ArtSlant - Openings & events en-us 40 Laura Eldret, Nick Goss, Sarah Macdonald - Drawing Room - May 9th, 2013 6:30 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Beyond the Biennial </em>is an opportunity to join Drawing Room directors for a unique opportunity to visit the studios of emerging artists whose work features in <em>Drawing Biennial 2013</em>, followed by an exclusive tour of the Biennial in the gallery. Artists include Laura Eldret, Nick Goss and Sarah Macdonald<a href=";id=06dd2e96fa&amp;e=5f5292ff73" target="_blank"></a></span></p> Thu, 02 May 2013 16:06:13 +0000 - Freud Museum London - May 9th, 2013 7:00 PM - 9:00 PM <p>Post-Wagnerian composers in Vienna actively explored the kind of mental dissociation described in Freud and Breuer's Studies on Hysteria. Employing vast orchestras to create swirling psychodramas, their operas offer a beguiling artistic response to Anna O's idea of 'private theatre'. A few decades later many of those composers, exiled by the Nazis, employed the same soundworld to accompany the ultimate dissociative narratives of Hollywood's Silver Screen. Writer and musicologist Gavin Plumley looks at operas by Schreker, Korngold and their contemporaries through a Freudian lens.</p> <p><strong>Gavin Plumley</strong> is a writer and broadcaster, specialising in the music and culture of Central Europe. He has appeared on BBC Radio 3 and has recently spoken at the Royal Opera House, ENO, the CBSO, V&amp;A and the Neue Galerie New York. He has given a number of talks at the Southbank Centre’s ‘The Rest is Noise’ festival this year and was recently appointed commissioning editor for the English language programmes at the Salzburg Festival. <a href="" rel="nofollow"></a></p> <p><strong>£10/£7 Concessions/Members of the Museum</strong></p> <p>Book online <a href="" rel="nofollow">here</a></p> <p>Advance booking highly recommended</p> <p>For further information please contact or +44 (0)20 7435 2002</p> <p>Ticket cancellation policy: Please note we are unable to refund tickets, or transfer the booking to another talk, less than 48 hours before the event.</p> <p>Please note: As per our green policy, we do not issue paper tickets, once you purchase your tickets you will recieve an email confirmation and we will add your name to the guest list for the event. If you have any questions please contact Gary Hetherington, <a href="" rel="nofollow"></a>.</p> Wed, 10 Apr 2013 13:04:59 +0000 - Freud Museum London - May 9th, 2013 7:00 PM - 9:00 PM <p>To mark the Wagner bi-centenary Gerald Davidson revives his performance about Freud's "Little Hans", first presented in 2009 to mark the centenary of the publication of "Analysis of a Phobia in a five-year-old boy".</p> <p>Little Hans grew up to be Herbert Graf, an opera director at the Met, Salzburg and also for a time at Covent Garden, where he produced productions of Parsifal, Samson et Dalila, and Boris Godunov. Herbert Graf was the son of Max Graf, one of Freud's early circle and a famous music critic of the time. He wrote extensively, including psychoanalytic interpretations of music and opera (e.g. The Flying Dutchman) and he organised the celebrations in Vienna for the 50th anniversary of Wagner's death. Herbert also wrote about his craft in a number of books, including reflections on significant productions of Tristan, Mastersingers and Parsifal; and he introduced the first TV recordings of opera at the Met., a legacy that continues to this day. Both Max, the father, and Herbert, 'Little Hans', were interviewed in later life by the psychoanalyst and Freud archivist Kurt Eissler. Using these interviews, their respective books, Freud's case history, reviews, notices, and theatre programmes, the actor and researcher Gerald Davidson has created a stunning performance presentation of this fascinating story.