A Different Kind of Conversation
Kimberley Harvey & Mark Fitzgerald, United Kingdom, 2019, 02:04
Grove Theatre Foyer
A film that explores the intricacies and evolving nature of human relationship through the nuances of non-verbal communication.
Guided by the camera, but what do you see?
Above, below…what shifts?
The in-between space and what happens there.
The unconscious responses.
Making you wait (or not).
Nic Sandiland, Yael Flexer, United Kingdom, 2010, 22:14
Gravity Shift is a video installation that looks at how we might read gravity through witnessing another body. It aims to decentre the viewer’s relationship to the installation through presentation of a dancer whose movement is affected by a moving pull of gravity.
Peace | Lemon
Sayaka Katsumoto, Japan, 2020, 09:49
Following WWII, on May 3 1947, Japan received a new constitution which was heavily influenced by U.S. policy makers, specifically General Douglas MacArthur, and in 1952, a second security treaty was signed which allowed for the housing of U.S. military bases within Japan.
The U.S.-Japan relationship, although today widely accepted, was heavily contested during these post-war years. Detractors, like those within the student movement and the New Left, warned of the treaties leading to a great doorway of the supposed Japanese Diet, as well the potential involvement of Japan Self-Defense Forces alongside U.S. armies. These movements which began with demonstrations gradually became more and more radicalized, with Molotov cocktail attacks, bombings, plane hijackings becoming key factors of protest before gradually shifting underground.
Japan was, during the 1970s, an advanced country in the field of terrorism, starkly contrasting its current image of low crime and safety. Big bomb terror occurred throughout the decade where the Japanese Red Army for example engaged in international coordination between terrorist organizations with several countries, a common tactic employed by 21st century international terrorist organizations.
Peace | Lemon explores these stories through a word association game that surrounding two motifs: a can of tobacco and a lemon. The video is accompanied by a subtitle track explaining the two motif’s unique historical contexts. Meanwhile, the artist interprets the fantasy and fetishistic world of post-war Japanese protestors, moving through images and sound in a ‘satisfying video’ style. The video is further accompanied by ASMR dubbing, recording binaural triggers in viewers.
Between the sea and the land
Adesola Akinleye, United Kingdom, 2020, 16:14
Between the sea and the land takes the form of a three-channel video installation about the lived tactile history of Margate’s Lido. In making ‘Between the sea…’ I was interested in bridging the space between the film watcher and the screen on which the film is made visible through the colour, texture, movement, and sound of the film projection itself. In the making of the film I have therefore been looking at how film exists in the space between body (who is observer) and structure (that makes it observable). I have been asking if film lives in-between these. In exploring how the story/experience of film manifests in the space between screen and eye, film can become a work of art communicating the felt rather than documentation of it.
The Floating Book IX
Margarita Zafrilla Olayo, Pato Bosich, United Kingdom, 2019, 5:51
20-min performance for 12 people at a time, please sign up at reception on the day
Saturday: 2.45pm, 6.45pm / Sunday: 12.45pm, 2pm, 3pm
Giving each other their own quality is an alchemical process, the volatile becomes solid and the solid turns volatile, and a new state is produced; neither rising nor dropping means to float with its pages…
With music by Maria Sideri and Kirill Shirokov
Thanks to the support of Marie Von Papen and Barn Bradenstoke
The shared space of Hackney Marshes
Dominique Rivoal, Claire Loussouarn, United Kingdom, 2020, 30:00
This is a taster for an eventual 4 screen installation, the idea is to create an immersive 360 degree space that matches the marshes.
For the last two years, Claire (the mover) and I (the filmmaker) have met in the same location with the intention to enter in presence with each other and the space. This film is durational, relational, and iterative, and the camera, used as an extension of relations, moves with kinaesthetic empathy to make sense of self and other in the context of the Hackney Marshes, an inner London wildlife sanctuary. The ethos behind this work is not never impose one’s reading on a situation but to employ a ethical framing by tuning into the attention of the dancer/agent and the space/agent.
Angela Woodhouse, Caroline Broadhead, United Kingdom, 2019
Grove Theatre foyer
Thermal Duets record traces of breath and touch, amplifying the residue and effect of body heat and indicating how the boundary of the body is not easily or tangibly defined.