Moving Pictures; Artists’ Films from the Film London Jarman Award
British Council and Film London Artists’ Moving Image Network are delighted to present ‘Moving Pictures’, an innovative programme of single-screen moving image works by 20 UK-based artists selected from the Film London Jarman Award.
Inspired by one of Britain’s most innovative and controversial artists of the late 20th century, Derek Jarman, the Film London Jarman Award is an annual prize celebrating the spirit of experimentation and imagination among UK artists working in moving image. The award recognises artists whose work resists conventional definition, encompassing innovation and excellence.
In the past decade, there has been an explosion in the number of artists making work in film and video. Throughout the UK, more and more gallery and museum exhibitions include artworks in single and multi-screen moving image formats, while the past two winners of the prestigious art award, the Turner Prize, Laure Prouvost (2013) and Elizabeth Price (2012), work in the medium. This is an exciting time for moving image artists. Their work is rapidly moving from the underground and fringes to the centre of the British art scene.
We are proud to present an eclectic range of moving image work by some of the most outstanding practitioners based in the UK. We hope that you will share our enthusiasm for the selection and find the programme engaging, thought-provoking, inspiring and intriguing.
British Council and Film London Artists’ Moving Image Network, October 2014
Moving Pictures; Artists’ Films from the Film London Jarman Award is curated by the British Council and Film London.
Shortlisted in 2012
Hold Your Ground, 2012
7 min 47 sec, HD video, sound
Hold Your Ground is a companion piece to a larger film work by Karen Mirza and Brad Butler, Deep State, scripted in conjunction with renowned author China Miéville. Inspired by the events of the Arab Spring, and triggered by the artists’ discovery in Cairo of a pamphlet of instructions for pro-democracy demonstrators called ‘How to Protest Intelligently’, the piece dissects the ‘semantics’ of the crowd, and the resulting performative speech act. Conceived for a site at Canary Wharf in London, it calls forth the struggle to turn ‘fugitive sounds’ into speech addressing an audience predominantly in transit.
Commissioned by Film and Video Umbrella and funded by Arts Council England and London Councils.
The multilayered practice of Karen Mirza (b. 1970) and Brad Butler (b. 1973) encompasses filmmaking, drawing, installation, photography, performance, publishing and curating. Their work challenges terms such as participation, collaboration, the social turn and the traditional roles of the artist as producer and the audience as recipient. In 2004, Mirza and Butler formed no.w.here, a London based artist-run organisation that combines film production with critical dialogue about contemporary image-making. They have repeatedly found themselves embedded in pivotal moments of change, protest, non-alignment and debate and, since 2007, have been developing a body of work entitled the Museum of Non Participation.
Recent solo exhibitions include ‘The Unreliable Narrator’, Waterside Contemporary, London (2014); ‘Derin Devlet (Deep State)’, Galeri NON, Istanbul (2014); ‘The Museum of Non Participation: The New Deal’, Walker Art Center, Minneapolis (2013); and ‘The Guest of Citation’, Performa 13, New York (2013). They are based in London.
Shortlisted in 2014
The Call of Mist – Redux, 2012
13 min 18 sec, SD video, sound
Set on a remote Scottish island, The Call of Mist is an elegy to John Akomfrah’s late mother and a vivid meditation on death, memory and cloning. Initially commissioned in 1998 for the BBC, the re-edited version incorporates additional images that were removed from the television version, recovering Akomfrah’s original conception.
A Smoking Dogs Films production.
John Akomfrah (b. 1957) is a renowned filmmaker and artist. His feature films and art installations span the worlds of cinema, broadcast and the gallery, winning him worldwide critical acclaim. Akomfrah is a founding member of the Black Audio Film Collective, a seminal British filmmaking collective, set up in 1984. In 1998, he established Smoking Dogs Films with Lina Gopaul and David Lawson, former members of the Collective.
