
Two Dots over a Vowel
Christian Bök
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
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Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
Improvising violinist Angharad Davies performing with pianists Tisha Mukarji and Andrea Neumann.
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
An assembly to try and provide some experiential and theoretical resources for the renewal of a certain affective, extra-political sociality, in the face of one of our great adversaries; the forces of colonial, imperial, genocidal denial.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?