</p> <p>Gerald gave the first performance of this piece at the Freud Museum, where he placed greater emphasis on the Freudian case history than other aspects of the story. For the Wagner bi-centenary he has rewritten it to give space for Herbert's reflections on Appia and Heine for the Philadelphia "Tristan", a section on Toscanini's "Mastersingers" at Salzburg in 1936, Herbert's reflections on the technical shortcomings of the 1959 Covent Garden "Parsifal", the subsequent Appia "Parsifal" at Geneva, and more. All this will be enfolded into structure of the piece as it was first delivered at the Freud Museum.</p> <p></p> Wed, 10 Apr 2013 17:13:25 +0000 Oliver Rees, Model Court, Lawrence Abu Hamdan, Sidsel Meineche Hansen, Lorenzo Pezzani - Gasworks - May 9th, 2013 6:30 PM - 9:00 PM <p>Gasworks presents an exhibition by London-based artists and researchers <b>Model Court</b>, an ongoing collaboration between <b>Lawrence Abu Hamdan</b>, <b>Sidsel Meineche Hansen</b>,<b> Lorenzo Pezzani </b>and <b>Oliver Rees</b>. Using video, sound, drawing and installation, their group work interrogates the production, dissemination and transmission of the law, exploring how images and representations serve to complicate the production of legal space and the borders between nations.</p> <p>Their exhibition at Gasworks comprises a newly commissioned film and installation focusing on the recently concluded trial of François Bazaramba, a Rwandan national convicted of genocide by a small district court in the Finnish town of Porvoo. During the proceedings, Bazaramba was held in Finland and became a Skype participant in his own trial whilst the judges and prosecutors travelled to Rwanda and Tanzania to set up court. Owing to its use of telepresence technologies, this trial provides an unparalleled case study for understanding the relationship between media technologies and the principle of ‘universal jurisdiction’ – whereby states or organisations can claim criminal jurisdiction over accused subjects regardless of their nationality or where an alleged crime was committed. To what extent do emerging technologies displace the process of justice? How do images approximate bodies? And how do fibre optic cables and video conferencing software such as Skype produce unexpected political connections?</p> <p>Written from the perspective of an unnamed technician responsible for the audio-visual setup of Bazaramba’s trial, Model Court’s film uses a semi-fictional narrative to explore the trial’s relationship to notions of aid, neo-colonialism and the production of history. Housed within an installation that engages with the court's official and unofficial photographic material, the film critically examines the complex and often dysfunctional audio-visual infrastructure used to bridge the jurisdictional divide.</p> <p>Taken together, the film, installation and an accompanying series of events aim to interrogate this extraordinary yet naïve attempt by a regional Finnish court to intervene in a genocide that took place many miles and years away. The intention is not to present a history of Rwanda or to contest the culpability of Francois Bazaramba, but rather to tell a story about the transmission of one legal space into another, engaging with the cultural specificity of ‘international’ justice and its vision for Africa (so far the only continent to have been investigated by the International Criminal Court).</p> <p> </p> Thu, 18 Apr 2013 12:49:39 +0000 - Royal College of Art - May 9th, 2013 11:00 AM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">This selling fair features modern and contemporary art from the UK, Europe, Asia and a special exhibit from Australia. Artists include Matisse, Miró, Picasso and Chagall, plus British 20th-century favourites such as Henry Moore, David Hockney, Mary Fedden, together with many emerging artists and a display by RCA Printmaking students.