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Essex Road II at Tintype, London

Exterior,-Tintype-gallery,-Essex-Road-(project),-2014.-Photo-Cameron-Leadbetter.-Courtesy-Tintype_564
2.-Helen-Benigson,-Essex-Road-Hen-Party,-HD-Video-Still,-2015-©-Helen-Benigson.-Courtesy-the-artist-and-Tintype.(3)_564
7.-Uriel-Orlow,-Letters-from-Edna-(still),-2015-©-Uriel-Orlow.-Courtesy-the-artist-and-Tintype-(2)_564
6.-Melanie-Manchot,-Lower-Street,HD-video-still,-2015-©-Melanie-Manchot.-Courtesy-the-artist-and-Tintype_564
8.-John-Smith,-Fresh-Fruit-Venerable,-HD-video-still,-2015-©-John-Smith.-Courtesy-the-artist-and-Tintype-(4)_564
4.-Jem-Cohen,-Unseen-Unsaid-(still),-2015-©-Jem-Cohen.-Courtesy-the-artist-and-Tintype_564
5.-Ruth-Maclennan,-Zigni,-(still),-2015.©-Ruth-Maclennan.-Courtesy-the-artist-and-Tintype-(3)_564
3.-Sebastian-Buerkner,-Eaves-Apart-(still),-2015-©-Sebastian-Buerkner.-Courtesy-the-artist-and-Tintype_564
1.-Jordan-Baseman,-E-(still),-2015-(c)-Jordan-Baseman,-Courtesy-the-artist,-Matt's-Gallery-London-and-Tintype_564
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Exterior, Tintype gallery, Essex Road (project), 2014 Courtesy Tintype. Photo: Cameron Leadbetter

Helen Benigson, Essex Road Hen Party, HD video still, 2015 ©Helen Benigson. Courtesy the artist and Tintype

Uriel Orlow, Letters from Edna, 2015. HD video still ©Uriel Orlow. Courtesy the artist and Tintype

Melanie Manchot, Lower Street, 2015. HD video still ©Melanie Manchot. Courtesy the artist and Tintype

John Smith, Fresh Fruit Venerable, 2015. HD video still ©John Smith. Courtesy the artist and Tintype

Jem Cohen, Unseen Unsaid, 2015, selected still ©Jem Cohen. Courtesy the artist and Tintype

Ruth Maclennan, Zigni, 2015, selected still ©Ruth Maclennan. Courtesy the artist and Tintype

Sebastian Buerkner, Eaves Apart, 2015, selected still ©Sebastian Buerkner. Courtesy the artist and Tintype

Jordan Baseman, E, 2015, selected still ©Jordan Baseman. Courtesy the artist, Matt’s Gallery London and Tintype

Exterior, Tintype gallery, Essex Road (project), 2014 Courtesy Tintype

ESSEX ROAD II

10 DECEMBER 2015 – 16 JANUARY 2016
TINTYPE, LONDON

Private View: Wednesday, 9 December 2015, 6.00–8.30pm

Artists: Jordan Baseman, Helen Benigson, Sebastian Buerkner, Jem Cohen, Ruth Maclennan, Melanie Manchot, Uriel Orlow, John Smith

Essex Road II, the second edition of Tintype’s Essex Road Project, is comprised of eight specially commissioned short films by critically acclaimed artist-filmmakers, each inspired by the mile-long street situated in the borough of Islington, North London, from which the project takes its name, and where the gallery is also located.
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David K. Ross “Positions” at Dazibao, Montréal

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© David K. Ross, Théodolitique (2015)

[français]

DAVID K. ROSS
POSITIONS

10 September – 7 November 2015
Dazibao, Montréal

Positions brings together a selection of three moving image works and a suite of drawings by artist David K. Ross. Through the use of customized lens-based devices, Ross explores how sight and sound can be manipulated to alter perception of physical space. In each of the works on display, the viewer is placed in a privileged position and is offered specific access to locations and activities that would otherwise remain concealed or out of reach. Continue reading “David K. Ross “Positions” at Dazibao, Montréal”

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Zabriskie Point (Redacted), film by Stephen Connolly

Zabriskie_Redacted_still_01_Miwa Film still from Zabriskie Point (Redacted), 2013, by Stephen Connolly. © bubblefilm 2013

Zabriskie Point (Redacted)
film by Stephen Connolly
27’ HD © 2013

Forthcoming screenings:
London Film Festival 2013
ICA, Screen 1 – Saturday 12 October, 18.50
BFI Southbank, NFT3 – Sunday 20 October, 13.15

Inspired by a visit to Zabriskie Point – a scenic tourist spot in Death Valley, California – this film re-visits and contemporises Antonioni’s 1970 MGM film of the same name. Aligning with Antonioni’s stated intentions – to produce a work as “an idea in landscape” – Zabriskie Point (Redacted) enacts a programme of visual and social research for the earlier film at one remove from the dramatic narrative.
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Graham Ellard & Stephen Johnstone “Everything Made Bronze” at Satellite Gallery, Aichi University of the Arts, Nagoya

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Graham Ellard & Stephen Johnstone, Installation view “Everything Made Bronze”, 16mm film installation, Satellite Gallery, Nagoya, Japan. August 2013. Courtesy the artists.

Graham Ellard & Stephen Johnstone
Everything Made Bronze
9 – 19 August 2013
at Satellite Gallery,
Aichi University of the Arts, Nagoya
(Concurrent exhibition with the Aichi Triennale 2013)

Everything Made Bronze makes compelling use of one of the most renowned of architect Carlo Scarpa’s buildings, the Gipsoteca plaster-cast gallery in the Museo Canova, in Possagno, Northern Italy.

