A listing of all LUX projects that took place during 2006

Projects 2002
Projects 2003
Projects 2004
Projects 2005

26 January 2006
NEW WORK UK: DISCONNECT
Whitechapel Art Gallery
NEW WORK UK is a new LUX/ Whitechapel series showcasing new British artists' film and video, each event is selected by a different guest curator.
Disconnect brings together three very different recently made works that share a suspicion of verbal communication and the desires that may get in the way of understanding. In Frozen Section by Vanda Playford, a mysterious illness grows increasingly enigmatic as patient, family and doctors weigh in their observations. Maria Rapicavoli's One, No One a series of strangers attempt to guess the artist's background drolly revealing more about their own presumptions. The farcical sentimentality and romantic expectations within human interactions with nature are comically exposed in Richard T. Walker's Successive Inconceivable Events. Through their exploration and critique of the confessional mode of video documentation these works suggest that more telling insights may occur through miscommunication and misunderstanding. Curated by Cylena Simonds

2 February 2006
ANTHONY MCCALL & ANDREW TYNDALL: ARGUMENT
Whitechapel Art Gallery
"The twin principles of modernism and marketing: seeing fresh promise in familiar things"
Anthony McCall and Andrew Tyndall's legendary and provocative essay film, first screened at the Edinburgh International Film Festival in 1978, has been almost unseen for the last twenty years. LUX has now made a new High Definition restoration of the film, and its trenchant analysis of media ideology seems more pertinent than ever. This is the premiere of the restoration and is followed by three other screenings exploring polemic in rare historical and contemporary film and video.
In Argument, three male voices dissect one edition of The New York Times, revealing the prejudice and latent content of news and advertisements, reading images as texts, presenting text as an image. Fashion photographs are used as a starting point for a political investigation of news, advertising, and images of masculinity - while at the same time, the filmmakers reflect on their own position and the possibility of radical film practice. Influenced by both the America and European avant-gardes, notably Godard and Hollis Frampton, Argument is stylistically beautiful and relentless in its enquiry.
The film was part of a wider project which included a book of writing and images from the film, which LUX is republishing to coincide with the re-release of the film.

16 February 2006
LOTHAR BAUMGARTEN: THE ORIGIN OF THE NIGHT
Whitechapel Art Gallery
The first UK screening of Lothar Baumgarten'sThe Origin of the Night: Cosmos of the Amazon (Ger 1973-77, 16mm on video, 98mins). An unconventional, non-narrative essay in images, with ethnographic, literary, art historical and botantical quotations, Origin of the Night takes its cue from a mythical tale of the Tupi Indians and profoundly transforms the banks of the Rhine into the Amazon rainforest at the end of time.
Part of the Argument season.

2 March 2006
LAWRENCE WEINER
Whitechapel Art Gallery
Four works by Lawrence Weiner, including three recent videos not seen before in the UK:
Passage to the North, US 1981, video, 17mins
Wild Blue Yonder, US 2002, video, 15mins
Sink or Swim, US 2003, video, 18mins
Inherent in the Rhumb Line, US 2005, silent, video, 7mins
Weiner has engaged language-as-art from his pioneering installation works to his new digital projects. Passage to the North revolves around a reverse dialogue taken from Ibsen; domestic scenes of inquisition and conflict are astutely intercut with image and text. His recent videos combine animation, drawing, text and video footage into works that recontextualise the everyday, invoke new grammars and address the precarious relationship between knowledge, perception and language.
Part of the Argument season.