</span></p> <p><strong>TIMES:</strong> Thurs 11am-9pm; Friday 11am-8pm; Sat 11am-7pm; Sun 11am-6pm</p> <p><strong>ADMISSION:</strong> £8</p> <h1><span style="font-size: small;">2013 Exhibitors</span></h1> <p><a href=""> </a>The Art Movement <br /> The Art Stable <br /> Artcast 21 <br /> Artists Of Russia <br /> Artizan Editions <br /> Askew Art <br /> Boundary Gallery <br /> Nicholas Bowlby <br /> Lena Boyle Fine Art <br /> Jenna Burlingham Fine Art <br /> Marcus Campbell Art Books <br /> Michael Cane <br /> Keith Chapman <br /> The Contemporary Fine Art Gallery, Eton <br /> The Court Gallery <br /> Cricket Fine Art <br /> The Cube Gallery <br /> Dadbrook Gallery <br /> De Parma <br /> Envie D'art <br /> Fine Art Consultancy <br /> Fine Art Escape <br /> The Fine Art Partnership <br /> French Art Studio <br /> Genty Fine Art <br /> Gray Modern &amp; Contemporary Art <br /> Dominic Guerrini <br /> Hanga Ten <br /> Simon Hilton <br /> Hilton Fine Art <br /> Rebecca Hossack Gallery <br /> The Gallery At Ice <br /> John Iddon Fine Art <br /> Manya Igel Fine Arts Ltd <br /> Katharine House Gallery <br /> Dominic Kemp Modern British Prints <br /> James Kinmont Fine Art <br /> Stephen Lacey <br /> Liberty Gallery <br /> Lilford Gallery <br /> Lime Tree Gallery <br /> Long &amp; Ryle Ltd. <br /> Duncan R Miller Fine Arts <br /> Milne &amp; Moller <br /> Freya Mitton <br /> Modina Gallery <br /> Moncrieff-Bray Gallery <br /> Moroccan Fine Art <br /> Richard Nathanson <br /> Oriel Fine Art <br /> Panter &amp; Hall Ltd <br /> Print Europe <br /> Quantum Contemporary Art <br /> Rae-Smith Gallery <br /> Red Raven Arts <br /> Roe And Moore <br /> The Russell Gallery <br /> Vernissage <br /> View Art Gallery <br /> Wren Gallery</p> Thu, 25 Apr 2013 18:34:39 +0000 The London Police - StolenSpace Gallery - May 9th, 2013 6:00 PM - 9:00 PM <p>They're comin' home, They're comin' home, They're comin', TLP is comin' home!</p> <p>And so it's back to East London again for UK exports: 'The London Police,' for their first solo art show in England since 2009. This time around, the Amsterdam based lads have themed their show around sports and games... And although they have totally mistimed their sterling effort of jumping on the Olympic bandwagon, the essex born duo have produced a slick show of considered artworks and designer sport products.</p> <p>For inspiration, TLP have leaned on the memories of their athletic exploits growing up: The times when a pool cue was for the pursuit of sporting excellence not for finding someone who owed you money and whacking them around the face. The days when a cricket bat was for hitting sixes into Mrs. Norrington's back garden before you smacked a ball through your mum's greenhouse, blamed it on your brother, and had to wait for Dad to come home to give you both a couple of wallops with a rolled up Daily Mail... Alongside canvas originals, TLP has produced an exclusive range of limited edition, hand finished mahogany pool queues and cricket bats. The fun continues with photography, sculpture pieces and a short film from TLP’s citywide Monopoly Board installation in London. The games commence at the private view, where attendees will have a chance to try their hand at series of games and activities, including a lucky dip where winners receive a shot of Patrón Tequila! Another game will be played on very limited edition handmade, mahogany maze puzzles. After a serious injury involving Chaz’s Dad’s finger and a wood saw, production of these maze games was cut short, so to speak…As they say, It’s all fun and games until someone gets hurt….</p> Sat, 22 Feb 2014 15:42:57 +0000 Simon & Tom Bloor - Whitechapel Gallery - May 9th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Join Children’s Art Commission artists <strong>Simon &amp; Tom Bloor </strong>in conversation with <strong>Gavin Wade</strong>, Director, Eastside Projects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tickets £4/3 concessions (£2 Members). *Proof of concession or membership to be shown on the doors.