Limelight Club Show (extract), Duvet Brothers, 1986 Static Acceleration, David Critchley, 1976-77 Outer Colour, Mineo Aayamaguchi, 1974 TV Fighter, David Hall, 1977 Entering, Peter Donebauer, 1974 Nmutter, John Latham, 1990 The Heart Cycle, Mike Leggett, 1973 Electron (single screen), Judith Goddard, 1987 Swing Guitars (extract), Tony Sinden, 1975-76 Take It, Duvet Brothers, 1984

The Duvet Brothers AKA Peter Boyd-Maclean and Rik Lander were pioneers in the 1980’s Scratch Video scene, creating work such as Blue Monday (1984) and War Machine (1984). Their work also influenced the commercial world with their work being shown on Janet Street Porter’s Network 7 and Lander’s creation of the video for M/A/R/R/S pump up the volume.

David Critchley was one of the founding members of London Video Arts (now known as Lux) in the 1970’s. He created a number of important works and is well known for Pieces I Never Did (1979). He uses himself and his body, as the central existential component of his video artworks.

Mineo Aayamaguchi has worked across performance, painting, installation and video, making painterly, abstract, intensely coloured multi-monitor installations and gallery artworks. He plays with colour, texture, movement and light, pulsating in multiple layers of rhythms and motion dancing on the screens, each monitor a component part of a whole visual network.

David Hall was the first video artist to have work shown on television in the UK and was also a founding member of London Video Arts. “David Hall’s contribution to British video art is unparalleled; his early experiments with broadcast television are unique. Not only are many of his video pieces classics but he has made important and often brilliant contributions to experimental film, installation and sculpture.”

Michael O’Pray Entering (1974) by Peter Donebauer was the first artist’s video work to be broadcast on national television in the UK. The imagery and sound were performed by Simon Desorgher and Donebauer playing together in real time with both participants having visual and aural feedback of each other’s transforming contributions as they affected the piece in real time and thus in turn their own continuing contributions. Later, Donebauer went on to form Video and Music Performance (VAMP) with Desorgher and Richard Monkhouse .

John Latham was an international pioneer of systems/process art work and advocate of the artist acting as agent of change. He worked with many different mediums and introduced the term ‘time based art’. The sound for the piece Nmutter was created by David Cunningham of The Flying Lizards fame.

Mike Leggett has been working across the institutions of art, education, cinema and television with media since the mid 1960s. He was a founding member in 1969 of the London Film-makers Co operative workshop and in 1975 the Independent Film-makers Association. Leggett’s early experiment was with film, though his exploration of video started in the 1970s with CCTV and performance, and re-contextualising the video image as film to questioning the electronic technology and its ‘ambiguities’.

Judith Goddard continues to work on moving image as well as with stills, collage and more recently print. “Goddard’s work on screen attempts to visualise concepts through images of external objects and events that by a process of manipulation of time and the moving image (editing, use of sound etc.) also become metaphors for internal states.” – Michael O’Pray.

Tony Sinden’s practice has spanned three decades of substantial production, experiment and exhibition. He has worked across mediums, looped film installation, and various expanded media, i.e. slide, light, sound, video within architectonic space. Sinden was a founder member of Housewatch with artists Ian Bourn, Alison Winckle, George Saxon, Lulu Quinn, and Stan Steele making site related installations with performance, film and video.

Many of these works have not been seen for a number of years and many of them are regarded as seminal. These are pioneering works with a number of ‘firsts’ involved; some have been forgotten, some have been ignored, this is a chance to see them again. – Adam Lockhart & Jackie Hatfield REWIND Archivists