Marshall with Neil Bartlett,UK

1988,video,10

DRZAVA(THE STATE), Daniel Landin,UK1984,16mmonDVD,c.5

BROKEN PIECES FOR THE COOPERATIVE/LMFCDEMOLITION, Anna Thew,UK1986,16mm,8IN OUR HANDS, GREENHAM, Tina Keane,UK1984,

video,38


STILLCurated by Cerith Wyn Evans

Friday 5.15pmMonday 11.30am

Placing the contemporary films of Ulla von Brandenburg withtwo trans-generational instances of similar yet different workby Kurt Kren and Andy Warhol, this programme reclaims theauditorium as a radical and increasingly queer space ofcontemplation. From von Brandenburgs still portraits, theline between moving and not moving, action and inactionpivots around Krens elegantly austere and lyrically beguilinglandmark films. Warhols exemplary trash-dramatisation ofthe photographic image, The Life of Juanita Castro , literallyposes a cast of Factory luminaries (including Marie Menkenin the title role, the screenwriter Ronald Tavel, Ultra Violetand Mercedes Ospina) as a family photograph in theinstance of its own inevitably raucous if not absurd, making.Fidel, his brother Raul and Che Guevara are all hystericallyplayed by women and as Tavel relentlessly directs each andeveryone on what to say and how to act the CubanRevolution is reconfigured as high camp and history isrepeated a second time, as farce. IW/CWE

REITER, Ulla von Brandenburg,Ger2004,Super8 on DVD,224

MI-CAREME, Ulla von Brandenburg,Can 2005,Super16 on DVD,224

3/60 BUM IM HERBST (TREES IN AUTUMN), Kurt Kren,A1960,16mm,5

15/67 TV, Kurt Kren,A1967,16mm,4THE LIFE OF JUANITA CASTRO, Andy Warhol,US1965,

16mm,70

Running time: 84

PEDESTRIAN CINEMA: SCREEN TESTBernadette Corporation

Saturday 2.45pmMonday 1.30pm

Pedestrian Cinema is an ongoing project by BernadetteCorporation based at Kunstwerke, Berlin, begun in June2005. A year-long underground film studio, it proposes arolling programme of video production and exhibition thattakes its cue from old Hollywood and its intent from theimmediacy of a digital age.

Does the screen still hold up as something to project on?Does it still have the capacity to hold a fiction in a timewhere mobile technology, new-media piracy, Basra torturephotos, Reality TV and internet are eroding the differencesbetween public and private images? The currency of imagesis cheap today, as it seems everything and everyone has tobe photographed or filmed. The decision to embark onsomething and call it cinema is also the desire to re-discovera fiction for contemporary bodies without history ornarrative. By keeping things pedestrian, the conditionproducing these bodies in the first place is not forgotten orairbrushed-over; rather it becomes part of a material that isitself the testing-out of different gestures, roles, and wordson screen. Antek Walczak


SCHADENFREUDECurated by Tirdad Zolghadr

Saturday5.15pm Guestspeaker:HitoSteyerlSunday11.30am

These days, projects reflecting on violence and militaryexpansionism constitute a dilemma t ypical of political art asa whole. It seems one has to choose between sentimentalcounter-propaganda, or a retreat into insular navel-gazing.But the main issue here isnt that of summoning enoughprogressive content and selfless goodwill, or that of de-spectacularizing, but of finding intelligent forms ofvoyeurism, modes of visual production that face up t ostrategies of entertainment or objectification withoutapologetic, self-reflexive mise-en-abme - eluding the effectof solidarity in favour of an analysis of the fascination for theoutlandish, be it touching, violent or both. The videos hereengage with this frisson of flinching in succinct,understated ways, producing suspense and anticipation byway of minimal difference in repetition, at times subtle, attimes overbearing. The selection is all-male. For a programaddressing voyeurism and violence, labelling a male gaze as

just that, is more productive perhaps than any token gestureof de-essentialization could be.