</span></p> Tue, 26 Mar 2013 10:30:44 +0000 Pil and Galia Kollectiv - Institute of Contemporary Arts (ICA) - May 10th, 2013 1:00 PM - 2:00 PM <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Please join us now for a lunchtime talk with Pil and Galia Kollectiv, who will be joined in conversation by Jamie Stevens, curator at Cubitt Gallery.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Pil and Galia Kollectiv are London based artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and the avant-garde. Testing the boundaries between art and propaganda, they explore overlaps between the discourses of business management and political and artistic manifestos. They are especially interested in the role of art and creativity in post-Fordist labour and their films and performances often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">They have had solo shows at Te Tuhi Center for the Arts, New Zealand, S1 Artspace, Sheffield and The Showroom Gallery, London. They have also presented live work at Biennials in Montreal, Berlin and Herzliya, as well as at Kunsthall Oslo, Arnolfini, Bristol, Late at Tate Britain, Radar Loughborough, HKD Rijeka and ICA London.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">They are contributing editors at <em>Art Papers </em>and directors of artist run project space xero, kline &amp; coma. They work as lecturers in Fine Art at the University of Reading.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Jamie Stevens is curator at Cubitt Gallery, where his programme has included exhibitions by Jana Euler, Michael Dean and Roman Vasseur. He co-founded publishing project Benedictions and was formerly Exhibitions Organiser at Chisenhale Gallery.</span></p> Thu, 09 May 2013 10:04:43 +0000 Dragan Espenschied, Olia Lialina - The Photographers' Gallery - May 10th, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Join the pioneering net artists <strong>Olia Lialina</strong> and <strong>Dragan Espenschied</strong> for a discussion about web culture in the 1990s, the digital vernacular and performative archiving.</span></p> <p style="text-align: justify;"><span style="font-size: small;">They will be discussing their project <em><a target="_blank" href="">One Terabyte of Kilobyte Age</a></em>, currently showing on The Wall, in which they present “animated screenshots” - high fidelity, pixel perfect video captures of more than 8000 Geocities home pages. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> was originally founded by “Beverly Hills Internet” in July 1995. Soon it became one of the most popular and densely inhabited places of the World Wide Web and stayed that way through the second part of 1990s. In January 1999, on the peak of mania, it was bought by Yahoo!. However, the new millennium proved Geocities to be a bad investment. Having a page on there became a synonym for dilettantism and bad taste. Meanwhile, the emergence of 'social platforms' such as Flickr, MySpace, Facebook and YouTube colonised the web with automated, easy to use templates which changed the visual culture of the Web.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ten years later, in April 2009, Yahoo! announced that they were going to shut down Geocities. On the 26th of October 2009 Geocities seized to exist. In between the announcement and the official date of death the Archive Team managed to rescue almost a terabyte of Geocities pages. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Moscow-born artist Olia Lialina has, for the past decade, produced many influential works of network-based art: My Boyfriend Came Back from the War (1996), Agatha Appears (1997), First Real Net Art Gallery (1998), and Last Real Net Art Museum (2000). Currently she is a professor at Merz Akademie in Germany. Lialina writes on digital culture, net art and web vernacular.

