Invisible Fabrick An Endless Volume

Films by Corin Sworn, Frances Scott, Ruth Maclennan, Margaret Salmon, Clare Gasson & Georgie Grace

The ends of beginnings and the beginnings of endings merge in this film programme, which looks at plural and layered histories, at subjectivities and the multiple possible readings of events.

From discrepancies in time – a confusion of recent and historic pasts – to anomalies in space, the films deal with the difficulty of describing past and future, and of condensing history to image or text.

The screening takes place at the Lazar House, an ancient, rarely-accessible building founded as the Norwich leper hospital, outside the city walls. Refreshments will be available.

7′
Clare Gasson UK 2010 7′
HD video, colour, sound. Film courtesy of the artist.
Commissioned by LUX for the Cultural Programme at Artissima 2010.

The camera tells the story in a seven-minute pan. Writing for narration, Gasson’s text creates a space that is densely cinematic, where sound and image layer, building in intensity – both through its evocative, descriptive characteristics and through its formal stylistic aspects – to create a scene into which we find ourselves immersed. (LUX)

The Black Friar
Frances Scott UK 2013 5’24
35mm still film transferred to digital, black and white, sound. Film courtesy of the artist.

‘The Black Friar’ is a working film document that considers the relationship between the hypnosis script and the speculative language employed by the aggressive redevelopment of the Blackfriars postcode in London, through the history of a particular site – a public house (and ‘stopped clock’) built upon the ground of a 13th century Dominican Friary – and its archaeological pasts and futures. -F.S.

Capital
Ruth Maclennan UK 2007 16’
HD video, colour, sound. Film from LUX.

A subjective series of stark encounters and trancelike wanderings through a city under construction. The camera acts as an invisible protagonist drifting through the lives of the city’s inhabitants. A woman’s voice, a stranger to the city, addresses the founder-ruler, conjuring up visions of the future, present and past of the desert capital. The dream city is in conflict with a real, suppressed past and the people existing in that past are being forced into a glossy but oppressive future. -R.M.

The Foxes
Corin Sworn UK/Peru/Canada 2013 19’
HD video, colour, sound. Film courtesy of the artist and Kendall Koppe.

‘The Foxes’ takes as its starting point a recently re-discovered collection of slides taken by the artist’s father during his fieldwork as a social anthropologist in the 1970s. In returning a selection of the images to the Peruvian village where they were taken, Sworn uses the photographs to explore representation, memory, place and the mechanisms of history.

The film was exhibited at the 55th Venice Biennale together with 3 gicleé print works and a tiled floor – a style found in both Glasgow and Peru – setting up a discourse around location and dislocation, in a subtle evocation of diverse places and the interactions between them.

Event Time Reading
Georgie Grace UK 2012 3’18
HD video, colour, silent. Film courtesy of the artist.

Event Time Reading uses text to depict and deconstruct temporal formations in language, examining the way time is made and marked in speech and writing. It considers the relationship between time and light, using single frame illuminations and crystalline imagery to suggest the moment of tension when an event is anticipated, or the flash of recognition when an event is recalled.

In linguistics, an event time reading arises from grammatical ambiguity in a sentence that leaves the reader unsure as to whether the events described happened simultaneously or at different times. The events described in the film loop and float in time, generating images in the mind of the reader as they appear and disappear, nothing more than a sequence of linguistic disruptions and displacements in which the reader’s imagination can go to work. —G.G.

Gibraltar
Margaret Salmon UK 2013 17’40
16mm transferred to HD video, colour and black and white, sound. Film from LUX.

Infused with a percussive jazz soundscape of Max Roach recordings, Gibraltar dissects the small cosmos of the famous rock, opening up dialogues concerning bio-anthropology, history, tourism, folklore and spectacle. Part circus show/zoo and part social-science experiment gone wrong, the magnetism of the rock itself lends a mystical quality to the situation. Looming above the landscape below, the giant object imbues the primate’s identity with intriguing military and folk narratives, making the place a kind of kitsch nationalistic/historical destination for foreign travellers.

Approached as part amateur nature program, part street film and mystical intervention, the film follows a mostly observational approach, recording the monkeys and humans as they interact and mirror one another. This “observational” footage ultimately morphs into an experimental work, weaving together iconographic as well as organic, improvised narratives, images, sounds and music. —M.S.

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