SEBASTIAN BUERKNER
REALMS PIN
UK, 2007, 5mins, video

Being at the same place at different times at once can grant a brisk distance from the emotional agitation in a certain toil of life. Space provides the stage where extremes like loss and gain, companionship and seclusion reign at times. As objects are witnesses or players in the individual spectacle, changes to their instance feel like graffiti poured upon them, revealing the full story. 

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MAYA DEREN
MESHES OF THE AFTERNOON *NEW PRINT*
USA, 1943, 15mins, 16mm

Meshes of the Afternoon's dream-like mise-en-scène, illogical narrative trajectory, fluid movement and ambient soundtrack invite a type of contemplative, perhaps even transcendental, involvement for the spectator. The film is constructed from a myriad of eyeline matches and mismatches. The use of extreme angles to imply one character looking down on the dreamer, a type of spider's point of view, foreshadows the dreamer's death. 

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MAYA DEREN
AT LAND *NEW PRINT*
USA, 1944, 15mins, 16mm

At Land has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain ones personal identity. The composer John Cage and the poet and film critic Parker Tyler were involved in making the film, and appear in the film, which was shot at Amagansett, Long Island.

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MAYA DEREN
RITUAL IN TRANSFIGURED TIME *NEW PRINT*
USA, 1946, 14mins, 16mm

Ritual In Transfigured Time silently follows Rita Christiani's perspective as she enters an apartment to find Maya Deren immersed in the ritual of unwinding wool from a loom. Deren includes another expression of the external invading the internal with a strange wind that surrounds and entrances her as she becomes transported by the ritual. Ritual in Transfigured Time links the looming ritual with the ritual of the social greeting. The film's continuity is established by an emphasis on gesture and/or dance throughout.

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MAYA DEREN
THE VERY EYE OF NIGHT *NEW PRINT*
USA, 1958, 15mins, 16mm

A shimmering constellation of stars established the background for negative images of figures resembling Greek Gods superimposed on and magically transported along the milky way. Deren called it her 'ballet of night', an ethereal dance within a nocturnal space that focused on the spectacle rather than the narrative. 

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STEPHEN DWOSKIN
THE SUN AND THE MOON 
UK, 2007, 60mins, video

The Sun and the Moon, a film fairy tale, is of two women’s terrifying encounter with ‘Otherness’ in the form of a man, abject and monstrous, and for them to either to witness, accept or partake in his annihilation.   All are caught in their own isolation and are fearful of the menace that has to be met.  The film, as a personal interpretation of Beauty and the Beast, enciphers concerns, beliefs and desires in seductive images that are themselves a form of camouflage, making it possible to utter harsh truths.

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IAN HELLIWELL
THE ATOMIUM AGE
UK. 2007, 2min 25secs, video

Split-screen film shot at the Atomium in Brussels, the centrepiece of the World`s Fair in 1958. The remarkable 335 feet high structure representing an iron crystal magnified 165 billion times, is captured with spontaneous super-8 camerawork, in all its silver spherical glory. 
Soundtrack: Hellisizer 2000, Hellitron generators.

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IAN HELLIWELL
PLAYING UP
UK, 2007, 3min 45secs, video

Naturally decayed found super-8 footage of children`s and adult`s games, has been cut up with scissors and spliced back together to reveal new rhythms and connections. 
Soundtrack: Tape loop, keyboard and ring modulator, Hellitron generators.

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IAN HELLIWELL
GRID
UK, 2007, 2min 20secs, video

Circles in formation glide by, in this abstract direct animation film. Coloured inks were applied onto clear super-8 with felt-tip pens, using an old speaker grill as a stencil. 
Soundtrack: Hellitron tone generators.

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IAN HELLIWELL
SIGNAL TRACING
UK, 2007, 3min 20secs, video

Abstract audio-generated waveform patterns from an oscilloscope and modified TV, were filmed with super-8 and then treated with bleach and vinegar. The electronic music features a special Hellitron photocell audio generator which reacts to varying amounts of light in the film. 
Soundtrack: Hellitron 10.