9 March 2006
NEW WORK UK: THE CHEMICAL EFFECT
Whitechapel Art Gallery
NEW WORK UK is a LUX/ Whitechapel series showcasing new British artists' film and video, each event is selected by a different guest curator The Chemical Effect is curated by William Rose.
At only 118 years of age, film is still comparatively young. This programme presents a selection of recently made 16mm films and suggests why artists continue to find ways to use such a medium in the digital age. In ‘Bacchae’ (Oliver Bancroft) and ‘Sea Images’ (Neil Henderson) the still photographic image is subtly transformed, revealed and developed over time. Rigorous optical printing richly abstracts and re-works a short piece of footage in ‘The Space Between’ (Karen Mirza and Brad Butler). The textured surfaces of dead materials are probed and traversed in ‘The Surface of Residual Matter’ (Samantha Rebello). And in ‘Boat Action’ (Mat Fleming and Christo Wallers) and ‘This is My Land’ (Ben Rivers) the camera documents people in two very different self sustaining portrait films, both hand processed by the filmmakers.
Baccae
Oliver Bancroft, 2006, 12 mins, 16mm, colour, silent
Sea Pictures
Neil Henderson, 2006, 9 mins, 16mm, colour, silent
The Space Between
Karen Mirza and Brad Butler, 2005, 12 mins, 16mm, colour, sound by David Cunningham
The Surface of Residual Matter
Samantha Rebello, 2005/6, 15 mins, 16mm, colour, sound by Anghared Davies on separate CD
Boat Action
Mat Fleming and Christo Wallers, 2005, 6 mins, 16mm, b/w, silent
This is My Land
Ben Rivers, 2006

16 March 2006
MEMORY, SECRECY, SPECULATION
Whitechapel Art Gallery
A programme in which language - and images-as-evidence - become suspect. Assumption is a virtuosic personal tribute, a glimpse at history and a celebration of independent film culture. Perfect Film is just that – a complete reel of found footage of interviews with witnesses to the assassination of Malcolm X. The Speculative Archive examine secrecy in our time of heightened security; the “disappearance” of a former CIA source, the burial at sea of six Soviet sailors and a missile strike on Yemen in 2002.
Assumption, Peter Gidal, UK 1997, 16mm, 1min
Perfect Film, Ken Jacobs, US 1986, 16mm, 22mins
It’s not my memory of it: three recollected documents, The Speculative Archive, US 2003, video, 25mins
Part of the Argument season.

20 April – 28 May 2006
THE UNNAMABLE
Lounge
Lounge gallery (www.lounge-gallery.com) and LUX are pleased to present the debut London solo shows of three video artists (Sebastian Buerkner, Laure Prouvost and Duncan Campbell) as part of an exhibition entitled The Unnamable.
The Unnamable is the first collaboration between Lounge and LUX. The exhibition consists of three two-week solo gallery shows, presenting works which have not been exhibited in London before in specially-designed installations. There will be separate openings for each of the shows and several contextual events.

12-13 May 2006
ANTICIPATING THE PAST : ARTISTS : ARCHIVE : FILM
Tate Modern, Starr Auditorium
The experience of viewing projected archival film or antiquated video footage can have a seductive, even spellbinding effect on the viewer. Its material and aesthetic qualities act as a trigger to memories, evoking a sense of time and nostalgia or conjuring up fantasies of history. This international symposium draws together a collection of voices and perspectives to examine the work of artists and filmmakers who have worked with these materials and dislocated them from their original purpose and intention, revealing new readings, meanings and questions. The speakers include George Barber, Neil Cummings and Marysia Lewandowska, Patrick Keiller, Elizabeth McAlpine, Pat O'Neill and Benjamin Weil, Mark Nash, Marcel Odenbach, Akram Zaatari, plus Angela Ricci-Lucci and Yervant Gianikian.
Organised with LUX and the British Artists’ Film and Video Study Collection at Central Saint Martins College of Art and Design, in association with Arts Council England and the British Film Institute

