Showing posts with label GHost. Show all posts
Showing posts with label GHost. Show all posts

Thursday, 13 September 2018

The Ghost Tide

THE GHOST TIDE

curated by Monika Bobinska and Sarah Sparkes

Thames-Side Studios Gallery, Thames-Side Studios, Harrington Way, Warspite Road, Woolwich, SE18 5NR. www.thames-sidestudios.co.uk

EXHIBITION DATES 20 October – 3 November
GALLERY OPENING HOURS Thurs-Sun 12pm – 5pm

OPENING PARTY Friday 19 October 6pm - 8.30pm
Gen Doy performance 7.30pm

The Ghost Tide - coinciding with the festivals of Hallowe'en, All Souls and the Day of the Dead - takes as its starting point the perspective that ghosts exist as an idea, or as part of a belief system, across cultures, across national borders and throughout recorded history. Most languages contain words to describe the ghost, spirit or immaterial part of a deceased person. Often, these words - like the type of ghost they describe - have traversed borders and been assimilated across cultures.

The exhibition, situated next to the Thames Barrier in South-East London, evokes ghosts as a migratory tide, washed up along the shore of the Thames their historical baggage in tow. It also explores the presence of artists in this part of London, as a migratory tide of creative flotsam and jetsam which ebbs and flows as the city gentrifies and develops.

Featured works include sculpture, installation, film, sound, performance and wall based works. The exhibition will include installations and outdoor interventions, as well as public events.
The Ghost Tide features works by over 30 UK and international artists.

Artists featured: Andrea G Artz, Chris Boyd, Davies, Monaghan & Klein, Gen Doy, Sarah Doyle, Graham Dunning, Diane Eagles, Andrew Ekins, Charlie Fox, Katie Goodwin, Kio Griffith, Miyuki Kasahara, Calum F Kerr, Rob La Frenais, David Leapman, Liane Lang, Toby MacLennan, Laura Marker, Joanna McCormick, Josie McCoy, Jane Millar, Output Arts, Miroslav Pomichal, Brothers Quay, Anne Robinson, Edwin Rostron, Matt Rowe, Sarah Sparkes, Charlotte Squire, Sara Trillo, Yun Ting Tsai, Kate Walters, Patrick White, Heidi Wigmore, Neale Willis, Mary Yacoob, Neda Zarfsaz.

About the Curators: Monika Bobinska is the director of CANAL, which organizes exhibitions and art projects in a variety of settings. She is the founder of the North Devon Artist Residency.
Sarah Sparkes is an artist and curator. She leads the visual arts and creative research project GHost (initiated in 2008), curating an on-going programme of exhibitions, performances and inter-disciplinary seminars interrogating the idea of the ghost.

CURATORS' TALK Saturday 20 October 3pm – 4pm

DAY OF THE DEAD CLOSING PARTY Saturday 3 November 2pm – 7.30pm

Papel Picado Workshop 2pm – 5pm   Make your own Day of the Dead 'cut - outs' with artist Sarah Doyle. Suitable for all ages, materials provided
Performances and Artist Led Walk 2pm – 5pm  Charlie Fox, Calum F Kerr, Joanna Mccormick, in and around the gallery
Day Of The Dead Feast  5pm – 6pm   Refreshments served
International Film Screening 6pm  Screening of short films in the gallery: Chris Boyd, Liane Lang, Brothers Quay, Yun Ting Tsai and Neda Zarfsaz

For more information, contact us on l 0786 606 3663 | 07900 208 711 |
theghosttide@gmail.com
www.ghosthostings.co.uk | www.canalprojects.info
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Sunday, 12 January 2014

Hostings 13 - GHost-dance III: time travelling mediums

 Hostings 13 - GHost-dance III: time travelling mediums
February 17th 6.30 - 9.30


Central St. Martins College of Arts and Design, LVH E003
Granary Square London, Nr Kings Cross
London
N1C 4AA

GHost hosts an evening of presentations and performative presentations exploring the idea of ghosts as material transmutations in time.  
GHost Hostings 13 is supported by the Centre for Performance, Central St Martins School of Arts
Hostings 13 image - Anne Robinson Is It You 

PROGRAMME
Vicky Smith Haunting a medium through physical residue. 
Jessica Worden Materialising the Body: Material Phenomena and Sartre's Theory of Viscosity. 
Anne Robinson Is It You? Time travel and Physical Thinking.  
Eleanor Bowen  Drawing and Longing 

If you wish to attend please register for FREE seats by following the link below
Eventbrite - GHost Hostings 13 - GHost-dance III: time travelling mediums


ABSTRACTS 
Vicky Smith. Haunting a medium through physical residue.
I will talk about how imagery created directly onto film can deal with things that have been abandoned or are undervalued. Using clips from my recent film/ performance, 36 Frames Per Feet, I will illustrate how film, once inhabited, now presents only the trace of the absent body. I will discuss this in relation to Walter Benjamin’s meditation on the modern body in an age of animated machinery and his suggestion that the death of a technology releases the hopes which were embedded in it at its birth. Early cinema was proclaimed as ‘life itself’ (Doane, 2008). I will show how, by enlivening film with my own body and refusing to let film die, my research corresponds to the concerns of Ghosting with regard to themes of absence, presence, the politics of commodification and as a lamentation for what is lost.
Vicky Smith’s practice incorporates experimental animation and performance. Her work will be shown at The Tate Britain this Feb, 2014, and has recently been exhibited at:  No. w.here, London (2013) Lo and Behold, London (2012/2013), 100 Feet touring (2013-14) Edinburgh Film Festival (2012),  Melbourne Experimental Film Festival (2012).  Recently published work includes: Full Body Film in Sequence (2013). She was Workshop Organiser at the LFMC , lectured in Film Studies at UWE,  and is currently at UCA, teaching Digital Film and Screen Arts and researching into the aura and trace using films made without cameras.