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DAVID LAMELAS
TEMPUS AGERE EST 
St. Gallen, 2007, 13 min, 16mm

The Time as Activity project he has been realised in Berlin, Los Angeles, Warsaw and this year in New York – over a period of almost four decades. Using a series of static shots, a methodology used in previous TAA projects, Lamelas films an actress reading texts in German, French and Latin, at three prominent locations in St. Gallen. 

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URSULA MAYER
INTERIORS
UK, 2006, 3min 10secs, 16mm

Shot in Ernö and Ursula Goldfinger's home in Hampstead.
'...Mayer’s film highlights the absence of a feminine presence in architecture and film by means of a sequence of encounters, some of which seem like stills and espouse an increased focus on female characters in film and cultural history, in the tradition of Cindy Sherman’s Untitled Film Stills.' Walter Seidel. 

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URSULA MAYER
THE CRYSTAL GAZE
UK, 2007, 8mins, 16mm

In The Crystal Gaze three women occupy the art deco rooms of Eltham Palace in London. 
'...What they articulate is the fact of their own bodies-become-images, exquisitely fragmented and reflected in the metaphor of our and their crystal gazes. As the opening bars of Peggy Lee’s Is That All There Is? are played and they break into tragic-comic song the message is both high-camp relief and the damnation of a fascination with the screen. What they embody is something like a distillation of Cinema: neither history nor biography, but quite simply the unbearable seduction of an image that we cannot enter but from which we can neither escape.' Ian White.

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URIEL ORLOW
THE VISITOR
UK, 2007, 15mins 58secs, video

The Visitor is an almost mythical account of the artist’s audience with Oba Erediauwa, the current king of Benin (in southern Nigera) and takes the form of a photo-essay. A local narrator follows the artist into the Oba’s palace and recounts the conversation between the European visitor and the royal host and his court of chiefs. The exchange centers on the Benin Bronzes (which were famously looted by the British in 1897 and are now in over 500 museums and collections mainly in the West), on collective memory and the demand for restitution. However, communication remains somewhat elusive, slipping in and out of gaps of cultural and historical difference.

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PEOPLE LIKE US
WORK REST AND PLAY
UK, 2007, 13mins 39secs, HD QT

Work, Rest & Play has been carefully constructed using industrial and documentary film footage from 1940-1975 to follow the endless chug of the conveyer belt of life. The film has been constructed as a triptych, where the whole is intended to be greater than the sum of the parts. Material from the Prelinger Archives and AV Geeks, two of the biggest ephemeral footage libraries in the world, has been pieced together in a symphony of movement and metamorphosis. Images of production lines, factories, and educational and creative industries, are sandwiched by those of the winding up and down processes of the day, the hours of leisure and relaxation, to illustrate the endless whirr of activity in our pursuit of meaning and happiness.

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SARAH PUCILL
BLIND LIGHT
UK, 2007, 22min, 16mm 

Blind Light is filmed in the artist's London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their interiority is fleshed out, mapping out a space that is at once material and psychical.

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RACHEL REUPKE 
NOW WAIT FOR LAST YEAR
UK, 2007, 9mins 2secs, video

This video work reflects a fascination with science fiction and the inherent problem of visualising the future. Shot in Beijing in 2006, it is inspired by a city in the throws of a construction boom where developers’ hoardings intrude on every street, each displaying, in a pastel-soft style, an architect’s visual of what is to come: the future of the city rendered as illustrated inserts into the reality of its present.

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BEN RIVERS
THE COMING RACE 
UK, 2006, 5min, 16mm

A hand processed film in which thousands of people climb a rocky mountain terrain. The destination and purpose of their ascension remains unclear. A vague, mysterious and unsettling pilgrimage fraught with unknown intentions. The title ‘The Coming Race’ is after a Victorian novel by E.G.E. Bulwer-Lytton, about a race of people who live under a mountain.

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EMILY WARDILL
SICK SERENA AND DREGS AND WRECK AND WRECK
UK, 2007, 10mins, 16mm

Sick Serena... deliberately resists any settled reading, mixing medieval iconography and modern references, and undercutting its ritualised story with faltering delivery and slapstick comedy (the buns on one of the women's medieval headdresses are made from just that - buns). Wardill's films deconstruct their own visual languages, in a way that is inspired by an attempt to empower the viewer, but which also emphasises the irreducible strangeness of images.

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