The screening on Saturday is preceded by a commentary byfilmmaker and theorist Hito Steyerl, whose work engageswith postcolonial critiques, feminist theory, and parallel visualstrategies in fine art and documentary film. TZ

CUT IT OUT,Ahmed gt,Tur2004,DVD,2AC 130 GUNSHIP, Christoph Bchel,Tur2004,DVD,9SAIDA. JUNE 6, 1982, Akram Zaatari,2004,DVD,90loop,c.4OUR VILLAGE,Sener zmen,Leb 2004,DVD,7INVERTED STAR, Miguel Calderon,Mex2002,DVD,4AWAKENING(single channel version of installation),

Erik Van Lieshout,Neth 2005,DVD,12SUCH A NICE BOY I GAVE BIRTH TO, Marcin Koszalka,

Pol 1999,Beta,25

Running time: 63

METAMORPHOSISCurated by Philippe-Alain Michaud

Sunday 1.30pmMonday 2.45pm

The fantastic cinema interprets metamorphosis as a fable,the experimental cinema interprets it as a form, the scientificone as a fact. But in any case, the theme of metamorphosishas been employed in film as a way to explore the power ofimages in motion, to record the changing appearance ofthings. Painters and sculptors of the Renaissance and of theclassical age found in Ovids stories a wide iconographicrepertory from which to draw the elements of amythological history of nature. In cinema, metamorphosistakes an additional meaning: it invites us to see figurationnot as an expression of permanence or stability, but as aconstant flow of unsettled qualities. P-AM

LE MIMTISME (MIMICRY), Unknown director,Fr192?,35mm,4, (CourtesyCinmathque Robert-Lynen dela ville

deParis)

FELIX GETS THE CAN, Otto Messmer & Pat Sullivan,US1924,16mm,9

FELIX MAKES A MOVIE, Otto Messmer & Pat Sullivan,US1924,16mm,7

MASK AND STILTDANCE (GBANDE, NORDLIBERIA),P. Germann, Ger1928,16 mm,330''

NUNA (WEST AFRICA, UPPER VOLTA), MASK DANCES,K. Dittmer, Ger1956,16mm,9

LE VAMPIRE, Jean Painlev,Fr1939-1945,35mm,9QUIMEIRA, Tunga and Erick Rocha,Bras 2002,35mm, 14

Running time: 56

A MOVIEFilm commissions from LUX and SPACEX

Daily 4.00pm

A Movie is a new project set up by South West Screen andFilm London commissioning artists film works to interveneinto the tradtional cinema experience. A Movie seeks tocommission works that consciously respond to, comment on,interrupt or reflect the cinematic context. Over the next sixmonths these films will be individually shown in cinemasacross the UK as a dispersed national exhibition. Each isapproximately 5 minutes long and they are shown heretogether for the first time:

Mark Leckey with Jack Too Jack,The March of the BigWhite Barbarians

Daria Martin, Man and Mask Jimmy Robert, L'ducation sentimentaleImogen Stidworthy, Tian Tan Park, BeijingMika Taanila, Optical Sound


A Movie is a South West Screen and Film London project,in partnership with SPACEX, LUX and the Independent Cinema Office. Funding has been provided by Arts Council England, National Touring Programe and Esme FairbairnFoundation.

STATE OF ACCEPTANCECurated by Marta Kuzma

Friday 11.30amSunday 2.45pm

In All The Presidents Men (1976), Deep Throat clandestinelyreveals the Watergate scandal to Washington Post

journalists, Bob Woodward and Carl Bernstein, bywhispering It leads everywhere. Get out your notebook.Theres more. Capital cities as political hubs are a bit likethat everywhere but nowhere specific. State ofAcceptance explores how the notion of a capital evolves asan abstract collective symbol, constructed by the media, aparadoxical political space described by language and signs,myths and symbols, that equate its quotidian meaning.Operating as an all-pervasive constellation that translatesideology and its effects in t erms of urban images, fragments,recollections and sentiments, capital develops allegorically a politically organised, rapid and mobile evolution ofimmobile principles and homage to inoperative values. MK

CAPITAL, Sarah Morris,US2000,S16 mmon DVD,1818RHETORIC SHIFT (DONALD H. RUMSFELD), Sean Snyder,

