Christian Marclay’s Screen Play
John Butcher Paul Lovens Steve Beresford Christian Marclay
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
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A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
Out of a dark haze, shafts of lights are picked out from the surface of film. Out of the black silence, noise, audible scratches bloom into a bright drone of broken and cracked objects.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.