Dragan Espenschied was born in Germany. His music and online art has received international acclaim. He co-founded the home computer band Bodenständig 2000 that toured and released records throughout Europe and the USA. He has also won the Webby Awards People's Voice NET ART (2004), and the ZKM International Media Art Award (2001).</span></p> Wed, 08 May 2013 10:59:06 +0000 - Whitechapel Gallery - May 10th, 2013 3:30 PM - 6:30 PM <p style="text-align: justify;"><span style="font-size: small;">What are the structures that frame discourse and cultural practice in North Africa and the so-called Middle East? <strong>Omar Kholeif </strong>is joined by artists, writers, curators and filmmakers including <strong>Lawrence Abu Hamdan</strong>,<strong>Achim Borchardt-Hume</strong>, <strong>Sheyma Buali, Joana Hadjithomas</strong>, <strong>Khalil Joreige </strong>and <strong>Guy Mannes-Abbott </strong>to interrogate new ways of thinking of emerging practice and artistic ecology.</span><br /><br /><span style="font-size: small;">This forum seeks to pose questions about what it means to curate work growing out of a territorially rooted artistic ecology. What is the relationship between site, movement, and artistic practice? How can we complicate existing dialogues and narratives around geographically specific curating? <strong><br /><br />Programme</strong><strong><br /><br />3.30pm</strong>: Curator, writer and Senior Editor of Ibraaz Publishing, Omar Kholeif presents a provocation to frame the afternoon’s discussion. <strong><br /><br />4pm</strong>: Artist-filmmakers Joana Hadjithomas and Khalil Joreige present an illustrated talk and conversation, which traces their career, and illuminates their art making in the context of a continually evolving and contested public sphere. <strong><br /><br />4.45pm: </strong>Break<strong><br /><br />5pm</strong>: Writer Sheyma Buali discusses the aesthetic qualities inherent within visual culture in the period that followed the Arab Uprisings of 2011. <strong><br /><br />5.20pm: </strong>Artist and researcher Lawrence Abu Hamdan presents a newly developed performance lecture. <strong><br /><br />5.45pm</strong>: Writer Guy Mannes-Abbott presents a reading from his new book <em>In Ramallah, Running </em><strong><br /><br />6pm</strong>:<strong> </strong>Panel discussion with all speakers <em><br /></em></span><br /><br /><span style="font-size: small;">The title <em>Beyond the Former Middle East </em>is an homage to the essay <em>Beyond the Former Middle East: Aesthetics, Civil Society, and the Politics of Representation</em> by Dr. Anthony Downey published by <em>Ibraaz </em>publishing and available at </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Beyond The Former Middle East</em> is a one-off event that forms part of a research and curatorial enquiry by Omar Kholeif, Independent Curator, writer and Senior Editor of <em>Ibraaz. </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Tickets £10/8 concessions (£5 Members). *Proof of concession or membership to be shown on the doors.</em></span></p> Wed, 24 Apr 2013 18:09:13 +0000 Wael Shawky - Whitechapel Gallery - May 10th, 2013 1:30 PM - 3:00 PM <p style="text-align: justify;"><span style="font-size: small;">Screenings of <strong>Shawky</strong>’s epic reconstructions of the Medieval religious wars, told through a cast of ceramic marionettes. Introduced by <strong>Achim Borchardt-Hume</strong>, curator of <em>A Love Meal</em>. Part of the Collection Sandretto Re Rebaudengo: <em>A Love Meal </em>display.</span></p> Tue, 07 May 2013 06:57:44 +0000 - Tate Modern - May 12th, 2013 12:00 PM - 1:00 PM <p style="text-align: justify;"><span style="font-size: small;">Michael Blackwood, USA 1976, 53 min</span></p> <p style="text-align: justify;"><span style="font-size: small;">In this film by acclaimed director Michael Blackwood, we travel to Lichtenstein’s Long Island studio and observe, from start to finish, the creation of one of his most elaborate compositions, <em>The Artist’s Studio</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In conversation with Roy Lichtenstein, critic Lawrence Alloway places Pop Art on a continuum of twentieth-century art that includes collage, Dada, and Purism in referring to signs and objects of contemporary society; Lichtenstein argues for distinctions between himself, Warhol, Oldenburg, and others. In his Long Island studio, Lichtenstein works on an elaborate composition; one of his four major paintings on the theme of ‘The Artist’s Studio’. The evolution of this giant canvas, now part of the permanent collection of the Museum of Modern Art in New York, figures prominently in the film.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Finalising his preparatory drawing, Lichtenstein and his assistant follow the laborious processes that will endow the finished painting with its cool and mechanical look; projecting and outlining the drawing onto the canvas, blocking out the large areas and shapes, and painstakingly refining the smaller details. As Lichtenstein himself describes his style, it simulates ‘the mindless method of industrial process.’ The lively and elegant studio painting is a prime example of Lichtenstein’s parody of enlarged excerpts from works of artists such as Picasso, Matisse, and Léger. The film concludes with the opening of a Pop Art exhibition at New York ‘s Whitney Museum, where the artist is joined by other pioneers of the movement, including Claes Oldenburg, Robert Rauschenberg, Larry Rivers and James Rosenquist.