Jessica Worden. Materialising the Body: Material Phenomena and Sartre's Theory of Viscosity (because slimy substances stick to the hands , and clothes, and because they stain) — Sartre, 1943.
Sartre describes the viscous in terms of its qualities, trying to create parameters around a state that is ‘always fleeing’. (Sartre, 1943) There is ample critique of Sartre's theory of viscosity (the slimy)— particularly the use of feminine metaphors to describe its negative attributes. By applying the properties of viscosity to the role of material phenomena in altering definition(s) of the female body, it is possible to underline the radical nature of these performances and potentially reclaim the viscous. Ectoplasms have been extensively cataloged and documented since the 1880's; the advent of their distinctly material ormations occurred simultaneously with the changing roles of women in society. Viscosity defies definition; it is my intention to suggest through visual and textual re-appropriation ways in which women utilised ectoplasmic manifestations to influence the definition their bodies and modes of (re)production by embracing viscosity.
I am a Dutch/American artist currently undertaking a practice-based PhD in Breathlessness in Performance in the Contemporary Performance department at Brunel University. I have been working with live art since 2005, having also run a live-arts platform from 2006-2008 in Rotterdam, NL. My practice is influenced by photography, but based in performance writing. I produce artist books, installations and performance pieces. My aim is to explore writing-as-performance and the interplay between the visual and the textual

 Anne Robinson. Is It You? Time Travel and Physical Thinking 
 This paper focuses on the two-screen performative video work, Is It You? a ‘ghost dance’ with polyrhythmic patterns made in response to the spectral traces of physically ‘remembered’ songs (including Toots and the Maytalls’ Pressure Drop). Is It You? engages with the ‘frame’ as temporal marker,  using slow shutter-speeds and high speed filming to capture the ‘same’ moments in time using different time bases. This is an unsettling experience of time deconstructed through cinematic devices which catches the spectator in a circuit of afterimages and pushes them into a strange, dissonant perceptual dimension, parallel to the temporal alterations in shamanic drumming. The experience of sound in the work is also immersive, pushing language to the threshold of recognisable auditory form. The talk draws on a body of practice-led research into temporality and philosophical perspectives from Merleau-Ponty, Deleuze and Gidal. Extracts from Is It You? (2012), Que Sera (2010) and Inside Out Blues (2013). 
 Anne Robinson’s practice encompasses painting, moving image and performance and is concerned with the perception and politics of time passing, recently working with the Commonist Gallery, ‘Winter Shuffle’, Supernormal, Psi19 and GHost IV following a PhD on temporality, film and painting. In summer 2013, she took part in the ‘DeTours’ residency inMarseilles, resulting in the performative song-film ‘Inside Out Blues’. She works with film as an artist and educator, currently senior lecturer in Film at LMU, curating the event One More Time there in 2011. 

Eleanor Bowen.  Drawing and Longing (performed text with slide projections)
My presentation for GHost is developed from material that was published in Performance Research, ‘On Choreography’ (Vol. 13: 2, 2008). It investigates the alchemical notion of parastasis as phenomenon of haunting that, rooted in the ancient desire to stop time by replicating or fixing the present, was eventually realised in the photograph. Such a haunting does not relate to the making of photographs, the spirit world of the darkroom, but reflects the unseen presence of the camera itself and its relationship as such to time travel. Incorporated into the presentation are readings of snaps from ancestral albums, found photos and pinhole images made in an underground archaeological site, not a burial but the archive of an archaeologist who was also my father.
Eleanor Bowen is a writer and visual artist, currently with a studio practice in London. She holds an MA in Visual Art and Theatre and a practice-based PhD from Wimbledon School of Art, in which she explored the relationship between early photographic practice and drawing. Publications include contributions to Performance Research, ‘Lexicon’ (11: 3, 2007) and ‘On Choreography’ (13: 2, 2008), http://process.arts.ac.uk/content/drawing-and-longing-proposal-drawing-paratext, ‘Between Laughter and Crying’, co-written chapter with Dr Laura Gonzalez for ‘Madness, Women and the Power of Art’, Oxford, Inter-Disciplinary Press (2014) which is to be developed as a co-performed text for ACTS RE-ACTS (March 2014, Wimbledon College of Arts). 



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Thursday, 2 May 2013

Hostings 12 - GHost-dance II


GHost presents the second in a new series of Hostings – 'GHost-dance' – exploring the idea of ghosts as cultural and political movement.


Hostings 12: GHost-dance II
21st May  6.30 - 9.30
please arrive at 6.00pm for a 6.30pm start

Central St Martins College of Arts and Design
Studio Theatre
Granary Square
London
N1C 4AA
(near Kings Cross over and underground stations)

With:
Gen Doy, Song for the Deaf and Blind
Mitsu Salmon, Skating
Christian Weaver, Trillando en el cajón: mediating positive and negative forces in the realm of the dead through music and dance
Michelle Hannah, BLACKCAT
SaVAge K'Lub : Rosanna Raymond – Sistar S’pacific, Emine, Jo Walsh, 
Dr Mark James Hamilton, SaVAge SEAnce: An Invitation to Activate Your Ancestry.
and
Installation by Jennie Fagerstrom



Gen Doy,  Song for the Deaf and Blind



Song for the Deaf and Blind was first performed in early 2013 at the Huguenot Cemetery in Wandsworth Town, south London, where it was recorded for an installation. This performance develops some key themes of Gen Doy’s work….the attempt to bear witness to, and to remember, people subjected to injustice and violence by forces of the state, the importance of history and those marginalised by mainstream historical narratives, the power of site-specific commemorative acts and the ways in which the past returns not as nostalgia, but to come into collision with the present.