Recent solo exhibitions include ‘Imaginary Possessions’, Broad Art Museum, Michigan (2014); ‘The Unfinished Conversation’, Tate Britain, London (2013); ‘The Nine Muses’, MOMA, New York (2011); and ‘Mnemosyne’, The Public, West Bromwich (2010). His feature films have premiered at many major film festivals, such as Cannes, Sundance, Venice and Mumbai, while his broadcast films have screened internationally, including USA, France and Germany. He is based in London.
Shortlisted in 2009, winner 2011
An Exchange for Fire: Personal Responsibility, 2013
3 min 3 sec, HD video, sound
Personal Responsibility is one of five short films comprising An Exchange for Fire. The series brings together footage shot in Greece during 2012 with texts by Clinical Wasteman that redefine the terminology of the current global financial crisis. Each episode traverses moments from the history of money, the creation of the modern fiscal state and contemporary life under capitalist ‘restructuring’.
Anja Kirschner (b. 1977) and David Panos (b. 1971) have collaborated since the mid-2000s on cinematic works at the forefront of exploring narrative form within artists’ film and video. Their films combine historical research, literary tropes and references to popular culture, reimagining the past in order to interrogate the future. Their recent work has increasingly revolved around the nature of performance and narrative construction and their role in the formation of subjectivity and political agency. Extending and challenging the tradition of Brechtian anti-naturalism, their films explore the relation of art and culture to political economy and power.
Recent solo exhibitions include ‘Ultimate Substance’, CentrePasquArt, Biel (2013); ‘Extra City’, Antwerp (2013); and Neuer Berliner Kunstverein, Berlin (2012). Recent group exhibitions include ‘The Magic of the State’, Lisson Gallery, London (2013); ‘HELL AS’, Palais de Tokyo, Paris (2013); and Liverpool Biennial, FACT, Liverpool (2012). They are based in London.
Shortlisted in 2011
9 min 36 sec, HD video, sound
In this video, Elizabeth Price plays on the multiple meanings of the word ‘choir’, describing both an ensemble of singers but also an area of a church and the term ‘quire’ within bookbinding. Concerned with processes of assembly, Choir brings together disparate bodies of digital film and photography and archival technologies into dissonant concert. Part 1 employs archival 19th and 20th-century photography featuring the ecclesiastical architecture and furnishings of the choir and is organised to simulate the construction of an auditorium within the video. Part 2 draws upon informal internet archives of musical performance, such as YouTube, and features the coordinated gestures and dancing of singers and backing singers. Many different performances are convened in the edit, to generate a single sardonic and intoxicated dance. It features a new musical soundtrack: a distorted cacophony of appropriated pop melody.
Elizabeth Price (b. 1966) studied at the Ruskin School of Art, Oxford and the Royal College of Art, London. She makes narrative videos that incorporate live action, motion graphics and sound and are concerned with the material culture of our recent past – how it remains in our collective cultural imagination and resides in our collective cultural unconscious.
Price won the 2012 Turner Prize for her solo exhibition ‘Here’ at BALTIC Centre for Contemporary Art, Gateshead. She was the Arts Council England Helen Chadwick Fellow at the University of Oxford and British School at Rome (2010–11) having exhibited User Group Disco (2009) as part of the British Art Show 7 (2010). In 2010 she was commissioned to make The Tent by Frieze Foundation and Channel 4 for Frieze Projects 2010.She is based in London.
Shortlisted in 2009 and 2014
Come to the Edge, 2003
1 min 50 sec, SD video, sound
O come all ye faithful, 2007
56 sec, SD video, sound
Come to the Edge uses a recording of the well-loved British poet Christopher Logue reciting a poem he wrote in 1968. The poem is combined with video footage shot in a sixth-form common room, in which a good-humoured scene is suddenly transformed into something more sinister as the group of schoolboys enact a ritual humiliation upon a seemingly older, mustachioed boy.
O come all ye faithful juxtaposes a hopeful poem by Logue with a disparaging internal monologue. The artist creates a stark contrast between the found footage of Logue’s poetry reading and the terse background banter – an overlay of streaming obscenities that seem to imply Logue’s own self-doubt. The result is a performance that feels at once cohesive and schizophrenic.