16 May 2006
HOLLIS FRAMPTON: (nostalgia)
Tate Modern, Starr Auditorium
American artist and writer Hollis Frampton's film overturned the conventional narrative roles of words and images. In his account of an artist’s transformation from photographer to filmmaker, Frampton burns photographs that he has taken and selected from his past, along with one found photograph. A calm voice-over tells a story about each image, but it’s about the next image that the audience will see, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph’s combustion so that smoke and ashes busy your eye while you are trying to make sense of the image and the narration, trying to remember the story to fit the next image, trying to remember the image to fit the story you are hearing.
(nostalgia) (Hollis Frampton, USA 1971, 36’) is a formal masterpiece, long overlooked and under-studied. It emerges from a body of film work that is rarely screened, because the prints damaged and difficult to locate. Frampton’s work is held dear in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory and practice.
The screening is introduced by Rachel Moore. In spring 2006 Afterall Journal launches its new publishing initiative, Afterall Books, with a new series of publications that focus on important single works of art. Frampton’s (nostalgia) is the subject of one of these, an illustrated study by Moore.
Rachel Moore is author of Savage Theory: Cinema as Modern Magic (Duke University Press, 2000) and lecturer in International Media, Goldsmiths, University of London. Hollis Frampton, an influential artist and respected writer, was born in Wooster, Ohio in March 1936 and died of lung cancer in Buffalo, New York, 30 March 1984.
Hollis Frampton: (nostalgia) by Rachel Moore is an Afterall Book distributed by the MIT Press. Afterall Books was established in 2005 at Central Saint Martins College of Art and Design, University of the Arts, London.
The screening will be the first from a new print recently acquired by LUX.

18 May 2006
HENRY HILLS IN PERSON
Whitechapel Art Gallery
Creating vertiginous portraits of the downtown New York improvised music and poetry scene – from John Zorn, Sally Silvers, Ron Silliman, Arto Lindsay, Abigail Child, Charles Bernstein et al, to the North Beach Communist cafe poet and gentle comrade Jack Hirschman - Hills’s virtuosic, rapid-fire editing plays upon the nervous system itself, documenting the artist radically engaged with society. This rare screening, introduced by the filmmaker, includes Hills’ celebrated Money (1981) and culminates with the UK premiere of extracts from his new cycle of work, Emma’s Dilemma.
Kino Da!, 1981, 16mm, 3 mins / Radio Adios, 1982, 16mm, 11 mins / Money, 1984, 16mm, 15 mins / SSS, 1988, 16mm, 7 mins / Little Lieutenant, 1994, 16mm, 7 mins / Emma’s Dilemma, 2003-5, DVD, (selections)

26-7 May 2006
MATTHIAS MULLER: THE MEMO BOOK
Goethe-Institut London
These three programmes have been offered by arsenal experimental in Berlin to mark the release of The Memo Book - Films, Videos and Installations by Matthias Müller. This collection of essays is the first publication of edition arsenal experimental, which is being co-published with LUX, and will be launched in the UK on this occasion. The book launch is at 7pm, with a film programme to follow at 8pm. Matthias Müller will be present.

26 May: Programme 1
Aus der Ferne-The Memo Book
16mm, colour, sound, 28mins, 1989
Using a myriad of experimental and expressionistic techniques, Matthias Müller has fashioned a compelling visual feast. He weaves a cinematic spell of motion and vitality with seemingly the simplest of means. Extreme close-ups of objets trouvés, light flashes, flares, jagged public domain debris, all combine and interact at a furious pace. (Warren Sonbert 1990)
Sleepy Haven
16mm, colour, sound, 14 mins, 1993
Enhanced by Dirk Schaefer's lulling music, the appearance and disappearance of the image mimics the rhythms of the body - a palm opening, nocturnal tossings, the heartbeat, and breath. Through the processing the images often seem submerged, as if trying to rise unsuccessfully to the surface of consciousness. (Alice A. Kuzniar 2000)
Sternenschauer-Scattering Stars
16mm, b&w, sound, 2 mins, 1994
Sternenschauer-Scattering Stars is a paean to light, a glittering bodice of a film that rapturously unfolds its subject with a shimmering luminosity. (Mike Hoolboom 1997)
Home Stories
16mm, colour, sound, 6 mins, 1990
In the montage of this film, the movements and gestures of actresses - stars like Lana Turner, Tippi Hedren, and Grace Kelly - seem choreographed and planned for each other. The musical setting (Dirk Schaefer) supports this through connected sound passages that are experienced as stereotypes of the genre. The collaboration of sound and images culminates in the dramatic shift from the familiar to the frightening and shows how women become the victims of the voyeuristic cinematic gaze. (Roger Hallas)
Alpsee
16mm, colour, sound, 15 mins, 1994
Photographed with an exquisite eye for interiors and a restless invention, Alpsee stages a boy's coming of age, that painful rend between infant dependency and mature individuation. (…) Its gorgeous chromatic scheme and high key lighting mark a significant departure from Müller's narrow gauge efforts of the 80s. (Mike Hoolboom 1997)

