October 15 - 20, 2019
FILM LONDON
B3 partner Film London (UK) will show a representative selection of British moving image art, including works by early career and more established artists from across its commissioning and support programmes.
FLAMIN fellowship artists 2019/2020:
Hazel Brill, A Commitment (2019), 4 mins
This short video tracks the story of a tortoise who experiences an existential crisis and goes on a quest to find out how old it is. In doing so, it meets humans who have thwarted relationships with their pets, their memory and their mortality. The video touches on time spans of different species and ecologies. It was originally made for a collaborative installation at Southwark Park Galleries, London.
Max Colson, Construction Lines (2017), 8 mins
Construction Lines is a short animation which uses a found 3D model of an ‘iceberg home’ – a home where the sub-ground levels are larger than the house above – as a departure point to explore the lives and lifestyles of the super-rich. Recorded inside the 3D animation software ‘Sketchup’, the narrative follows a series of objections filed against the planning application for the house in Knightsbridge, West London.
Maud Craigie, Indications of Guilt pt.1 (2019), 15 min.
Indications of Guilt pt.1 examines the structures of American police interrogation techniques and their relationship to Hollywood representations of law enforcement. The film’s raw material was generated through training in ‘Reid Interrogation’, undercover in Texas. Reid has recently faced scrutiny due to high false confession rates. The film combines staged and documentary methods to explore how psychological interrogation can function as a process for creating fiction, whilst ostensibly seeking to establish truth.
Milo Creese, CoAb comes into being (her first two poems and current favourite song) (2019), 9 mins
Abigail, a hungry octopus in an abandoned laboratory in the future, initiates a mutually beneficial relationship with a powerful computer. The result is a CoAb, a talkative, time travelling, cephalopod cyborg.
Jennifer Martin, Meanwhile on Set… (2018), 15 mins
Meanwhile on Set… centres conditions of acting for British black and black bi-/multi-racial actresses. Actors veer from the filmmaking process, question the context of their surroundings, breakdown, and misbehave like viruses disrupting a system. In wearing full-body morph-suits, they become fully epidermalized; like the roles that they inhabit they slip in and out of these skins.
Antonia Luxem, Dearest Degenerate (2018), 10 mins
Dearest Degenerate is an address, in the form of a letter, to the close and homophobic person. It is a deconstructed reaction to the underlying and violent, invisible and yet prevalent homophobia within our society. It was developed from material found in personal notebooks and diaries and inspired by books such as Didier Eribon’s “Insult and the Making of the Gay Self” and José Esteban Muñoz’s “Cruising Utopia”.
Selection of Jarman Award 2019 Shortlisted Artists
Beatrice Gibson, Deux Soeurs Qui N’est Sont Pas Soeurs [Two Sisters Who Are Not Sisters] (2019), 22 mins
Two sisters (who are not sisters), two pregnancies, a two-seater car, a beauty queen, a poodle. The election of a second fascist - this time in Brazil. A crime thriller without a crime, Deux Soeurs unfolds like a dream. Based on an original 1929 screenplay by Gertrude Stein, written just as European fascism was gaining momentum, the film is set in contemporary Paris in a moment of comparable social and political unrest. Casting an intimate network of the director’s friends and influences as its principle actors, and playing on Stein’s interest in autobiography and repetition, Deux Souers is simultaneously an abstract thriller and a collective portrait.
Mikhail Karikis, No Ordinary Protest (2018), 8 mins
Can sound mobilise socio-political and physical change? For No Ordinary Protest, Karikis collaborated with seven-year-old students from an East London primary school and adopted the science-fiction novel, The Iron Woman, by Ted Hughes, as an eco-feminist parable in which listening and noise-making become tools to bring about change. In Karikis’ film, a group of young children receive a mysterious message about an enigmatic noise and an ecological emergency caused by adults. They debate and discover a shared sense of responsibility towards the environment. The children’s singing begins to vibrate matter and they transform into masked agitators testing their powers through communal noise-making.
Hetain Patel, The Jump (2015), 6 mins
The Jump is Patel’s first departure from a DIY aesthetic in his moving image works, emulating the production values of a Hollywood movie and in collaboration with a small film crew. The film connects the widely recognised epic fantasy of action and superhero films, within the domestic setting of Patel’s British Indian family home in Bolton, UK. Featuring 17 of his family members, The Jump is shot in his Grandmother’s home, the house that he and all his immigrant relatives have lived in at various points since 1967, and where his Grandmother lived until her recent passing.
Imran Perretta, 15 days (2018), 12 mins
Imran Perretta’s video 15 days is inspired by the time he spent in Northern France with former inhabitants of the refugee camp, known as the Jungle, who were living rough in the surrounding woods and fields after it had been razed. The title of the piece is a salute to the hastily made-up name of one of the people he befriended whose alias, ’15 days’, alludes to the all-too-brief period of respite between the destructions of his temporary home by police.
Rehana Zaman, Tell me the story Of all of these things (2017), 23 mins
Tell me the story Of all these things explores the particular experiences of British Muslim women, mixing candid conversations with the artist’s sisters as they cook a meal, training material relating to the UK government’s Prevent legislation and CGI footage of an amorphous woman emerging from a barren landscape - a figure placed at the meeting point of terror and desire. The work takes its title from Theresa Hak Kyung Cha’s Dictee, a novel that deploys a variety of texts to examine themes of dislocation and fragmentation. Taking the novel as a departure point, the film considers how processes of disassembling are constitutive of lived experience.