Gen Doy was a lecturer and researcher for many years at De Montfort University before taking early retirement to develop her art practice. She lives in London, and has two grown-up sons. Her works have been exhibited, installed, and broadcast on radio.

Gen works with written and spoken texts, field-recordings, still and moving images, and performance, to construct narratives that are not linear, but suggestive and open to creative interpretation by the listener/viewer. The voice has become important in her work, as she exploits its sensual and seductive potential, to bring to light and sound people and events hidden or forgotten. The words of people from the past, and emotions from barely smouldering embers, pass through the flesh of her body and live again in her voiced breath. Her aim is to make poetic art with “guts”.
http://www.gendoy.com




Christian Weaver,  Trillando en el cajón: mediating positive and negative forces in the realm of the dead through music and dance.

In the 21st century Cuban capital, Havana, and throughout much of the island, communities of diverse and mixed origins dance with the ghosts of their ancestors on a daily basis. The ceremony known variously as ‘cajón pa’ los murtos’, ‘cajón espiritual’, ‘cajón pa’egun’, or simply ‘un cajón’ makes use of espiritist techniques, along with sentimental, spiritual and ritual elements of various religions to extract useful advice, guidance and cleansing from ancestor spirits. The ‘cajón espiritual’ has its roots among Cuba’s marginalised and disposed who sought reassurance and support from both their direct ancestors and various international ancestor spirits who’s repute or power made them attractive as guides. The tools they chose were simply those at hand, and whose efficacy was already established to them. Not the least of these being drumming (in this case on wooden boxes, from where the ceremony derives its name, cajón), singing and dancing, as participatory acts. Although the cajón includes potent elements and symbols taken from a range of influences (including Lukumí, and Native American), the principal elements are derived from Catholic and Congo religious practices, and to a lesser, but still important, extent, Kardecism. The process through which these forces are meditated and usefulness extracted, is known as trillando (from the Spanish verb trillar, to thresh). Powerful religious and spiritual fragments are threshed together within the ritually controlled environment of the cajón in order that the beneficial can be separated from the unavoidable (and balancing) negative. This paper examines the central role of music and dance in the process of trillando, how social cohesion is encouraged through participation in these activities, and the relationship with the dead enacted in order that social usefulness is extracted and exploited by the community.

As an initiated drummer, Christian Weaver regularly performs ritual music for ceremonies in Havana. He has researched the music and dance of Afro-Cuban religions, and the vernacular music of Cuba’s urban poor, since 1994. He was awarded his PhD in Ethnomuiscology in 2010.
http://www.latimbala.com/

Mitsu Salmon, Skating
I studied and performed the Butoh dance form in Japan for three years. Butoh emerged after WW2 and sought to embody ancestors, ghosts and darker aspects of the psyche. In this piece I draw from Butoh's use of possession and exploration of the unconscious.
'Skating' is a dance/ theatre piece about embodying histories, searching for identity and failure.
The piece begins with looking for a role model as a Japanese American young girl and being unable to find one. Then while watching the Olympics with my grandparents, who are from Japan, I discovered the Olympic ice skater Kristy Yamaguchi. Afterwards I began ice-skating. Throughout the piece I speak of my family's history, that of my grandmother growing up in Japan during WW2 and my grandfather being Japanese in the USA army. My grandfather was in the USA occupational forces in Japan and his fellow soldiers were in internment camps during the war in the states.
While imitating Kristy Yamaguchi through movement, projected footage of the ice-skater herself is intersected with film of the USA occupation of Japan.
I fall repeatedly, failing to achieve an ideal Japanese American identity and also struggling to shed my family histories. The dance is how my body holds the painful histories of my ancestries - ghosts of war and assimilation.
­'Skating' explores the intersection of personal history to cultural history. The piece begins with humour and story telling and builds to a dance where my ancestors ghosts ate channeled and exorcised.
Mitsu Salmon is currently a MFA student in performance at the School for the Art Institute in Chicago. She creates original performance and visual works, which fuse multiple disciplines and cultures. She was born in Los Angeles, California and studied experimental theatre and painting at NYU. She has lived and created work in India, England, Germany, Amsterdam, Japan and Bali. She has presented at places such as Performance Space 122, Dance Theatre Workshop, Highways Performance Space, Links Hall, the Berlin Performance Art Festival and the London Performance Art Festival.

Michelle Hannah, BLACKCAT
"There is a strong sense of Romanticism in my practice, mainly in the roles which sound, performance and expanded cinema has in tackling the themes of metaphysics and science fiction. BLACKCAT is a performance of an appropriated and fragmented version of Bowie’s Cat People by means of a vocal processor. The starting point of this is from its esoteric femininity to create BLACKCAT as a visual presentation of channeling vocals and cosmic noise as form, presented as a dispersed engagement between myself as ‘blind ‘ ethereal performer and you as a viewer. I wear theatrical white blind contacts to erase my sight. Blinded and struck for a moment, this ‘illuminated singer’ no longer discerns the limits of the room. I become at once trapped in the point of darkness and light."
Michelle Hannah is a Glasgow based artist born in Alexandria, Scotland and a graduate from the Master of Fine Art course at Glasgow School of Art. Selected exhibitions/performances/screenings include NGCA, Modern Edinburgh Film School, CGP London, Whitely Arts Festival, University of London, Vetlanda Museum, Glasgow Project Rooms, Gi 2012, Dresden Film Festival, CCA, Generator Projects, Embassy Gallery and is now the curator of a performance and video based event under the theme and title 'NITEFLIGHTS' which will appear throughout Glasgow.