Stephen Sutcliffe (b. 1968) creates film collages from an extensive archive of British television, film audio and spoken word recordings that he has been collecting since childhood. Often reflecting on aspects of British culture and identity, the results are melancholic, poetic and satirical amalgams, which subtly tease out and critique ideas of class consciousness and cultural authority. Through an extensive editing process, juxtaposing and synchronising visual and aural material, Sutcliffe’s works pitch sound against image to generate alternative readings.
Recent solo exhibitions include ‘Outwork and Workings Out’, Tramway, Glasgow (2013) and ‘Runaway, Success’, Stills, Edinburgh (2011). Group exhibitions include ‘Assembly’, Tate Britain, London (2013); ‘If Not Always Permanently, Memorably’, Spike Island, Bristol (2013); and ‘Outrageous Fortune’, Hayward Gallery, London (2011). Sutcliffe’s films have screened extensively in film festivals including Rotterdam Film Festival. In 2012, he won the Margaret Tait Award. He is based in Glasgow.
Looking So Hard at Something It Distorts or Becomes Obscured (Not Blacking Out, Just Turning the Lights Off), 2011
16 min 16 sec, SD video, sound
‘In [Looking So Hard…] there are really distinct periods of suspense where I’m trying to stretch time. For example, there’s a stuck loop of a cigarette dropping to the floor. It’s a heady, atmospheric moment that cuts back on itself over and over, and as your mind wanders you find yourself focusing on different part of the passage: image, sound, lighting, or the instance of the cut. These tight loops can really create a situation where a fragment feels like it is being turned over in the light and inspected from different angles.’ (James Richards)
Continually reworking material from previous installations and videos, James Richards reroutes it from its initial use, examining the cultural and emotional resonances in ever-evolving scenarios.
Commissioned by Chisenhale Gallery, London.
Recent solo exhibitions include ‘The Screens’, RODEO, Istanbul (2013); CCA Kitakyushu, Japan (2012); and ‘Not Blacking Out, Just Turning the Lights Off’, Chisenhale Gallery, London (2011). Group exhibitions include ‘The Imaginary Museum’, Kunstverein München, Munich (2012); ‘Coming After’, The Power Plant, Toronto (2011); ‘Art Now: Clunie Reid and James Richards’, Tate Britain, London (2010); and ‘The Generational: Younger Than Jesus’, The New Museum, New York (2009). His work was included in the 12th Biennale de Lyon and the 55th Venice Biennale. Richards was shortlisted for the Turner Prize in 2014. He is based in London and Berlin.
Shortlisted in 2011 and 2013
Death Mask II: The Scent, 2010
8 min 42 sec, HD video, sound
Death Mask II: The Scent forms part of a project conceived as a paean for cadavers. It is shot using high-definition digital video, and reflects on the medium’s (im)material aspect – how close can representations of matter get to being the real thing? The film’s subject emits a stink without a source. Fruit spoils and is coated with chroma key paint as ink, blood, etc.; objects resonate and unfurl at the touch of a particular frequency; the back of a head appears as the most opaque thing in the world.
Ed Atkins (b. 1982) works in video, sound, drawing and writing to develop a discourse around high definition. His practice explores digital media’s apparent immateriality in relation to its possibilities for precise representations of the physical and corporeal world. His videos combine layered images with incomplete or interrupted excerpts of singing, speech, subtitles and handwriting. Atkins exploits the hyperreal surfaces produced by new software systems to create complex, nightmarish environments populated by virtual characters, avatars of ambiguous provenance and desires.
Recent solo exhibitions include Serpentine Sackler Gallery, London (2014); ‘Bastards’, Palais de Tokyo, Paris (2014); Kunsthalle Zürich (2014); MOMA PS1, New York (2013); ‘Us Dead Talk Love’, Chisenhale Gallery, London (2012); and ‘Art Now: Ed Atkins’, Tate Britain, London (2011). His work was included in the 12th Biennale de Lyon and the 55th Venice Biennale. He is based in London.