27 May: Programme 2
nebel
35mm, colour/b&w, sound, 12 mins, 2000
Müller takes up Jandl's challenge of looking at things backwards and forwards, and translates his paradoxical logic into filmic terms. He successfully avoids the pitfall of stringing together one-to-one illustrations of the poet's imagery. Instead, he has chosen personal associations that are far more subtle. (Marcy Goldberg 2002)
Pensao Globo
16mm, colour, sound, 15 mins, 1997
Eight years after his elegiac Aus der Ferne, Müller revisits Lisbon, the city of fate, of longing and decay and divisible selves. Shadowing his protagonist from a hotel cell into labyrinthine streets, the film contemplates dissolution and the permeable boundaries between life and death in sanguinary colours and swimming superimpositions. (The New York Film Festival Cat 1997)
Phantom
Betacam SP PAL, colour, sound, 5 mins, 2001
In Phantom, each face, each body appears, like cinema itself, from beneath a curtain that flutters and flickers to reveal haunted silhouettes that never quite take shape. (Victoria Lynn 2002)
Vacancy
16mm, colour, sound, 15 mins, 1998
Müller takes home-movies of the inauguration day of Brasília and subjects them to a unique visual style. Aging film-stock flickers and fades generating an aura of ambient romanticism. As the clouds gather over Niemeyer's space-age architecture, Müller conjures up a feeling of profound melancholy …. (Gregor Muir 2002)
Album
Betacam SP PAL, colour /b&w, sound, 24 mins, 2004
Album is nurtured by my personal arsenal of memories. Numerous moving images, collected by me over the years without any particular purpose in mind, are the visual source of this collage: flotsam and jetsam floating down a river, a plastic bag swirling around a wire, a shirt hanging in an open window. These motifs encounter each other, as do pictures in a photo album. (Matthias Müller)

27 May: Programme 3
Play
Betacam video/DVD loop, colour/b&w, sound, 7 mins, 2003
With their montage of found footage of audiences, Müller and Girardet shape a captivating dramatic arc. (Anke Groenewold 2003)
Phoenix Tapes
Betacam SP PAL, colour/b&w, excerpt of 26 mins, 1999, commissioned by MOMA Oxford.
The Phoenix Tapes not only highlight Hitchcock’s obsessions with certain types of repetitive movements and highly loaded visual signifiers, but suggest that these actions are part of a universal language of gesture that encompasses both cinematic and everyday modes of communication. (John Tozer 1999)
Manual
Betacam SP PAL, colour, sound, 10 mins, 2002, commissioned by FACT, Liverpool.
Manual combines material filched from US television series of the 60s with the voices of several female protagonists of 40s and 50s Hollywood melodramas. (www.fact.co.uk)
Beacon
Betacam SP PAL, colour/b&w, sound, 15 mins, 2002
Beacon is a montage of location shots filmed at ten different places around the world. These sites are connected by the fact that each is located by the sea. (Christoph Girardet & Matthias Müller)
Mirror
35mm cinemascope, colour, sound, 8 mins, 2003
A woman, a man, guests at an evening party. Settings, which are gradually abandoned; the remains of an event, gazes that have lost their object. In Mirror light alone sets the hardened images into motion. (Christoph Girardet & Matthias Müller).

