All projects organised in 2002

Projects 2003
Projects 2004
Projects 2005
Projects 2006
Projects 2007

May 2002
SHOOT SHOOT SHOOT: THE FIRST DECADE OF THE LONDON FILM-MAKERS' CO-OPERATIVE & BRITISH AVANT-GARDE FILM 1966-76
Tate Modern
International touring exhibition curated by Mark Webber which launched at Tate Modern in May 2002.
The London Film-Makers' Co-operative was founded in 1966 and based upon the artist-led distribution centre created by Jonas Mekas and the New American Cinema Group. Both had a policy of open membership, accepting all submissions without judgement, but the LFMC was unique in incorporating the three key aspects of artist filmmaking: production, distribution and exhibition within a single facility.
Read more at the Shoot Shoot Shoot page and www.lfmc.org

20 June 2002
LUX SALON: UNDERGROUND OVERHEAD
LUX
A screening of 16mm stop-motion films curated by Vicky Smith. Time lapse, animation, collage and camera-less film are obsessively and intricately worked in these fantastic imaginary evocations of terrestrial and celestial space. The programme includes: Fixation (Vicky Smith, 2002), Redshift (Emily Richardson, 2001), Our Lady of the Sphere (Larry Jordan, 1969), SOS Extraterrestria (Mara Mattuschka, 1993) and Bird Xerox (Nick Gordon Smith, 1983).

11 September 2002
LUX SALON: THOMAS DRASCHAN
LUX
German Filmmaker Thomas Draschan presents a special programme of new experimental cinema from Germany including work by Draschan, Ulrich Wiesner, Thomas Feldmann, Kerstin Cmelka, Goh Harada and Nino Pezzella.
Thomas Draschan was a student of Peter Kubelka at the Stadelschule in Frankfurt and co-curated the programme ‘In Kubelka's Shadow’ at the 2001 London Film Festival, which included earlier works by several of the filmmakers that are featured tonight. He works independently to organise the Frankfurt Filmschau, and the Independent Film Show in Naples. The programme includes: Yes Oui Ja (Thomas Draschan, 4 mins), Afrika Bonus (Ulrich Wiesner, 3 mins), Deutschland Lacht (Germany Laughs) (Ulrich Wiesner, 3 mins), Chinesische Zeichen (Chinese Signs) (Thomas Feldmann), Blaufilm (Goh Harada, 10 mins) and Zum Briefkasten (Nino Pezzella).
www.draschan.com

15 September 2002
THE BATTLE OF CHILE
Conway Hall
Patricio Guzman’s epic documentary is shown as part of a day event marking the anniversary of the Chilean coup.
‘The brilliance of his work, its hand-held choreography and grace, cannot be overstated; he is a reporter and a sculptor… Open debate in mass meetings is notoriously difficult to film, especially with one camera, yet Guzman succeeds with a quality and verve that puts you next to the speaker while your eyes travel to other faces, almost reading their thoughts. I have not seen anything quite like it. Guzman ensures that we are not merely witnesses; we share the experience. It is a reminder of what is missing from our television screens, night after night as the orthodox lens peers sheepishly over the shoulders of the managers of power, almost never from the other side.’ - John Pilger, The Guardian, Feb 12 1999

8 October 2002
LUX SALON: ANNE MCGUIRE
LUX
US video artist Anne McGuire presents a selection of her video works.
'Anne McGuire, a graduate of the San Francisco Art Institute, has generated a collection of truly peculiar tapes, most of which deal with difficult and traumatic personal experiences. That she records them on videotape is only one of the reasons why her work is so perplexing. McGuire is always a presence in her videos, whether or not she’s in front of the lens, and she shoots her tapes in private, her performances covert and self-contained. Each video is concise and economical, unfettered by people, props and sets. Funny and unsettling, McGuire’s videos are participatory works that leave an indelible impression.' - Film Comment magazine.

31 October 2002
LUX SALON: ANN COURSE AND PAUL CLARK
LUX
Ann Course and Paul Clark present a selection of their darkly amusing animated films including a premiere of their new Animate! Channel 4 film, The Rotting Artist, as part of a special Halloween night show. Warning: show includes scenes of horror and strobing
'A graduate of the Royal College of Art, Ann Course produces frighteningly funny animations of simple line drawings. Influenced by American artist Philip Guston, Course's images skim along an edge of hilarious cruelty. Non-narrative, each video has a distinct theme 'mortality, the life of the artist, family trauma' cut superbly to punk or smaltzy instrumentals like "Raindrops Keep Falling on My Head" by Klaus Wonderlick. "Ann(i)mated" presents a three-minute life story where a mother beetles about, morphs into a bunny with throbbing private parts before melting into a swollen weeping head. Faceless figures fuck like rockets and a swaddled baby moves in and out of the oven. Like Louise Bourgeois, Course works through emotionally charged autobiography. In Night Beast , a Rorschach blot vibrates to a horror soundtrack as Course's primary school photograph flashes from its centre. 'I don't really think about animation, Course insists. 'It's difficult to get people to look at drawings. People like to watch things twitch. So immediate and easy." Graphic, lyrical and wistful, Course takes a genre that is becoming too digitally smooth for its own good and pumps fresh and hopeful blood back into it.’ - Cherry Smyth, 'Drawing on Experience', from Dazed and Confused