Shortlisted in 2009, winner 2010
The Pips, 2011
3 min 37 sec, 16 mm black and white film transferred to HD video, silent
The Pips shows British champion gymnast Frankie Jones performing a ribbon routine that ends with her body falling apart into a scattered collection of limbs. Her physical deterioration is the effect of digital post-production: the gymnast’s body disappears when the film is transferred to digital video. The work makes subtle reference to the song ‘Help Me Make It Through the Night’ (1970) by Gladys Knight & The Pips, which begins with the lyric ‘take the ribbon from my hair’.
Emily Wardill (b. 1977) explores how social meanings are projected onto objects. In enigmatic films that blur truth and fiction, symbolism and reality, reason and emotion, she unlocks the hierarchical and closed structures of knowledge, deconstructing visual modes of communication and offering alternative interpretations.
Recent solo exhibitions include ‘Full Fire Arms’, Badischer Kunstverein, Karlsruhe (2012); ‘The Hands of a Clock, Even When Out of Order…’, FRAC Champagne-Ardenne, Reims (2012); and ‘Sick Serena and Dregs and Wreck and Wreck’, Contemporary Art Museum St. Louis, Missouri (2011). Her work was included in the British Art Show 7 (2010) and the 54th Venice Biennale. She is based in London.
Shortlisted in 2013
The Lion and The Unicorn, 2012
11 min 30 sec, HD video, sound
The Lion and The Unicorn is a short film inspired by the heraldic symbols found on the Royal Coat of Arms of the United Kingdom: the lion (representing England) and the unicorn (representing Scotland). The filmuses these symbols of both alliance and opposition to explore the myriad, convoluted and often contradictory constructions of cultural identity that feed into definitions of what it means to be Scottish and part of the Union with England. The work reflects on the absurd nature of these symbols and their potential as signifiers to be unpacked and imbued with a variety of incongruous meanings.
Commissioned by Edinburgh Printmakers for Year of Creative Scotland 2012.
Rachel Maclean (b. 1987) works in green-screen composite video and digital print, often installing it alongside props, costumes and related sculpture. Her work slips in and out of history and into imagined futures, creating hyper-glowing, artificially saturated visions that are both nauseatingly positive and cheerfully grotesque. Maclean is the only actor or model in her work and, toying with age and gender, invents a variety of characters that mime to appropriated audio. These clones embody unstable identities: conversing, interacting and shifting between cartoonish archetypes, ghostly apparitions and hollow, inhuman playthings.
Recent solo exhibitions include ‘I HEART SCOTLAND’, Edinburgh Printmakers (2013); ‘Over the Rainbow’, Collective Gallery, Edinburgh (2013); and ‘Lolcats’, Generator Projects, Dundee (2012). Group exhibitions include ‘As real as walking down the street and going to the grocery store’, Rowing, London (2013); ‘New Ideas for the City’, State Museum of Urban Sculpture, St Petersburg (2013); and ‘Cave’, The Royal Standard and Liverpool Biennial, Liverpool (2013). Maclean won the Margaret Tait Award in 2013. She is based in Glasgow.
Shortlisted in 2011
It, Heat, Hit, 2010
7 min 22 sec, SD video, sound
Laure Prouvost draws on the narrative tradition within film to seduce and entertain, yet implied storylines are undermined by juxtapositions of text and image that introduce a surreal dimension to the viewing experience. It, Heat, Hit constructs and propels an inferred story through a fast-moving sequence of written commentary and excerpts of everyday incidents and pictures. The video is a sensory overload, featuring direct address, on-screen text, fast cuts, surround sound and narrative disruption – all delivered with humour. Statements of love and implied violence follow images such as a swimming frog or a snowy street scene. These are intercut with disconnected images, close-ups of flowers, body parts or food. The growing intensity of the film is reinforced by the rhythm of a drum, which accompanies snatches of music and speech.
Laure Prouvost (b. 1978) makes video installations that render the exhibition space part of the narrative, with the audience becoming an implicit part of the work. Her unconventional approach to text, montage and cinematic convention creates a distinct visual language that is engaged in an ongoing conversation with the history of art and literature.