The SaVAge K'Lub - Rosanna Raymond – Sistar S’pacific, Emine, Jo Walsh, Dr Mark James Hamilton: SaVAge SEAnce: An Invitation to Activate Your Ancestry.

"Our dead are woven into our souls
like the hypnotic music of bone flutes:
we can never escape them."
Albert Wendt
This SEAnce is a participatory presentation, inviting those gathered to experience a core concept informing the SaVAge K'Lub's creativity: even the long-dead are nearby. A performance will occur (a word used in its widest and least defined sense). The deeds enacted will aid those present to call upon potentials immanent in their human being, in their genetic material. Ancestry will be addressed as a vital force, a sustaining resource.
Albert Refiti (Samoan visual arts scholar), writing of an earlier K'Lub event in Canada, states that Raymond refuses to relegate ancestors to a mythical past, and addresses them as available and present, located within one’s body. Raymond, says Refiti, embraces the tensions of tradition and contemporaneity prominent in—but not limited to—cross-cultural artwork. The K'Lub site their presentation at the intersection of polarised values, seeking relationship between cosmopolitan and village-centric values, engaging with the spectral phantom of sameness and the haunting substance of difference.
In the SEAnce, the K'Lub will elaborate on Polynesian protocols of meeting and invocation to invite attendees to establish a position between the Earth Mother and the Sky Father. Through simple communal movement and vocalisation, these elemental ancestors will be evoked. Subsequent deeds will seek out connections to ancestral Mountains, Rivers, Lands, Houses and Forebears. Here the collective may begin to individuate. Multiple perspectives will be entertained.
For some gathered, it is possible that a deep sense of ancestry may be contacted. At the same time, it might be that the nostalgia, Romanticism, and exotica are indulged. And what of lineages beyond bloodlines? The cross-currents created by cultural adoption and appropriation will be supported. The K'Lub does not guard against the disruption of categories—authentic and original meets fictive and faux. Mindful of the layered significance of the Ghost Dance proper, the SEAnce will ask not whose the ancestor is, but what this ancestor can do for the emancipation of all.
The SaVage K'Lub is a London-based interdisciplinary collective of artists and scholars led by Raymond. The group explores: the relationships between experiences of difference and belonging; complex intercultural affiliations; continuations of native and migratory narratives; things eclipsed by the fray of dominant communities' interactions. The K'Lub has a special interest in the combination of careful craft in all disciplines (including the continuation of traditional skills) with the vitality of parody, satire and hybridity to delight and motivate, producing art which communicates social commentary and proposes departures toward new philosophies. 

Skogsrå Jennie Fagerstrom
Jennie Fagerstrom brings intimate lanterns to light the loss of way and figures of the non existence to cause erasure of the real. Images referencing the female skogsrå of nordic mythology, seductively luring men to their doom in the lost depth of the forest.
Born in Sweden, lives and works in London.
Studied Fine Art at Central Saint Martin's College of Art & Design, London.
She uses the body and movement as a means of inspiration and expression to create sequences. Translating her ideas onto the fragile nature of paper, supported by low tech and light. Her work touches on the notion of romanticism and nostalgia.
Recent showings and exhibitions-
St Leonards Church LCV event March 2013 " Follow the Lanterns. The Sea and I EP launch with London Contemporary Voices"
Stroud SITE Festival 2012 May, group exhibit "Golden is Silence"
Studio 23 Netil House London June 2012
Coming soon-
Clerkenwell Design Week London May 2013
Performance and installation night Stockholm, Sweden 25 May 2013







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Monday, 11 February 2013

GHostings 11 and 12 - Call for submissions

GHost-dance: ghosts as cultural and political movement
GHost Hostings 11 and 12 a call for submissions


Call for papers, presentations, performance and dance for an interdisciplinary seminar and performance event – the so-called 'GHost Hostings'.   Hostings 11 and 12 take the GHost project's research in a new direction. 

 Deadline for submissions – March 16th

The Hostings are supported by the Centre for Performance at CSM, University of the Arts.
Venue:  CSM, University of the Arts, Granary Building, 1 Granary Square, London, N1C 4AA
Dates:        17th April, 6pm - 9pm – LVMH Lecture Theatre
                   21st May, 6pm – 9pm – Studio Theatre (dance and performance space)

“Standing on the hill where so many people were buried in a common grave, standing there in that cold darkness under the stars, I felt tears running down my face. I can’t describe what I felt. I heard the voices of the long-dead ghost dancers crying out to us.”
(Leonard Crow Dog, during the American Indian Movement’s occupation of Wounded Knee, 1973).

In the last decades of the nineteenth century, self proclaimed prophet Wovoka, of the Paiute people, became the figure-head for the Ghost Dance - a religious movement adopted by a significant number of the Native American Nations. Central to this belief was a communal ritualised dance, inducing a trance state, in which it was believed the souls of the dead and living would be reunited and their land returned to them. In the 1970s the Ghost Dance was revived as part of the Red Power Movement, with the activists group AIM (American Indian Movement) at its forefront, fighting for Native American civil rights. The ghost in the Ghost Dance was a revitalising force for a people whose land and loved ones had been taken from them and who were facing cultural genocide.

The Spiritualist movement in nineteenth century U.S.A provided a forum in which women, whose role in society was very much surpressed, could give voice to their opinions in a public arena. Appeals for women’s emancipation and the abolition of slavery could be expressed under the guise of a ghost voice, allegedly channelled through the medium.

At the same time in Europe, in the opening sentences of Marx and Engle’s Communist Manifesto, “A Spectre is haunting Europe – the spectre of Communism.” Communism could be said to have been conceptualised as a powerful ghostly presence, waiting to materialise and take shape within the living as a force for revolutionary change.

GHost is seeking proposals for thirty minute papers, performances, performative presentations, contemporary or traditional dance and ritual performance encompassing all disciplines and fields of interest.