11 November 2002
LUX SALON: BRIAN BOYCE
LUX
San Francisco native Bryan Boyce is a film and video artist whose work has been shown on all seven continents including venues such as Rotterdam International Film Festival, New York Underground, Cinematexas, RESFEST, the McMurdo Research Station, Pacific Film Archive, and countless living rooms.
Boyce presents a selection of his hilarious works of media manipulation and political satire. Programme includes: State of the Union: ‘George W. Bush is reimagined as Teletubbies' giant baby-in-the-sky for Bryan Boyce's uproarious short State Of The Union; Daddy's boy makes the same gurgling sounds, though his eyes launch smart bombs at the small, defenseless bunnies who hop around the countryside (one hauntingly devoid of Teletubbies).’ - Village Voice. Special Report marries the deadpan facial antics of well-known network anchors with sound clips from exploitation gems like Cannibal Girls and Orgy of the Dead and, thanks to dexterous performances from the superimposed ‘stunt mouths,’ creates an uncanny send-up of the newscasters` emotionless delivery. Election Collectibles: Bryan Boyce uses his patented ‘stunt mouth’ technique to superimpose infomercial blowholes on Bush and Gore, candidates as ‘factory-sealed’ as the products they endorse and much much more. Also premiere of his new documentary Looking for Sly about an Armenian Sylvester Stallone impersonator.

18 November 2002
PHILIP HOFFMAN
Canada House, London
Philip Hoffman has long been recognized as Canada's preeminent diary filmmaker. For over twenty years he has been straining history through personal fictions, using the material of his life to deconstruct the Griersonian legacy of documentary practice. As an artist working directly upon the material of film, Hoffman is keenly attuned to the shape of seeing, foregrounding the image and its creation as well as the manufacture of point-of-view. Hoffman's films are deeply troubled in their remembrances; he dusts off the family archive to examine how estrangement fuels a fascination with the familiar surroundings of home. (Karyn Sandlos, Toronto Images Festival, 2001) Please Note: Opening Series 2 consists of 12 segments, each segment in its own hand- painted film canister. Through the visual references on the canisters, the audience, prior to the screening, orders the flow of the film. Kokoro is for Heart ‘Kokoro is for Heart features poet Gerry Shikatani and explores the relationships surrounding language, image and sound, set to the backdrop of a gravel pit. When I got the footage back from the lab I was disappointed because of the periodic flipping of the image. After screening the footage several times I realised that the malfunctioning camera rendered the filmed-nature, unnatural … the same questions surface: What is nature? What is natural?’ - Phillip Hoffman
Programme includes: Kokoro Is For Heart (1999, colour, sound, 7 mins), passing through / torn formations (1998, b/w & colour, sound, 43 mins), Chimera (1996, colour, sound, 15 mins), Opening Series 2 (1993, colour, silent, 7 mins).

19 November 2002
LUX SALON: GUNVOR NELSON
LUX
Swedish avant-garde filmmaker, Gunvor Nelson was one of the central figures in the avant-garde film movement that emerged in the Bay Area in the 60s. Tonight she presents a selection of her work including the classic 'Red Shift' as well as her recent videotapes. Red Shift (1984) is a film in black and white about relationships, generations and time. The subtitle is All Expectation. The movement of a luminous body toward and away from us can be found in its spectral lines. A shift toward red occurs with anybody that is self-luminous and receding. There is uncertainty about how much observable material exists. ‘It involves Gunvor Nelson, her mother and her daughter. Carefully and with great tenderness, it focuses on these three women, trying to show us their relationship, succeeding with an emotional impact that is hardly ever found in such a subject. It is not the social context which is exploited but the little gestures, everyday events. Red Shift is a radical film; it sets new measures for avant-garde filmmaking dealing with personal problems.’ - Alf Bold, The Arsenal, Berlin

19 December 2002
LUX SALON XMAS SPECIAL: IAN HELLIWELL
LUX
Audio-visual expanded cinema special featuring 22 of Helliwell`s short super 8 films, including the triple screen Return to the Light. Also polarised, bleached and collage slides, and a selection of home-made electronic sound generators; the centrepiece being the Megatherm, a light sensitive instrument made out of redundant hospital apparatus that plays by itself the soundtrack to a special film that is projected directly onto it. 2 world premieres of Helliwell`s latest films Colour Stream and Particle Acceleration bring the show to a fitting climax.