-----Original Message----- 

	From: Ben Cook LUX [mailto:[log in to unmask]] 

	Sent: Tue 07/09/2004 10:28 

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	Subject: TWO LUX EVENTS. exposure 1, candid arts, 14 Sept/ EarthMoving, Goethe Institut, 16 Sept

	

	



	you are invited to two LUX events next week

	

	1. Tuesday 14 September 7pm Candid Arts, Islington (behind Angel Tube), London. entry: £2

	exposure 1. open screening event presented by Sue.k. see http://www.lux.org.uk/exposure for full programme details

	See http://www.candidarts.com for directions. no need to book

	2. Thursday 16 September 7pm Goethe Institut, South Kensington, London. entry: £3

	EarthMoving (ErdBewegung) - A Trilogy by Rainer Komers. see http://www.goethe.de/ins/gb/lon/knt/anf/enindex.htm for directions and booking details.

	

	more information below

	

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	Tuesday 14 September 7pm Candid Arts Trust, Islington, London.

	exposure 1

	exposure is a quarterly open screening event for artists' film and video which has not been shown in London before. Artists will be present to discuss there work with the audience. exposure is presented by Sue.k. for more information about submission details for the next exposure see http://www.lux.org.uk/exposure

	

	Aikaterini Gegisian

	Tokyo Tonight

	5 minutes, Video, UK, 2003

	Tokyo Tonight is the second part - the third one is currently in progress - of a trilogy of films concerned with the digital scrolling image and its affect on perception and narrative structure. It takes as its starting point the image of a train passing in front of a static camera. The film explores the interrelations between the visual and the auditory experience through the juxtaposition a slowed down scrolling image and the use of an array of sound layers and voices, alternating between different languages. The viewer is confronted with different types of subjective relations (a short of subjective montage). One moves from the image to a possible film scene and from the imaginary characters to the manipulated / actual (real) sound. The film explores how one image can lead us to a myriad little narratives and how sound can lead us to other images.

	

	Frédérique Devaux

	K (parts 1, 11, 111)

	14 minutes, 16 mm, France, 2001 - 2003

	K (1ère partie), Il était une fois..., 2001-2003, 3' 16 mm et K (2ème partie), Les Luttes amazigh, 2002, 3', 16 mm

	'K is a chronicle and an experimental biography. Erased moments, cut up moments, faces survivors in the medium of other images, lives scattered by-on this side the borders, where there remains memory and lapse of memory. Each part of K is centered around problems: childhood, demonstrations in Kabylie (Algeria), women...'

	K(3ème partie), Les Femmes, 2003, 4'45, 16 mm

	'This third part is concerned with women. Never a subject lent itself as so well to my experimental practice. In Kabylie (Algeria) a woman is never first. As everywhere in the world, it is they which are occupied with the children, the family, the household. They are unobtrusive in the external social life. Despite everything, they are interdependent, they sing, they dance...'

	

	Steven Ball

	Metalogue

	27 minutes, video, UK, 2003

	Passing through tunnels and foyers; on trains, buses and ferries; in elevators, airports and city streets - transitory environments. Metalogue, a fractured meta-travelogue, uses formal techniques to explore spatio-temporal resonance and phenomena. Interspersed with interludes that combine digital excess, abstracted text and voice reciting information relating to the digital video material, and collages of public announcements. Pursuing the notion that the normally backgrounded or hidden information, instructional, metadata and other quotidian media, rising through the digital database editing logic becomes part of the poetical structure and language, in an intermediate realm between description and material.

	

	Philip Sanderson

	A Rocco Din

	3 minutes, Video, UK, 2003

	A Rocco Din is an anagram of accordion, and the piece involves the digital taking apart and reassembly of a single image of an accordion. The

	manipulation is performed in sync with the music; each note's frequency and duration defining the parameters for the digital processing. Neither music nor pictures lead, they were composed simultaneously suggesting a synaesthesia of sound and vision.

	

	Lucinda Wells

	Catherine Wheel

	1 minute, video, UK

	This one minute experimental video is constructed from photographs of rock fragments and sounds of the beach. It explores 'the slip' from photograph to image in the Bergsonian sense "a certain image which is more that that which the idealist calls representation, but less that that which the realist calls a thing - an existence placed half way between the thing and the representation". It is about the blurring of boundaries between photograph and image, and when seen as a whole, is a series of hinterlands, spaces, and places to meditate or daydream in - a prism through which uninhabitable, unfocused vistas (there is no top or bottom, ground or sky) become enchanted sights of contemplation.

	

	Anna-Nicole Ziesche

	Unihorn/Uniform

	7 minutes, video, UK

	'Unihorn/Uniform' explores the ambivalent liaison of body and clothing and how it constructs the individual self. An anonymous, circular room - the only room in the film - accommodates the many different scenes of self-construction or selfing (as described by C. Baerveldt and P. Vostermans (1998) in 'The Body as a Selfing Device'). Unihorn/Uniform' is structured in tow narratives. Narrative 1 embodies the main storyline with a beginning and an ending, whereas Narrative 11 forms a collage-like accumulation of brief accounts. Both narratives together create a tightly interlaced fabric of strong imagery.

	

	Francis Gomila

	Chair

	3 minutes, video, 1998, UK

	In Gomila's 1998 piece Chair, the camera is fixed upon a single wooden chair, which endlessly traces a circular path within an empty vaulted room. Chair is a deceptively simple work which nevertheless contains many of the recurring motifs of Gomila's practice; in particular its use of sculptural volume, circular narrative, sound and time, which are deployed as mechanisms to explore 'sisyphean patterns' operating within social and geopolitical systems.

	

	Stuart Pound

	Jpeg Variations

	4 minutes, video, 2004, UK

	A jpeg of a woman's face downloaded from the web then processed though digital filters. Her eyes sway on and off synchronized to the music's pulse. This soundtrack is also used to generate a stream of blue/green bubbles as an audio waveform across the screen.

	

	

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	Thursday 16 September 7pm Goethe Institut, South Kensington, London. £3

	EarthMoving (ErdBewegung) - A Trilogy by Rainer Komers

	EarthMoving is a documentary in three parts. Composed mostly of static shots, with no voice-over or music but with an exquisite attention to visual detail and ambient sound, each film in the trilogy has its own characteristics, but also forms an integral part of the overall composition.

	All three films are named after roads: one in Europe, one in North America, one in Asia: B 224 (Germany), Nome Road System (Alaska / USA), and NH 2 (India). But these roads are not the subjects of the films. They are the passageways through different urban and rural landscapes that are marked by varying degrees of human activity. The earth is opened and moved, it is quarried and mined, cultivated and paved over. People and animals move and are moved, so are machines, vehicles and tools. All this activity, whether work or play, carried out by hand or machine, is carefully recorded. But nothing is explained or judged.

	

	B 224 gives us a radical glimpse of being in the midst of a hybrid world, from which we cannot escape, but which we are not alltogether at the mercy of. Subliminally it conveys a combination of the apocalyptic with a kind of calmness. (Elisabeth Mohn, visual anthropologist)

	

	Rainer Komers was born in Guben, south-east of Berlin, in 1944. After completing a film studies master class at the Art Academy in Düsseldorf, he studied photography at the University of Essen. He has worked as a freelance cameraman and filmmaker since 1981. He lives in Berlin and Mülheim an der Ruhr. His films have been shown at festivals throughout the world including Oberhausen, London, Krakau, Instanbul, and Seoul.