Recent solo exhibitions include ‘Schwitters in Britain’, Tate Britain, London (2013); The Hepworth Wakefield (2012); and performances at Extra City Kunsthal, Antwerp (2013), CCA, Glasgow (2012) and Portikus, Frankfurt (2011). Her work has screened in film festivals internationally, winning the Principal Prize at both the 56th and 57th International Short Film Festival Oberhausen.In 2013, she won the Max Mara Art Prize for Womenand the Turner Prize. She is based in London.
Dad’s Stick, 2012
5 min 9 sec, HD video, sound
‘Dad’s Stick features three well-used objects that my father showed me shortly before he died. Two of these were so steeped in history that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognisable, but it turned out to be something else entirely.’ (John Smith)
Drawing on autobiographical material, Smith explores the manipulative power of cinema. He plays on the gaps between language and visual representation, abstraction and literal meaning, personal memory and outside assessment – finding contradictions to be a source of humour and an insight into character.
Commissioned by Frieze Foundation for Frieze Film.
John Smith (b. 1952) has developed an extensive body of work that blurs the boundaries between documentary and fiction, representation and abstraction. Initially inspired by conceptual art and structural materialism but also fascinated by the immersive power of narrative and the spoken word, he has, since 1972, made over 50 film, video and installation works that have been shown internationally in galleries, cinemas and on television.
Recent solo exhibitions include ‘Horizon’, Turner Contemporary, Margate (2012); ‘Bildstörung’, Kestnergesellschaft, Hanover (2012); ‘Worst Case Scenario’, Weserburg Museum of Modern Art, Bremen (2012); and ‘Unusual Red Cardigan’, PEER Gallery, London (2011). Dad’s Stick has won awards at the 59th International Short Film Festival Oberhausen and the 8th Punto de Vista International Documentary Film Festival. He is based in London.
Shortlisted in 2014
The Magic Know-How, 2013
9 min 22 sec, HD video, sound
The Magic Know-How is a composition of acts, each section being denoted by repeated interludes of shapes in water. The piece combines footage from everyday life and filmed manipulation of scans on a computer screen with animation of photographic imagery to push a personal record of lived experience into an extra-mundane dimension. A celebratory work, the soundtrack was produced in collaboration with musician Andrew Spence of the band NYPC (New Young Pony Club). Beginning with swooshing paintbrush strokes, the piece moves through six parts, climaxing with Distortion Site, an audio digital colour-field finale.
Laura Buckley (b. 1977) works expansively with moving image, kinetics, sound, light, sculpture and digital print. Using scanned imagery, she feeds her prints back into projected videos, which create highly abstracted environments. Combining footage and audio from life with studio-produced sound, the films take the viewer on a journey through a combination of parts intertwining personal, structural, material and emotional dynamics.
Recent solo exhibitions include ‘Re-Discovery 1’, Autocenter, Berlin (2014); ‘The Magic Know-How’, Site Gallery, Sheffield (2013); ‘Fata Morgana’, Cell Project Space, London (2012); and ‘Shields’, Zabludowicz Collection, Sarvisalo (2012). Collaborative projects include ‘Slate’, Turner Contemporary, Margate (with Dan Coopey, 2013); ‘Bismuth Eyes’, Cell Projects, London (with Andrew Spence, 2012); and ‘Stage Fright’, Rokeby, London (with Dave MacLean and Haroon Mirza, 2009). In 2010, Buckley was shortlisted for the Converse/Dazed Emerging Artist Award. She is based in London.
Shortlisted in 2010 and 2012
Origin of the Species, 2008
15 min 39 sec, 16 mm film transferred to HD, sound
Origin of the Species began as a portrait of S, a 75-year- old man living in a remote part of Inverness-shire. S has been obsessed with Charles Darwin’s works for much of his life. Since a child, he has wondered at life on Earth and though he never became an academic, found in Darwin many answers to his questions. The film imagery concentrates on the mysterious geography of his world: his garden – from the miniature to the grand; the contraptions and inventions he has made; the isolated patch of land where he built his house after a life of travelling and working around the world. The soundtrack hears S discussing life on Earth, from the beginnings of the world to an uncertain future.