Submissions may address, but not be restricted to, one or more of the following:
·Ghosts as a political or cultural voice within marginalised or disenfranchised communities.
·The embodying of ghosts within ritual and performance to instigate socio-cultural or political change.
·Ghosts as a healing and unifying presence within marginalised cultural groups or genders.
·The appropriation of the ghost-dance, and other forms of spirit–possession, within contemporary art.
·The ghost narrative as a political device within rhetoric, writing, film, visual art or popular culture (fiction and non-fiction).

Please send a (working) title and an abstract of approximately 300 - 400 words, a brief biography and, if applicable, a couple of photographs or links to film clips documenting your performance or dance.

Please send submissions to Sarah Sparkes and Aldworth Howard at:
ghost.hostings@gmail.com

www.ghosthostings.co.uk
www.host-a-ghost.blogspot.com
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Tuesday, 6 November 2012

GHost IV Exhibition: Presence and Absence


GHost IV: Presence and Absence -
 Haunted Landscapes and Manifesting Ghosts
Image: from 'Reisen' by Sharon Kivland 2011
VENUE
St. John on Bethnal Green
200 Cambridge Heath Road, E2 9PA (next to Bethnal Green tube)
December 6th 7th & 8th

 An exhibition and series of art events exploring the desire to materialise what is absent via the medium of haunted landscapes or through the manifestation of a ghost.
 Works have been selected in response to research seminars, held earlier this year, at UOL. The exhibition will feature audio visual installation plus a programme of performances and artists film screenings all sited throughout this atmospheric John Soane Church of St John Bethnal Green.
 The winter nights are long and dark and the church's stone floors breathe out cold vapours. Wrap up warm, or bring a blanket . Wander around the vestibule, belfry and gallery, haunted by manifestations of moving images, interventions and performances and entwined with the smell of incense. Then settle down in a pew and cast yourself adrift in the films and sounds of haunted landscapes, haunted seas.
Warming winter drinks will be served.

Programme
December 6th 6.00pm – 9.00pm
First Thursdays Opening Night
Exhibition of audio-visual installation and performances throughout the venue and continual screening of Haunted Landscapes, a selection of artists short films, in the nave .
December 7th 6.00pm – 10.00pm
Adrift
The nave of st. Johns will play host to a programme of live soundscape performances and film screenings including an edited show reel of international films, “Haunted Sea” first shown at Folkestone Triennial 2011. Exhibition and performances throughout the venue.  
December 8th 2.30pm – 7.30pm
Exhibition of audio-visual installation throughout the venue and continual screening of Haunted Landscapes, a selection of artists short films, in the nave
7.30 – late: GHost selects John Carpenter’s The Fog for Phantasmagloria Film Night (note: there is an entry fee for the Fog screening – more details here)

 ARTISTS
Tymon Albrzykowski, Nick Baxter, Inez de Coo, Phillip Goodman, Romeo Grünfelder, Victoria Haviland, Birgitta Hosea, Calum F Kerr, Sharon Kivland, Ellen Lake & Chris Green, Mario Lautier Vella, Arabella Lee, Hayley Lock, Joanna McCormick, Amy McDonough, Jude Cowan Montague, MYSTERIUM, Anne Robinson, Eva Rudlinger, Sabine, Schöbel, Stasis 73, Pauline Thomas, Sally Waterman, Neil Wissink

Moving image installation and performance Thursday 6th, Friday 7th, Saturday 8th December


Pauline Thomas

















‘Loomings’ DVD, 58 Seconds, no sound, 2009




‘Loomings’, is part of collection of ‘found moments’ that meditate on the sensation of time passing and the ephemeral. This simple observation of a silent - almost formless moment touches underlying tensions between appearance and disappearance, stillness and movement, emptiness and fullness. This fragile film suspends and lingers in a strange sadness, accompanied by vague awareness of presence, waiting and incompletion.
Pauline Thomas’s search to find an image where absence and duration might coexist started with painting and has evolved into moving image, which like time is always disappearing and therefore a continuous loss. Recent group shows include, ‘Open Water’, at Mottisfont Abbey, ‘Pilgrimage – Walking to Heaven’, St John on Bethnal Green and ‘Counting the Changes’ in Collaboration with Arabella Lee, Gloucester Cathedral.

Anne Robinson

'Alive Alive-O'
Single screen video work, B/W with sound, running time: 10mins, 10 seconds, 2012

'An Occulting Light'
Video Installation, B/W with sound, running time: 15mins./loop, 2007

Both of these works are concerned with the possibility of time travel.. 'remembered songs' as a kind of psychic architecture and the voice as spirit presence. In Alive Alive-O, a remembered song re-inhabits the strange and magical shape of an empty ruined boat, as an invocation. The film was shot in inside the hull of an 1895 lugger being restored in Penzance. I have memories of my dad singing Molly Malone, the haunted presence in the boat space. The soundtrack was made in collaboration with musician David Cross, formerly of King Crimson. An Occulting Light has been made using single frames and re-filmed fragments from the British war movie The Cruel Sea. In this new, slow film, time is expanded as if we are in an altered state of mind or heart. An ‘occulting light’ is a navigational beam interrupted by darkness.

Anne Robinson’s practice encompasses painting, moving image installations and performance and is concerned with the perception and politics of time passing in art.  She has shown work nationally and internationally, recently working with the Commonist Gallery and CGTV on film and singing interventions, and has published in: The Journal of Visual Arts Practice and The Journal of Media Practice as well as curating the event One More Time in October 2011. She has recently completed a PHd on temporality and painting and works with the moving image as an artist and educator, currently senior lecturer in Film at London Metropolitan University.