22 June 2006
NEW WORK UK: BASTARDS
Whitechapel Art Gallery
Curated by Sinisa Mitrovic.
In today’s all-pervasive media culture, video is becoming an increasingly flexible hybrid. Utilising a variety of strategies, the works in this selection freely combine elements of pop music, TV adverts, animation, film history and institutional critique, proposing adventurous investigations of the form while retaining a firm conceptual grounding. The videos explore the intimate relationship between the subject and the viewer, the unpredictable intersections of image and sound, and the idea of making work in the vacillating space between the public and the private. Including recent works by Adam Chodzko, Phil Collins, Seamus Harahan, Torsten Lauschmann, Craig Mulholland and Annika Ström.
In collaboration with LUX.

20 April - 28 May
The Unnamable at Lounge Gallery, London
The first collaboration between LUX and Lounge Gallery (http://
www.lounge-gallery.com), The Unnamable will be a gallery exhibition
consisting of solo shows by three video artists: Sebastian Buerkner,
Laure Prouvost and Duncan Campbell.

12 – 13 May, Tate Modern, London
Conference. Anticipating the Past : Artists : Archive : Film
The experience of viewing projected archival film or antiquated video
footage can have a seductive, even spellbinding effect on the viewer.
Its material and aesthetic qualities act as a trigger to memories,
evoking a sense of time and nostalgia or conjuring up fantasies of
history. This international symposium draws together a collection of
voices and perspectives to examine the work of artists and filmmakers
who have worked with these materials and dislocated them from their
original purpose and intention, revealing new readings, meanings and
questions. The speakers include George Barber, Neil Cummings and
Marysia Lewandowska, Yervant Gianikian and Angela Ricci-Lucci,
Patrick Keiller, Elizabeth McAlpine, Pat O'Neill and Benjamin Weil,
Mark Nash, Marcel Odenbach, AL Rees and Akram Zaatari. Organised with
LUX and the British Artists’ Film and Video Study Collection at
Central Saint Martins College of Art and Design, in association with
Arts Council England and the British Film Institute http://
www.tate.org.uk/modern/eventseducation/symposia/
anticipatingthepastartistsarchivefilm5202.htm

Tuesday 16 May 7pm (admission free, no booking), Starr Auditorium,
Tate Modern, London
Hollis Frampton: (nostalgia)
Free screening of a new restored print of Hollis Frampton’s seminal
film (nostalgia) to mark the publication of a new illustrated study
of the film by Rachel Moore published by Afterall Books. The
screening will be introduced by Rachel Moore. Presented in
collaboration with Afterall and Tate.

Thu 18 May, 7pm, Whitechapel Gallery, London
Henry Hills - In Person
Portraits of the downtown New York’s improv music and poetry scene –
from John Zorn, Sally Silvers, Ron Silliman, Arto Lindsay, Abigail
Child, Charles Bernstein et al to the North Beach Communist cafe poet
Jack Hirschman - Hills’ rapid-fire editing documents the artist
radically engaged with society. This rare in person screening, the
celebrated Money and culminates with the UK premiere of extracts from
his new cycle of work, Emma’s Dilemma. In collaboration with LUX.
Kino Da!, 1981, 16mm, 3 mins / Radio Adios, 1982, 16mm, 11 mins /
Money, 1984, 16mm, 15 mins / SSS, 1988, 16mm, 7 mins / Little
Lieutenant, 1994, 16mm, 7 mins / Emma’s Dilemma, 2003-5, DVD,
(selections) http://www.whitechapel.org/content.php?page_id=2527