Ben Rivers (b. 1972) studied Fine Art at Falmouth School of Art, only after his degree teaching himself 16 mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives, imagining alternative existences in marginal worlds.
Recent solo exhibitions include ‘Sack Barrow’, Hayward Gallery Project Space, London (2011); ‘Slow Action’, Matt’s Gallery, London (2011); and Gallery TPW, Toronto (2011), while group shows include The Hepworth Wakefield (2012). His first feature-length film, Two Years at Sea (2011), premiered in the Orizzonti section at the 68th Venice International Film Festival and won the FIPRESCI International Critics Prize. Rivers was the recipient of the Baloise Art Prize, Art Basel 42 and a 2010 Paul Hamlyn Foundation Award for Artists. He is based in London.
Shortlisted in 2008
Edgeland Mutter, 2009
4 min 16 sec, Super 8 and 16 mm film transferred to SD video and SD video, sound
‘Edgeland Mutter attempts to invoke a sense of the past via the here and now. Drawing on my own extensive Super 8 archive and a growing body of MiniDV footage, the film attempts to portray a fragmented and nostalgic view of a part of the world that has proved vital to the very fabric of my existence. Amongst the sonic flotsam and jetsam lie littoral truths, half-truths and coastal myths. Both melancholic and absurd, the “coastcard” is a confusing missive from a place of hope. It is a reminiscence and flawed celebration. Hastings as a place where both memories and people are pulled towards the sea in a strange state of “reverse evolution”.’ (Andrew Kötting)
Edgeland Mutter was shot on Super 8 and MiniDV along the shore of the English south coast between St-Leonards-on-Sea and Hastings, with voiceover by psychogeographer Iain Sinclair.
Andrew Kötting (b. 1959) is Professor in Time Based Media at the University for the Creative Arts, Kent. His work moves from often absurdist performance pieces, with their own internal logics and skewed mythologies, through to film and video works. He takes landscape and journeys as springboards for autobiographical enquiries into identity, belonging, history and place.
Awards and commissions include Film4, Channel 4, the British Film Institute, the Wellcome Trust and the AHRC. Feature films include Ivul (2009), Gallivant (1996) and This Filthy Earth (2001). His feature-length documentary Louyre – This Our Still Life premiered at the Venice International Film Festival in 2011. He is based in St-Leonards-on-Sea.
Shortlisted in 2012
Sludge Manifesto, 2011
1 min 29 sec, HD video, sound
‘Sludge Manifesto is part of a larger body of work. It has in part to do with considering an idea of a materialism of digital technology, and this led to the mining of rare earth metals. At the heart of many digital machines there are precious metals that are mined from the ground, so I was thinking about these and myths of the mine. These blobs of clay or golems are like the counterpoint to these rare earths. In this video we see a radicalised incarnation.’ (Benedict Drew)
Benedict Drew (b. 1977) works across video, sculpture, music and their associated technologies. He graduated from the Slade School of Fine Art in 2011.
Recent solo exhibitions include ‘Heads May Roll’, Matt’s Gallery, London (2014); ‘The Persuaders’, Adelaide Festival, SASA Gallery (2014); ‘The Onesie Cycle’, Rhubarba, Edinburgh (2013); ‘Now Thing’, Whitstable Biennale (2012); ‘Gliss’, Cell Project Space, London (2012); and ‘The Persuaders’, Circa Site/AV Festival, Newcastle (2012). Drew was a LUX Associate Artist (2011–12). He is based in Whitstable.
Shortlisted in 2011
Dark Glass, 2006
8 min 47 sec, SD video (shot on a mobile phone), sound
A psychological micro-drama that moves from the sanctuary of a domestic garden to the half-remembered shadows of a house, Clio Barnard’s Dark Glass peers back into a semi-veiled interior world of fraught, ambivalent memories. Shot on a mobile phone camera to accentuate a feeling of intimacy and immediacy, the flickering nature of the footage also lends the film an uncanny, otherworldly quality.