Birgitta Hosea
'Medium'
site specific performance, 10mins-3 hours, 2012

“The cinema is the art of ghosts, a battle of phantoms… it’s the art of allowing ghosts to come back.” Jacques Derrida
Inspired by Victorian spirit photographs, this tableau vivant explores the act of mediation that is involved in the digital image making process. Taking the role of a techno-medium, I channel messages from film and radio through my multiple digital doubles and live projections of automatic writing, electronic ectoplasmic drawing and animation in an examination of the connections between a medium, such as film or digital code, through which a message is encoded, stored and transmitted and the psychic medium, a person who transmits messages from the spirit world.
Birgitta Hosea is a London-based media artist who works with expanded animation. Since studying at Glasgow School of Art and Central Saint Martins, she has exhibited widely in both the Uk and internationally. Her work is included in the Tate Britain archives and she has been the recipient of numerous awards and artists residencies. Most recently, she was artist in residence at Digital Arts and Animation Department, School of Cinematic Arts, University of Southern California, Los Angeles, USA and at the Centre for Drawing, Wimbledon College of Art.  Recent exhibitions include Ghost Station at Bletchley Park, Chatter at the Cinematic Arts Gallery, Los Angeles and D R A F T a collaboration with M K Palamar at Parasol Unit. Birgitta is Research Leader for Performance and Course Director of MA Character Animation at Central Saint Martins.



Mario Lautier Vella

'Domestic'
Black and white High-Definition video on DVD player; 6 minutes, 48 seconds (looped) in found mirrored box with additional inner mirror. Dimensions variable. 2012

Domestic is inspired by Mario Lautier Vella's ongoing experiences of the supernatural and daily life in a haunted home. It explores ideas around the uncanny in the domestic space – how our homes shelter what we wish to keep secret and hidden, where the invisible becomes visible and the familiar becomes unfamiliar. The work also responds to notions of an invaded space by considering whether what we deem fearful or uncanny can actually provide a means of protection and safety and the ability to evade what we most fear. 
Biography: In 2009, artist Mario Lautier Vella discovered his home was haunted. A series of strange events prompted further investigation leading to regular séances and an attempt at a house cleansing. The ongoing haunting forms the basis of  the artist’s ‘Like Home’ project, with artwork exploring ideas around sensing and collaborating with the invisible, protection, evasion and the uncanny domestic space. Mario Lautier Vella was born in Malta. He lives and works in Hertfordshire.



Arabella Lee
'Illion East'
installation 5min, 2012
Illion East is a remote village in the west of Ireland that was struck by lighting in the 1970s and after the tragedy was abandoned. The land was sold and is slowly being reclaimed by a later planted forest.
(It is one of the many eroded and derelict villages and farms still visible in this rugged landscape, deserted either during the Famine or at a much later date.) This installation seeks to capture the past presence and spirit of the people who lived there while reflecting on the loss implicit in this site  
Biog: Recent exhibitions include 'Unhallowed', Walking to Heaven, The Belfry of St Johns on Bethnal Green. In Collaboration with Pauline Thomas, 'Counting the Changes', Gloucester Cathedral and also 'A time, and times, and half a time', The Belfry, St Johns.‬




Certum est quia impossible est.  Tertullian   (It is certain because it is impossible) 

Calum F. Kerr 
'Threshold Figure (Charon’s Obol Exchange)' 
Performance,
2012 



Attican (Athenian) Obolus (Silver Coin), 449 B.C.
Those living on the threshold between life and death, presence and absence will experience a bearded, wild-looking figure. He will be blocking doorways, between vestibule and the nave, stairs and the balcony. In response to vistors answering a question he will place an edible coin in their mouths. The answer will be recorded, before they pass directly through his robes. Coins have been placed in the mouths of the dead for thousands of years through Hellenistic and Roman times to the early Christian era. In Greek culture 'Charon’s Obol' was a coin placed in the mouth of the deceased to pay Charon the Ferryman for passage across the river Acheron. At St John’s, Threshold Figure will aid the living cross to the other-side through this ancient ritual.
Calum F. Kerr is an interdisciplinary artist; his work embracing sculpture, performance, sound art and music. Histories and characterisation are important, as is direct engagement with the public. A peripatetic strain means performances are frequently mobile and benefit from multiple interrogations of the same location such as St Johns. He has performed at Tate Britain Late and in Shezad Dawoods film ‘FEATURE’ (2009), ‘Calling Out of Context’ at the ICA (2010), and ‘The Cage’, aas residency at New Art Gallery Walsall (2011) and at festivals in Bulgaria, Germany, The Netherlands and USA. Solo presentations include ‘And Many More...’ Weibke Morgan Gallery, 2007 and ‘Listen & Lawn’, Model Gardeners, 2010. He performs/ collaborates with Lonesome Cowboys from Hell and Flange Zoo


Phillip Goodman
'Homeward'
Film looped, 1min .30, 2012

This is  a short film a made earlier in the year, its composed of a series of shorter videos all of my journey home from an exhibition in a bar called 'soul' the bus is bereft of soul, and of art, and yet i manifest both through the making of the video, the bus is also haunted by the disembodied voice of itself, and of other passengers, ones that you do not see on film, and in point of fact i do not remember seeing myself. the video is very simple and uncomplicated, it has no great narrative or story line it is simple and everyday, and yet, because of the way the bus shakes me, the video becomes very animate, the street lights shining through raindrops take on properties not their own... 
Phillip Goodman works with, photography, video making, music, sound art and writing. He regular exhibits with Re-kinal Arts at their annual exhibitions at Alexandra Palace and Queens Woods Hampstead.  He is a co-founder of the arts collective DELIA and also plays music with a number of different artists groups  including flange zoo and beats of madness.

