We would like to invite you to come and visit no.w.here at No Soul for Sale as we launch FILM WITHOUT FILM. This context will include performed works in the Starr Auditorium on Sunday 16th at 11am, the launch of no.w.here's new artists film and video quarterly Sequence including articles by Maxa Zoller, Simon Payne, Rob Muellender and Nicky Hamlyn and an exhibition of the original Instructions For Films series with work by over 40 artists including Michael Snow, Yoko Ono and Maurice Lemaître.
Sequence: Official launch party Saturday 15th May 6.30pm at No Soul For Sale, Tate Modern, Turbine Hall
Sequence is a new artist initiative by no.w.here, a print-based publication devoted to the dissemination of ideas and debates concerning contemporary artists’ film and video, encompassing a wide range of articles from illustrated contextual essays through to artists’ pages. Reflecting the ethos of no.w.here’s Light Reading series and related events, which have sought to foster a relationship between practice and critical reflection, the articles in Sequence expand on discussions regarding aesthetics, influences, and pressing issues stemming from practice. Sequence is a product of recurrent discussions at no.w.here, but rather than representing a premeditated curatorial (or editorial) strategy it has developed organically, and has come together through the process of production.
Contributors for the first issue of Sequence are Brad Butler, Helga Fanderl, Peter Gidal, Nicky Hamlyn, Takahiko Iimura, Adam Kossoff, Karen Mirza, Rob Mullender, Simon Payne, Sarah Pucill, Margherita Sprio, William Raban, A.L. Rees, Sandra Schäfer and Maxa Zoller. Expressions of interest and proposals regarding subsequent issues, and associated events, are highly encouraged.
Sequence (no.1) - 56 pages, full colour.
£5, £3.50 no.w.here members / students / unemployed
Film Without Film
Tate Modern, Starr Auditorium,
16 May, 11am to 12noon: Free.
Drawing Wavelength, performed live by Rachel Moore, 20 mins 2010
Blind Light, Sarah Pucill, 16mm, 22 mins 2009
Large Perspex, Jemima Stehli, DVD, 11 mins 2010
This programme has been curated by www.no-w-here.org.uk in collaboration with Maxa Zoller.
Film without Film is interested in the films we, the audience, bring with us to the cinema. This film programme argues that ‘cinema’ is not what is presented to us on the screen, but what we present to the imaginary. For over 100 years we have embodied the cinematic language, we have appropriated, digested and exteriorised it through our body and our gaze. Following Sergei Eisenstein’s definition of montage as that which is choreographed in front of the camera Film without Film presents cinematic montage as a (political) viewpoint, rather than an editing skill.
In our digital global world the question of agency is intrinsically bound up with our relationship with the media. The question of authenticity and ‘real’ life has reached new heights: in the age of ubiquitous surveillance techniques, so-called ‘DV-Realism’ conquers the cinematic screen announcing that ‘this is how life really is’. But given these technologies we have to ask ourselves: where is the apparatus? What kind of images do we allow to be created?
The performance Drawing Wavelength by American academic Rachel Moore is a re-enactment of one of the most celebrated of avant-garde films, Michael Snow’s Wavelength (1967). Tracking the arc of the film on a blackboard Moore will create a chalk drawing of the spatial and temporal possibilities of the film as they develop over time according to her memory of the work.
Blind Light by the British filmmaker Sarah Pucill is a 22min work that (like Snow’s Wavelength) blurs the boundaries between representation and introspection. Pucill’s contemplative work explores the relationship between the window frame and the human eye where the window blind becomes the camera aperture/eye lid. For Pucill the cinematic is inscribed in our organic vision machine, the eye. The eye sits in the skull, which like a kind of ‘Ur-cinema’ becomes the black box from which we view the world, visually, emotionally, and intellectually.
Large Perspex is a 11 minute video performance in which the British artist Jemima Stehli directs a young man with a large rectangular sheet of clear perspex which he carries, manipulates and bends in a white studio space as the Spanish punk band 'If Lucy fell' play live. These two simultaneous performances form a dialogue with the unfolding reflections/refractions in the perspex acting as a membrane between three-dimensional physical space and the act of seeing this space. The modernist formalism of the perspex ‘frame’ and the physical exhaustion of the performers and band’s hardcore sounds turn montage as an intense bodily act.
Film Without Film proposes new ways of thinking about our relation to the world. The cinema in us is a ‘film without film’. The frame is a PoV. We are the cinema
Rachel Moore is a lecturer in International Media at Goldsmiths College. She has written extensively on early film history and theory and avant-garde film. Rachel’s research interest lies in the cross overs between anthropology and film theory. She is the author Savage Theory: Cinema as Modern Magic, 2000.
Sarah Pucill is a British filmmaker whose work has been shown extensively and internationally. Sarah had solo exhibitions in Toronto, Boston and New York (2009), and the New York Millennium Film Workshop (2006), as well as the LUX (2000). He upcoming retrospective screening will take place at the London Book Club in May 2010.
Jemima Stehli is a British artist who works in lense-based media. Her photographic and moving image works often involve performative collaborations. Jemima has presented her work at Artra, Milan (2010), Raum Mit Licht, Vienna and Galeria Miguel Nabinho (2009), Contemporary Art Gallery Vancouver (2003) and Chisenhale Gallery (2000).
To celebrate The Tate Modern’s 10th anniversary, the gallery will host "No Soul For Sale – A Festival of Independents". For this free arts festival, Tate Modern is inviting over 60 of the world’s most innovative independent art spaces, not-for-profit organizations and artists’ collectives, from Shanghai to Rio de Janeiro, to take over the Turbine Hall.
Participants will include:
2nd Cannons Publications | 98weeks | Alternative Space LOOP | Arrow Factory | Arthub Asia | Artis | Artists Space | Artspeak | Auto Italia South East | Ballroom Marfa | Barbur | Black Dogs | Capacete Entertainment | Casa Tres Patios | cneai= | Collective Parasol | Dispatch | e-flux journal
| Elodie Royer and Yoann Gourmel-220 jours | Embassy gallery | Filipa Oliveira + Miguel Amado | FLUXspace | FormContent | Galerie im Regierungsviertel / Forgotten Bar Project | Green Papaya Art Projects | Hell Gallery | Hermes und der Pfau | i-cabin | Intoart | K48 | Kling & Bang | Latitudes | L’appartement 22 | Le commissariat | Le Dictateur | Light Industry | Lucie Fontaine | Lugar a dudas | Mousse | New Jerseyy | Next Visit | no.w.here | Not An Alternative | Or Gallery | Oregon Painting Society | Para/Site Art Space | Peep-Hole | PiST/// Interdisciplinary Project Space | Post-Museum | PSL [Project Space Leeds] | Rhizome | Sala-Manca + Mamuta | Sàn Art | Scrawl Collective | studio1.1 | Swiss Institute | The Mountain School of Arts | The Museum of Everything | The Royal Standard | The Suburban | The Western Front Society | Thisisnotashop | Torpedo | tranzit.cz | Viafarini DOCVA | Vox Populi | Western Bridge | White Columns | Y3K