Commissioned by Film and Video Umbrella as part of ‘Single Shot’. Funded by Arts Council England and the UK Film Council’s New Cinema Fund.
Clio Barnard (b. 1965) is an artist/filmmaker whose work deals with the relationship between documentary and fiction, in particular the subjectivity of recollection. She often constructs fictional images around verbatim audio and vice versa.
Her work has screened in international film festivals, galleries including Tate Modern, London and MoMA, New York and broadcast on Channel 4 and internationally. She was the recipient of the 2007 Jerwood/Artangel Open, a major commission for a feature-length film and of a Paul Hamlyn Foundation Award for Artists in 2005. Awards for Barnard’s debut feature, The Arbor (2010), include Best New Documentary Filmmaker at Tribeca Film Festival, New York and Best Newcomer and the Sutherland Award at 54th BFI London Film Festival. The Selfish Giant (2013) represented the UK in the Directors’ Fortnight line-up at the 2013 Cannes Film Festival, won Best Film at the 24th Stockholm International Film Festival and was nominated in the Outstanding British Film category at the 2014 BAFTAs. She is based in Whitstable.
3 min 25 sec, 16 mm film transferred to SD video, sound
As the 2008 Jarman Award winner, Luke Fowler was commissioned to make four short films for the 3 Minute Wonder documentary slot on Channel 4, premiering in April 2009. Anna, Helen, David and Lester are a series of portraits of four diverse individuals brought together through a shared residence – four flats in a Victorian tenement in the West End of Glasgow. Lester was scored by Los Angeles-based cellist, Charles Curtis.
In his work, Luke Fowler (b. 1978) explores the limits and conventions of biographical and documentary filmmaking. He creates impressionistic portraits of radical figures: as montages of archival footage incorporating new recordings, interviews, photography and sound, his films offer a unique and compelling insight into his subjects.
Recent solo exhibitions include ‘The Poor Stockinger, the Luddite Cropper and the deluded followers of Joanna Southcott’, The Hepworth Wakefield and ‘Luke Fowler with Toshiya Tsunoda and John Haynes’, Inverleith House, Edinburgh (both 2012) for which he was shortlisted for the 2012 Turner Prize. His films have screened widely, including ICA, London, Glasgow Film Festival and Berlin Film Festival (all 2012) and Anthology, New York (2011). He is based in Glasgow.
Shortlisted in 2010
15 min 55 sec, super 16 mm film transferred to HD video, sound
The sea is the space that connects and separates communities; it is the crossing point between utopias and forced or voluntary exile. In MiddleSea, Zineb Sedira uses the Mediterranean Sea as a frame of reference and a metaphor for existence, a link between interior space and the infinite expanse of water – threatening, abusive, sublime in its uncontrollable power. Throughout this abstract narrative, a solitary human being faces the continuous circulation of water and the repetitive rise and fall of giant waves.
Zineb Sedira (b. 1963) grew up in Paris to Algerian parents, and studied art in London. She completed her undergraduate and postgraduate studies at Central St Martins School of Art and the Slade School of Art, followed by a research fellowship at the Royal College of Art (1998–2003). She came to prominence for her video work Mother Tongue (2002), showing the process of decay as anecdotes, digressions and stories crumbling in a matrilineal chain. Her photographs and video works use her own experience to frame questions about identity, oral history, mobility and language.
Recent solo exhibitions include ‘The Voyage, or Three Years at Sea – Part V’, Charles H. Scott Gallery, Vancouver and ‘Lighthouse in the Sea of Time’, Blaffer Art Museum, Houston (both 2013); ‘Gardiennes d’images’, Palais de Tokyo, Paris (2010); ‘Currents of Time’, Rivington Place, London (2009); The Wapping Project, London (2008); and Centre Culturel Francais, Algiers (2008). Group exhibitions include ‘Everywhere but Now’, Thessaloniki Biennale (2013); ‘The Mediterranean Approach’, Palazzo Zenobio, 54th Venice Biennale and ‘Told, Untold, Retold’, Arab Museum of Modern Art, Doha (2010). She is based in London.