Victoria Haviland
'Conversation With My Grandmother'
Script, computor text printout, 2012

'With the hand of my heart from the face of my remembrance; until what I wish for be unveiled and appear in sight out of its secret place'.     Le Geoff.
I explore relationships influenced by social history, memory and memorial.  Works contain clues of intention and expectation provided by past eras for the investigation into unreachable and unexplored worlds.  I seek to define and conflate differences and similarities between the act of medium-ship and of memorial.  On long solitary walks, I pass graveyards, litter, people, dogs. I absorb myself into the intensity of the approaching and passing of other walkers after which I loose myself to the silence, a back drop for memorial and for all that is lost. Through musings on the landscape I am able to remember and forget simultaneously. I sense memories exist within the trees and grasses, I can see them, they are invisible. I am reminded to remember that some memories are forgotten. Perhaps they exist; awaiting reclamation, suspended in animation within another dimension.
Victoria Haviland lives and works in London.  She is a graduate of fine art at Wimbledon College of Art. Recent exhibitions include: Wunderkammer at The Nunnery – Bows Arts Trust 2012,‘Expansive Mood’, Mansion House, City, group show curated by Sarah Woodfine and Paul Ryan, 2011 ‘Double the Vision My Eyes Do See’, group show curated by Soriah Rodrigez of Zoo Art Fair, WCA, 2011, ‘What the Folks Say’, Compton Verney Museum, Warwickshire, 2011, ‘Out of Bounds’, group show, Camden Arts Centre, curated by William Cobbing, 2010 and ‘Foyer’, group show, curated by Sarah Woodfine, WCA 2009

 Haunted Landscapes Film Screening Thursday 6th and Saturday 7th December

Sharon Kivland


'Reisen: The limped waters of mountain lakes, The snow on alpine peaks and The smoke of steam trains.'

Film, 2011
The images in the films are photographs, from a series of works which the artist re-photographed from old postcards. The images also relate to two small pamphlets, entitled Reisen, which refer to the trains, train journeys, railway-lines, stations, station platforms, railway timetables, ticket collectors, and train compartments in the life and work of Sigmund Freud. Each film is subtitled ‘Every year Sigmund Freud went on holiday with his brother, Alexander’.
Sharon Kivland is an artist and writer and 'occasional curator' working in London and France. She holds a Masters in History of art, Goldsmiths College, University of London and a
Doctorate from The History of Art Department, University of Reading. She is a researcher at the Centre for Freudian Analysis and Research, London, and a Visiting Fellow at the IGRS, University of London. She has exhibited widely in Europe and North America and is represented by DomoBaal, London, Galerie Bugdahn & Kaimer, Düsseldorf, and Galerie des petits carreaux, Paris. Publications include Freud on Holiday volume III. The Forgetting of a Proper Name
co-published by Cube Art Editions, Athens, and information as material, York 2011 and A Case of Hysteria, Book Works, London, 1999.




Hayley Lock

Title: Blue Light
Film, Duration: 11 mins 30 secs, 2012

Fusing stories from the past with elements from science fiction the film 'Blue Light' tells tales of madness, hysterics and awkward moments from blurred memories of times past. Filmed on the North Norfolk coast and Cromer Hall where Arthur Conan Doyle stayed and drew inspiration for his tale 'The Hound of the Baskervilles', Lock draws on stories of the ghost of The Black Shuck, a demon dog that is said to run the coastal and corpse paths from Sheringham to Overstrand, Enid Blyton's tales of 'The Secret Seven' where her characters are seen in awkward adulthood and Lock's talisman, the Dark Glass, an object that is used as an egress to another world.
Lock's practice straddles fact and fiction, truth and the fake. Weaving new narratives of history and myth through a complicated andsometimes mysterious tale of heartache of heartache, lust and delusional thinking, Lock allows her practice to accumulate, take unfathomable journeys and elicit deceit to create part encrypted biography and part parallel histories through film, drawing, collage, sculpture and sound.Using illusionary reference to a quiet, perhaps even hidden language of esoteric symbol, the nature of Lock's materials appear deliberately opaque. Moving through a fragmentary universe that includes an unknown and seemingly anonymous mythology, Lock perform acts of encounter, translation and deliberate disorientation through storytelling.

Sally Waterman
'February'
Digital video projection, dimensions variable, 2’32, 2011
Composer: Donna McKevitt (Warner Classics, 1998)
Taken from Translucence (Based on Derek Jarman’s writings)
The Translucence project investigates Waterman’s experience of illness, death and loss, serving as a reflection on the fragility of life, through the interpretation of Donna McKevitt’s musical score (Warner Classics, 1998), based on Derek Jarman writings. February (2011), comprises a series of slowly dissolving photographic stills of the passing seascape, shot during the catamaran journey across the Solent, from Portsmouth to Ryde Pier Head, Isle of Wight, to attend the funeral of a close family friend, who suddenly passed away at the age of 44. The rise and fall of the waves, which passes between darkness and light, together with the shifting focus between the distant sea and the droplets of water on the window pane, becomes representative of my contemplative mood, enhanced by the haunting quality of McKevitt’s instrumental score, which lulls the viewer into a meditative state. The sequence ends with an unexpected view of the shadowy depths of the pier structure, as the catamaran docks alongside, which serves as an appropriate visual metaphor for the ceremony that lies ahead and a confrontation with the reality of loss.
Sally Waterman employs literary adaptation as a mechanism for self-portraiture, creating poetic still and moving image works that explore memory, place and familial relationships.  She received her PhD in Media and Photography at Plymouth University in 2011. Recent exhibitions include: The Solo shows Waste Land, Ruskin Gallery, Anglia Ruskin University, Cambridge (2012) and Viewfinder Photography Gallery, London (2007), Waste Land: Game, Viewpoint Gallery, Plymouth College of Art (2008) and the group exhibitions What Happens Next?, Pitzhanger Manor and Gallery, London (2008). Her work is held in public and private collections including King St. Stephen Museum, Székesfehérvar, Hungary, the National Art Library at the V&A and the Yale Center for British Art, New York. She has lectured at Plymouth College of Art and the University of Plymouth and was a visiting fellow at the University of London (2011-2012).
www.sallywaterman.com
Neil Wissink, "Pugwash"  Canada/UK, 16mm Film, 5:44 min,2007,