</span></p> <div class="field field-name-field-exhibits field-type-node-reference field-label-hidden"> <div class="field-items"> <div style="text-align: justify;" class="field-item even"><span style="font-size: small;">This event is related to the exhibition<em> <a target="_blank" href="">Lichtenstein: A Retrospective</a></em></span></div> </div> </div> Thu, 09 May 2013 13:54:53 +0000 - Tate Modern - May 12th, 2013 2:00 PM - 3:00 PM <p style="text-align: justify;"><span style="font-size: small;">Mark Trottenberg, USA 1995, 30 min</span></p> <p style="text-align: justify;"><span style="font-size: small;">This film offers comprehensive documentation on a major public sculpture by the Pop artist, Roy Lichtenstein.
 Just as he drew inspiration from cartoons and advertising to produce some of the most indelible images in contemporary painting, Lichtenstein became intrigued by a brushstroke he saw in a cartoon as a ‘symbol’ of painting.
He started ‘brushstroke paintings’ in 1965 and began making sculptures in the late 1960s, but it wasn’t until the 1980s that he embarked on a series of ‘monumental brushstroke sculptures’ which became public works in Paris, Barcelona and, in 1994, Tokyo.
In this film, we see Lichtenstein starting from a collection of brushstrokes he created for collages, selecting images, making models, meeting with the Japanese architect and curator, enlarging the drawings to some thirty feet, fabricating the sculptures in a foundry, and finally, installing the sculptures in Tokyo where all the work of preparation gives way to the mystery of creation.
In the artist’s own words, ‘It’s just a road you start taking, and you keep correcting and changing until you get something that seems right…I don’t really mind having art go from me to other people, even if I never see it again. I’m interested in doing it…’</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Roy Lichtenstein: <em>Reflection</em>s</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Edgar B. Howard
and Seth Schneidman, USA 1993, 30 min</span></p> <p style="text-align: justify;"><span style="font-size: small;">This film features Roy Lichtenstein discussing his work, his artistic process, and the sources of his inspiration. The film also includes appearances by several leading authorities on contemporary art, including Diane Waldman of the Guggenheim Museum, Kirk Varnedoe of the Museum of Modern Art, Robert Rosenblum, Professor of Fine Arts at New York University, and Lichtenstein’s dealer, Leo Castelli, interviewed in his gallery by Isabella Rossellini.
The artist was filmed in his studios in New York City and Southampton, Long Island, as well as on location in Los Angeles and Rome. Featured are Lichtenstein’s Large Scale Murals, Reflections Series, and his Interior Series.

</span></p> <div class="field field-name-field-exhibits field-type-node-reference field-label-hidden"> <div class="field-items"> <div style="text-align: justify;" class="field-item even"><span style="font-size: small;">This event is related to the exhibition <em><a target="_blank" href="">Lichtenstein: A Retrospective</a></em></span></div> </div> </div> Thu, 09 May 2013 13:57:37 +0000 Ben Rivers, Shezad Dawood - Whitechapel Gallery - May 12th, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Artists <strong>Shezad Dawood </strong>and <strong>Ben Rivers </strong>join forces to introduce their choice of influential, genre-bending, lost underground and genuinely leftfield films. This first in a new series features a cult double-bill of Lucio Fulci’s 1982 Egyptian gore-fest <em>Manhattan Baby </em>and a surprise title.</span><br /><span style="font-size: small; text-align: left;"></span></p> <p style="text-align: justify;"><span style="font-size: small; text-align: left;">Archaeologist George Hacker is on the verge of making a monumental discovery in Egypt: unearthing a tomb believed to be guarded by a magic curse. While George is at the dig site, his wife Emily escorts their young daughter Susie through the local tourist sites. Susie wanders away from Emily and finds herself confronted by a blind woman who gives her an amulet and the cryptic warning, “tombs are for the dead.” At the same time, her father’s team falls into a hidden room below the tomb. His partner is killed instantly, and as George attempts to decipher the messages written on the walls, he is struck temporarily blind