26 – 27 May, Goethe Institut, London
Matthias Müller - The Memo Book – Retrospective and book launch.
Three programmes to mark the release of The Memo Book - Films, Videos
and Installations by Matthias Müller. The films of Matthias Müller
can be read as an unwritten history of German experimental film.
Starting off in the Super 8 movement, Matthias Müller has gone on to
produce a vast variety of material, from the genre-crossing work with
found footage, through the mutual interweaving of analogue and
digital image media, up to his cinematographic installation in
museums and galleries. Hollywood film, avant-garde and queer cinema
have been taken apart as much as the radical changes in media and
representation technologies that occurred in the eighties and
nineties.Müller's determined interest is in exploring questions of
memory, traces of the past and the meaning of historical bodies.
Müller has collaborated with other artists, notably Dirk Schaefer,
responsible for the sound of many films, and more recently with the
visual artist Christoph Girardet.
Organised in collaboration with arsenal experimental and LUX. Funded
by the German Federal Cultural Foundation.
http://www.goethe.de/ins/gb/lon/ver/en1343963.htm

Thu 22 June, 7pm
New Work UK: B*stards, Whitechapel Gallery, London
NEW WORK UK is a LUX/ Whitechapel series showcasing new British
artists' film and video, each event is selected by a different guest
curator.
In today’s all-pervasive media culture, video is becoming an
increasingly flexible hybrid. Utilising a variety of strategies, the
works in this selection freely combine elements of pop music, TV
adverts, animation, film history and institutional critique,
proposing adventurous investigations of the form while retaining a
firm conceptual grounding. The videos explore the intimate
relationship between the subject and the viewer, the unpredictable
intersections of image and sound, and the idea of making work in the
vacillating space between the public and the private. Including
recent works by Adam Chodzko, Phil Collins, Seamus Harahan, Torsten
Lauschmann, Craig Mulholland and Annika Ström. Curated by Sinisa
Mitrovic.
£5.50/3.50 concs & Whitechapel members.
Free for Whitechapel Associates and Patrons.
http://www.whitechapel.org

12 – 15 October
The Artists Cinema, Frieze Art Fair, Regents Park, London
THE ARTISTS CINEMA returns to the Frieze Art Fair. LUX/Frieze
Projects present a fully functioning cinema in the heart of the art
fair including new 35mm film commissions by Phil Collins, Miguel
Calderón, Manon de Boer, Bonnie Camplin and Apichatpong
Weerasethakul. Expanded cinema works from Yoko Ono, Stephan Dillemuth
& k2 Aufbau Organisation, Malcolm Le Grice and Gill Eatherley. New
curatorial projects by Stuart Comer (Curator: Film at Tate Modern),
Sharon Lockhart (Artist), The Otolith Group (Artist Curator and
Theorist Collective), Cristina Ricupero (Curator) Christina Tohme
(Curator & founding member of the Lebanese Association for Plastic
Arts - Ashkal Alwan) and Maria-Christina Villasenor (Associate
Curator of Film & Media at the Solomon R. Guggenheim Museum, New
York). Download the full programme now at
http://www.theartistscinema.org.uk

Friday 10 November – Saturday 11 November 2006 7pm both nights
Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s,
Tate Modern, London http://www.tate.org.uk/modern/eventseducation/
film/shootshootshootbritishavantgardefilmofthe1960sand1970s.htm
The 1960s and 1970s were ground-breaking decades in which independent
filmmakers challenged cinematic convention. In England, much of the
innovation took place at the London Film-Makers’ Co-operative, an
artist-led organisation that enabled filmmakers to control every
aspect of the creative process. LFMC members conducted an
investigation of celluloid that echoed contemporary developments in
painting and sculpture. The physical production of a film became
integral to its form and content as Malcolm Le Grice, Lis Rhodes,
Peter Gidal and others explored the material and mechanics of cinema,
making radical new works that contributed to a new visual language.
Curated by Mark Webber.