Shot using a static camera, the film follows the play of light in the Gipsoteca over a number of days as it produces a constantly fluid and changing environment for the appreciation of Canova’s plaster-casts and small-scale terracotta maquettes.
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Basim Magdy “Confronting the Monster in a Monster Costume” at Centre Culturel Suisse, Paris

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Basim Magdy, Our hope reflected Jewels in the Sky, 2012. Spray paint and acrylic on paper. Courtesy the artist, Newman Popiashvili Gallery, NY

Basim Magdy
Confronting the Monster in a Monster Costume
1 February – 3 March 2013
at Centre Culturel Suisse, Paris

Basim Magdy (b.1977 in Egypt, lives and works in Basel) has recently made himself known in France by his participation at the Palais de Tokyo triennial. CCS is presenting “Time Laughs Back at You Like a Sunken Ship”. Shot on super 8, the film takes inspiration from amateur films of the 70s. Continue reading “Basim Magdy “Confronting the Monster in a Monster Costume” at Centre Culturel Suisse, Paris”

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Shezad Dawood “Trailer” at Art In General, New York


Shezad Dawood, Trailer, Production Still, 2011. Courtesy of UBIK Productions Ltd. Photography: Bartlomiej Sienkiewicz

Shezad Dawood
Trailer
26 January – 23 March 2013
at Art In General, New York

Curated by Anne Barlow

Trailer, 2011, presents an alternative edit from Shezad Dawood’s science-fiction feature film Piercing Brightness as a 15-minute, experimental “trailer”. As a recognized cinematic format, Trailer belies its own title, playing with typical expectations of the duration and role of a trailer in relation to a full-length film.
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Jacob Kassay at Protocinema, Istanbul


Jacob Kassay, Untitled, 2011, 16mm film installation, 27 mins. Courtesyof the artist; Protocinema, Istanbul; Art: Concept, Paris; Xavier Hufkens, Brussels, photos Batu Tezyuksel.

Jacob Kassay
20 January – 16 February 2013
at Protocinema, Istanbul

During the single, 27-minute shot of Jacob Kassay’s 16mm film “Untitled” (2011), a helicopter lifts off from the desert ground, rises a couple of meters, hovers in place, then lands. The rotation of the helicopter’s blades synchronize with the frame rate of the recording camera, 24 frames per second. We see the paradox of flight without motion, the still blades lifting the vehicle. “The work stages an encounter between two machines in which the recording device cancels out an essential element of its subject, replacing the physical fact of its mechanics with the magic of its flight. Exploiting a coincidence of industrial design, Kassay fuses a phenomenon with its perception, re-enchanting it.” Continue reading “Jacob Kassay at Protocinema, Istanbul”

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Sanja Iveković “Unknown Heroine” at South London Gallery & Calvert 22, London


Sanja Iveković, Personal Cuts, 1982, 3’43”, still from video, colour, sound. Image courtesy of the artist

Sanja Iveković
Unknown Heroine
14 December 2012 – 24 February 2013
at South London Gallery & Calvert 22, London

This timely exhibition brings together Iveković’s pioneering feminist work in collage, film, performance and installation. Tackling issues of female identity, consumerism and historical amnesia, the show features work made across four decades against a background of political unrest. The exhibition highlights the complexity of Iveković’s practice, which lies precisely in exploring the intersections and commonalities across local conditions and global shifts. Works on display address the assault of the media on the individual, and the continued invisibility and erasure of women from the public sphere and from dominant historical narratives. Others address the effects of power and political agendas on public space, irrespective of regime.
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Thomas Demand “Animations” at DHC/ART, Montréal


Thomas Demand, Pacific Sun, 2012. Production still © Thomas Demand/SODRAC (2012) Courtesy Matthew Marks Gallery, New York/Sprüth Magers, Berlin and London/Esther Schipper, Berlin

Thomas Demand
Animations
19 January – 12 May 2013
at DHC/ART, Montréal

Curator: John Zeppetelli

A philosophical commentator on the authenticity of the “real” and the slippages of memory, Thomas Demand is a well-known German photographer who began as a sculptor, but is now widely acclaimed for photographic and moving image works.

Demand’s work interlaces photography, architecture and sculpture. His method usually begins with an image culled from the media, which is meticulously re-fabricated, by hand, into a life-size, three-dimensional paper and cardboard sculpture, to ultimately end up as a photograph. The resulting images are both very recognizable and strangely out of reach. Crucial to the context are photography’s long-debated truth claims, and the photograph’s indexical quality.
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Opalka’s film awarded top prize at FIFA


Film still from One Life, One Work, 2011. Directed by Sapija Andrzej. © Sapija Andrzej

FIFA’s 30th anniversary program packed in impressive audience numbers, with screenings of no less than 232 films from 27 countries. From 15 to 25 March 2012, art lovers and film buffs shared the projection rooms of the International Festival of Films on Art (FIFA), held in nine of Montreal’s most established cultural institutions. Between the Fine Art Museum, the Canadian Centre for Architecture, the Goethe Institute and more, here the filmic genre highlighted all artistic activities, from architecture to contemporary music, dance and of course visual arts.

The 11 day screening program was again enhanced with a series of meetings and performances, this year with pianist Marika Bournaki, film directors Alain Fleischer, Jennifer Alleyn, Anne-Marie Tougas, as well as choreographer Margie Gillis, to name just a few. The distribution of prizes awarded in the FIFA competition attested to this year’s rich mix of editing skills as much as to the program’s vivid portrayal of some of today most relevant artists.
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