by blue rays of light from an unknown source. The Hackers return home to Manhattan,  but George and Emily are unaware that Susie has brought with her the blind woman’s amulet…  </span></p> <div><br /> <div> <div style="text-align: justify;"><span style="font-size: small;">A simple explanation of <em>Manhattan Baby</em>’s plot does little to give one a sense of the film’s true essence. <em>Manhattan Baby</em> is conveyed primarily through images, with long stretches of time passing without dialogue and the film as a whole features minimal exposition. It is the most accessible of Fulci’s horror films from this period but among the most restrained in terms of gore. The film’s most terrifying scenes are often bloodless… <em>Manhattan Baby</em> is… a synthesis of Fulci’s two modes of operation, the sublimely surreal and the mercenary, and comes far closer to achieving a balance to these competing concepts than any of his other films (edited from a review). </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div><span style="font-size: small;"></span> <div><span style="font-size: small;"><strong>The surprise film</strong>, showing on its original 16mm, is a classic of the US underground, made two years earlier than Manhattan Baby, and a delirious fusion of the mythic and the countercultural. </span><br /><br /> <div><span style="font-size: small;">Thanks to BFI and Argent / Shameless Films</span><br /><span style="font-size: small;"> </span> <div> <div style="text-align: justify;"><span style="font-size: small;"></span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Proof of concession or membership to be shown on the doors.</strong></span></div> </div> </div> </div> </div> </div> </div> Tue, 07 May 2013 07:01:11 +0000 - Riflemaker - May 13th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Celeur Jean H&eacute;rard, Andre Eugene and their colleagues are based in Haiti's GRAND RUE neighbourhood of Port'au-Prince. They evoke history and collective cultural memory through a vision that is at once hallucinatory and prophetic. Their assemblages transform the detritus of the world's falling economies into distinctly apocalyptic images, whose take on Vodoo evoke a cyberpunk sci-fi vision.&nbsp; </span></p> <p style="text-align: justify;"><span style="font-size: small;">The Grand Rue artists look to the past, present and future. Their use of readymade and recycled components is only partially driven by economic necessity; for them, it also carries an inherent social commentary on Haiti's position in the global economy.</span></p> Mon, 06 May 2013 16:42:10 +0000 Douglas Gordon - Tate Britain - May 13th, 2013 10:00 AM - 6:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><span style="font-size: small;">In his video installations, Douglas Gordon (born 1966) plays with the cinematic techniques of duration, doubling and mirroring to explore the dynamic between audience and image. <em>Play Dead; Real Time</em> was filmed at an empty Gagosian Gallery in New York, where the artist arranged to have Minnie, a four-year-old Indian elephant, brought in to perform a series of tricks – ‘play dead’, ‘stand still’, ‘walk around’, ‘back up’, ‘get up’ and ‘beg’ – on the command of her off-screen trainer. The footage showing Minnie’s sequences of tricks is simultaneously presented in a front and a rear life-sized projection and on a monitor, with each one depicting the same event from a range of perspectives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The viewer is presented with an opportunity to see the animal with an intimacy and perspective that are very rarely offered. For Gordon, <em>Play Dead; Real Time</em> sits between ‘a nature film and a medical documentary, to observe the subject in a way that could be used for a practical purpose but also had a very certain aesthetic. One of the beautiful things about film and video is that it can imbue a sense or sensibility that doesn’t actually physically exist.’</span></p> <p style="text-align: justify;"><span style="font-size: small;">This display has been curated by Carmen Julia.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em> ARTIST ROOMS On Tour is a partnership with Arts Council England and the Art Fund, making available the ARTIST ROOMS collection of international contemporary art to galleries throughout the UK.</em></span></p> </div> </div> </div> Thu, 09 May 2013 11:26:05 +0000