Wednesday 22 November 6pm, Curzon Soho, London
Origins and Elements: Margaret Tait
http://www.curzoncinemas.com/
A special screening of newly restored Margaret Tait films from
Scottish Screen Archive to mark the launch of the new LUX DVD,
Margaret Tait, Selected Works 1952 – 1976. Curated by Peter Todd for
LUX the programme includes Calypso (1956), Rose Street (1956),
Aspects of Kirkwall: Some Changes (1981) and The Leaden Echo and the
Golden Echo (1955). The DVD will be on sale on the night for a
special reduced price of £15 (usually £19.99).

Friday 24 November 8pm, Basement Gallery, Candid Arts, Angel.
Shoot Shoot Shoot DVD Launch
Special expanded cinema performance event to mark the launch of the
new LUX/Re:Voir DVD, Shoot Shoot Shoot: British Avant-Garde Film of
the 1960s and 1970s. Two performances unseen since the 1970s. Guy
Sherwin’s Configuration (1975) and William Raban’s Wave Formations
(1977). The DVD will be on sale for a special discounted price of £15
at this event (usually £19.99) see http://www.candidarts.com for
directions.

Saturday 25 November 1.30pm, The London Butterfly House, Syon Park.
London: City of Disappearances.
Film screening and reading
'London is a city of disappearances and fallible memories. Alongside
the contemporary city, of noise and celebrity, is that other city: of
the dead, the unvoiced, the erased. Here there are fabulous
identities which, freed from their mundane reality, survive as
eternal fictions, and urban myths with more blood and vigour than the
contemporary cartoons of manufactured notoriety.'
To mark the publication of Iain Sinclair's book London: City of
Disappearances a special artists' film screening and reading taking
place at the London Butterfly House, one of London's distinctive
locations which is threatened with closure in the next year. As well
as readings by Iain Sinclair and other book contributors, there will
be a screening of artists' films reflecting on the themes of the
book. More details to be announced at www.lux.org.uk soon.
Screening free with price of admission to the Butterfly House.
See http://www.londonbutterflyhouse.com/ for directions.

Thursday 14th December 6pm
animate! Artist Award and book launch, Curzon Soho
http://www.curzoncinemas.com
Hot from the expanded Encounters Short Film Festival in Bristol (21–
26 November), the international animate! Artist Award, a new addition
to the exciting list of Encounters' prizes, is all about refreshing
animation and the moving image – way beyond live action. Two hundred
and forty-two films were submitted for the Award. Come and see a
breathtaking shortlist of works from Germany, Sweden, the
Netherlands, France, Portugal, Croatia and the UK, including the
final winner of the £2,000 cash prize. BRILLIANT NOISE Semiconductor,
UK 2006. EMPIRE Edouard Salier, France 2005. FILM NOIR Osbert Parker,
UK 2006. LEVIATHAN Simon Bogojevic Narath, Croatia 2006. LOS 60
Yolanda de los Bueis, UK 2006. NEVERLIKE THE FIRST TIME Jonas Odell,
Sweden 2006. PARK FOOT BALL Grant Orchard, UK 2005. SALLY Luna Maurer
& Roel Wouters, The Netherlands 2005.SUPER 8 SERIES: SERIE #1Pedro
Maia, Portugal 2006.WHIRR Timo Katz, Germany 2006.
& Just published by LUX, a lavish and inspirational exploration of
the relationship between art and animation, and the place of
animation and its concepts in contemporary art practice. The book
includes interviews with artists who have exploded the traditional
preconceptions about animation in their commissions for animate!, and
essays that examine animation and cinema up to and beyond
the edge of film & video. With 870 full-colour illustrations plus a
DVD of ten trail-blazing animate! works by Phil Mulloy, Mario
Cavalli, William Latham, Ruth Lingford, Jonathan Hodgson, George
Barber, Tim Macmillan, Olivier Harrison, Ann Course & Paul Clark  and
AL + AL. Book list price £19.95. On sale at this event for a special
introductory price of £12 from Wallflower Press
(www.wallflowerpress.co.uk), who will also be selling other titles
about animation, digital cinema and artists' film & video on the night.