My practice explores geographical interstices and their subjective histories, the works themselves effecting poetic collisions between their materiality and their subject, between documentation and fabrication. Pugwash depicts a farm in Nova Scotia which was originally settled by my ancestors, but which I had never before visited as it was abandoned shortly after I was born. In London I showed the rushes to a professional psychic medium, whose ‘reading’ of the film became its soundtrack, offering a highly subjective and contentious proposition for what representations of place can mean.
Neil Wissink is a Canadian-born artist currently based in London. Since completing his studies at the Royal College of Art (2007) and Central St Martins (2003) he has exhibited his work in galleries and festivals internationally. Neil recently won the inaugural AMIP award for artist’s moving image, a co-commissioning scheme from the National Film and Television School and The Royal College of Art.

Sabine Schöbel, GRUNSKE Germany, Super8 and 16mm on DigiBETA, colour, sound, 4min 45sec, with the assistance of Deborah Phillips, Eva Heldmann, Justyna Hayda, 2009

The demise of the 'Palace of the Republic' in Berlin, at sunset. This is a portrait of a powerful symbol of nostalgia for the GDR that was re-used, restored and then, eventually, demolished, becoming a changing, magical emblem of the new centre of the city. The last glimpses of its 'skeleton' evoke thought-provoking experiences: the last bits of stairwells are reminiscent of other images of ruins, such as Berlin in the 1940s, when it was a bombed-out city, or of the World Trade Center in New York. It also conjures notions of the Romantic era in the 17th and 18th centuries, when ruins where expressly built. GRUNSKE is, in an odd way, the name of the sculptor responsible for this accidental monument: it's the name of a company that recycles metal. Over the course of months, their machinery carried out the contract of dismantling the Palace, for the public good in a public space. (Sabine Schöbel, 2009) 


Sound Performances and Haunted Sea Film Screening 8th December

Stasis 73
LIVE_
TRANSMISSION
Live sound installation | 30mins.

Amongst the marshes, in the solitude, stand the acoustic mirrors. 70 years ago, a man dreams, heavy with the burden of listening to the weight of the endless sky. Silent now, the man not as solid, in fact not solid at all, but still there, is in his concrete box thinking of peace, civvy life, listening to the sounds collected in the listening ear, reflecting memories.
LIVE_TRANSMISSION is an immersive live sound installation consisting of drones and sonic explorations, utilizing electro-acoustic manipulated pure noise, voice, text, whisperings, field recordings & darkness.
STASIS73 Is a sound and film outfit drawn together by the chemistry of the random. Located on the English south coast they are individually and collectively painters, sculptors, writers, filmmakers, installation artists and musicians. Live performances involve multiple projections, complementary to the sound layers: spoken word, recordings, freeform and sculpted sound using an eclectic mix of instruments, electronics and found objects, processed acoustic sounds, decay, and extended drones.
www.stasis73.com






Jude Cowan Montague
A breath; a presence; a glove upon the keys. 
I lost my desire and cried inside the sanctuary.
Only the fat pipes, the thin notes protected me
with common prayers.
The hymn numbers can be added and subtracted, 
but always, the number four returns
returns
to the universe.
'Four it was never written': A dark prelude improvised upon St John's organ by Jude Cowan Montague for Ghost IV.

Jude Cowan (aka Jude Cowan Montague) is a British writer, artist, musician and composer based in SE London. She is an experimental musician, a singer songwriter, improviser and multi-instrumentalis. She has published albums on various small labels including Three Legs Duck, Linear Obsessional and Rash Records. From 1987 to 1988 she studied at Community Music with the jazz educator John Stevens. Since 2011 she has been involved in an ongoing improvisation and composition project called 'World News Vision' in which she responds to diverse media stories from the Reuters television news feeds. She performs as a solo artist and in Foulkestone, an avant-folk duo with Richard Sanderson. Other musical collaborators include Steve Moyes, Mark Braby, Mitch Friedman and Matt Armstrong. She has also worked with artists Daniel Lehan, Joanna McCormick and Paul Wady.  She trained as a film historian and has a PhD in silent cinema from the University of London. In 2008, she began writing poetry in response to her work as an archive researcher for ITN Source. 

MYSTERIUM:
Musical Performance 10-15 minnutes
Kevin Quigley (guitar/electronics)
Jon Ford (synth/electronics)
Christos Fanaras (Organ/electronics/effects)
Martin Kasprzak (guitar/electronics)
a musical evocation to a painting: Provoking the Spirit of Samuel Palmer
MYSTERIUM propose to performance a musical evocation - to the self-portrait painting by the artist SAMUEL PALMER, unveiling and releasing a beautiful meditative movement of sound; whilst the audience is cast under the spell of the mesmeric self-portrait of Samuel Palmer which will be projected on a screen from behind. The self-portrait by the artist Samuel Palmer was an attempt -  '...to lay the image in a ethereal state'; to paint an impression of myself as a soul or spirit'










Samuel Palmer was a disciple of the artist/poet William Blake and a student of the ideas of Emmanuel Swedenborg where he believed the artist was a 'correspondent' between the spiritual world and material world.
MYSTERIUM is a musical collective that aim to create and capture the sound of the profane and the sacred through improvised music.


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