Exploring the dual meaning of ‘mediation’ within performance – the physicality of interpretation, and the psychogeographic mode of ritual (intervention, ghost/shadow, chemical/hack, seance/spook and invocation as divergent themes).
The fleeting trick of light from the corner of the eye, the brief contact point of chemicals intertwining and reacting, ghosts trapped in the home movie archive, non-human sounds and bodily digressions – ephemerality as told through the body’s appearance/disappearance.
Malcolm Le Grice’s seminal expanded cinema and rarely seen Horror Film 1 from 1971 will be performed beside new contemporary live light sculpture from emerging artist Amy Dickson. Renowned artist Aura Satz presents a unique sonic sculpture from her treasure trove, Sally Golding performs her classic projection piece Face of An Other, and Britain’s most under rated and detestable, accidental comic thespian Sir Gideon Vein brings us some live TV. Thrown into the mix is film archivist Guy Edmonds’ impossibly cross-genre home movie séance complete with invited local medium.
Sound Seam features abstract imagery of close-ups of gramophone grooves, giving voice to the idea that every surface, in particular parts of our anatomy, are potentially inscribed with an unheard sound or echoes of voices from the past. The performers enact a live sculptural sound-track, a spiraling multivocal counterpart, a cornocupia of voices recounting a tale of mourning and technology, a forensic love-story of sorts in which the voices overlap, echo and pre-empt each other, drawing on Rainer Maria Rilke’s 1919 text Primal Sound, where he reflects on the possibility of playing the coronal suture of the skull with a phonograph needle.
For UA Aura will perform a live flame voice-over echo to Sound Seam using her home built flame manometre. Aura will also perform a talking book ventriloquist act – Love Songs for Broken Machines.
Aura Satz is a prolific artist and writer, having performed, exhibited and screened her work nationally and internationally, including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte Contemporanea di Trento, Italy; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Switzerland; AV festival, Newcastle; Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Beaconsfield Gallery and Artprojx Space, London. During 2009-2010 she was artist-in-residence at the Ear Institute, UCL, and the Wellcome Collection.
MALCOLM LE GRICE
Malcolm Le Grice is one of Britain’s most innovative filmmakers. Originally trained as a painter, he has consistently explored the experience of moving images within the art gallery as much as the cinema, and is renowned for his highly conceptual live film performances.
Le Grice has written critical and theoretical work including a seminal history of experimental cinema ‘Abstract Film and Beyond’ (1977). His most recent text is ‘Experimental Cinema in the Digital Age’ published by the British Film Institute (2001).
For UA Le Grice performs the seminal Horror Film 1 (1971, 14 minutes, 3 screens). It shows three layers of changing colour on 16mm film, mapped by Le Grice’s body as he moves away from the projection, exploring the presence of the body and its complex colour shadow.
Golding combines film projection with performance and installation. She has developed works where she projects films directly onto her body and harnesses the audience’s reflections, creating live cine-sculptures and interactions. Golding creates compositions from printed optical sound and vinyl library music resulting in strained sonorousness. Golding’s projects thread between expanded cinema and media art, curation and audiovisual archiving.
‘Face of An Other’ is a creepy materialisation from Golding’s cabinet of curiosities. Obsessions with horror manifest as phantasmagoric projections onto the filmmakers own body in a bizarre accumulation of unreality. Notions of ‘projected’ identity, grotesquerie, and the uncanny are interrogated in this shifting projector alignment for face(s). 16mm film reel & film loop, vintage sound effects, unhinged Foley, stroboscopic lightning.
Amy Dickson is an emerging artist filmmaker with a background in textiles working across the disciplines of film, video, performance and installation. For Light Time, Dickson utilises a hand made canvass mounted on an artists easel which is coated in a heat sensitive emulsion. Lighting and extinguishing the flames of candles form behind the screen, Dickson’s performance becomes an abstract psychedelic hallucination of shape and form with surprisingly sonic effect.
SIR GIDEON VEIN
Sir Gideon Vein is England’s greatest living actor, renowned for his Shakesperean roles as Hamlet, Mephistopholes, and Bottom. In his self-proclaimed 169 years, Sir Gideon Vein has perfected an on-stage persona that goes way beyond an act.
The base punchlines that suck in the unsuspecting audience can be apologised for and rejected again in the blink of an eyebrow and the subject matter can divert from marital break-ups to the massacre of ants and, on one notable occasion, changing tack dramatically to a recital of Sir Henry Irving, without the merest pause for breath.
Sir Gideon confronts and empathises with his audience almost simultaneously.
Intellectually and emotionally, Sir Gideon and the audience can unanimously find themselves tangled in knots, as accents, morals and perspectives are twisted in all manner of directions.
His performances are hilarious, cathartic, disturbing and intensely addictive.
For UA Sir Gideon Vein presents a late night, live TV show pilot, dedicated to replacing Vincent Price in fame and fortune.