US2004,2-screen DVD,15

LITTLE FLAGS, Jem Cohen,US2000,video,630THE ETERNAL FRAME, T.R. Uthco and Ant Farm,US1975,

video,2350

Running time: 64

PARADES AND CHANGESCurated by Catherine Wood

Friday 1.30pmSaturday 11.30am

Three different approaches to the formal staging of relationsbetween performers find common ground in thesechoreographic structures arranged via mathematical ornumerical systems. Oskar Schlemmer's Triadic Ballet was thegrand synthesis of the Bauhaus artists attempt to situate thebody within the gesamtkunstwerke , reshaping the humanfigure into the abstract space of the stage through sculpturalcostumes and poses. Merce Cunningham's comical dance forcamera, Deli Commedia was, characteristically,choreographed by chance procedures absorbed from JohnCage. Cunningham rejected centralised perspective andnarrative in his work, but here the piano accompanimentmakes the performers' gestures resemble a silent film.Catherine Sullivan's D-Pattern is compiled from multipleshots of a theatre work based on a confrontational Fluxusevent of 1964. Sullivan worked with performers individuallyto develop repertoires of theatrical gestures and movementphrases that were then 'collapsed' into a single performance,being repeatedly performed according to a numericalsequence, d-pattern.

Each of these bodies choreographies makes visible the extentto which performing inevitably exceed pure systematisationthrough burlesque, comedy and absurdity. CW

DAS TRIADISCHE BALLET, Oskar Schlemmer,1968 16mmon DVD,3330 (Courtesy:TheOskarSchlemmerTheatreEstate)

DELI COMMEDIA, Elliot Caplan and Merce Cunningham,US1985,16mm,18

D-PATTERN, Catherine Sullivan,US2004,2-screen DVD,8

Running time: 60

SOMEWHERE BEYOND THE SEACurated by Berta SichelAssistant curator: Cline Brouvez

Sunday 5.15pm

If space is infinitely large, place is indefinitely many.Edward Casey Smooth Space and Rough-Edged Places

Somewhere Beyond the Sea directly addresses a set ofcontemporary ideas about the difference between space andplace as they have been reconfigured by the increasing easeof physical movement across the globe, and by theduplicating, border-defying functions of video, computerand telecommunication technologies. Space is no longer

absolute, being both mediated and produced by a new setof relationships configured by travel. Place is no longer fixedin the modernist sense of cartography. Place and/or spacecan be reproduced anywhere; subjectivity, narration andinformation co-exist, close together and far apart, side-by-side and, at the same time, dispersed. BS

WIND, Joan Jonas,USl968,16mmon DVD,532DSERTS, Bill Viola,US1994,video,26FOCUS TRISHIA, Burt Barr,US2001,DVD,541THE BOYS FROM MARS, Phillipe Parreno,Fr2003,

35mm,11

ATOMIC PARK, Domique Gonzalez-Forester,Fr2003,35mm,816

KERNWASSER WUNDERLAND, Anouck de Clercq,Joris Cool,Bel 2004,video, 14

ROTHKOVISION 2.0, Daniel Silvo,Sp 2003,DVD, 430MAN.ROAD.RIVER, Marcellvs L.,Braz2004,DVD,927BATTERSEA STATION, lvaro Negro,Sp 2003,DVD, 226NUUK, Thomas Kner,Ger2005,DVD,6

Running time: 91

Donald Urquhart, L'Entr'acte, 2005 Mark Leckey with Jack Too Jack, TheMarch oftheBig White Barbarians, 2005 Catherine Sullivan, D-Pattern, 2004

DomiqueGonzalez-Forester, AtomicPark. 2003Tungaand ErickRocha, Quimeira, 2002AkramZaatari, Saida.June6, 1982, 2004BerndadetteCorporation,Cinemaof theDamned,2004Ullavon Brandenburg, Reiter, 2004

T H E A R T I S T S C I N E M A

F R I E Z E A R T F A I R , R E G E N T S P A R K , L O N D O N 2 1 - 2 4 O C T O B E R 2 0 0 5

Photo:MartaKuzma

AnnaThew, Broken Pieces forthe Cooperative/LMFCDemolition, 1986

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the artists cinema programme (2005)

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