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THE IMAGE and ITS IMAGE 1 Harry Watt Harry Ayo Akingbade

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THE IMAGE and ITS IMAGE 1 Harry Watt Harry Ayo Akingbade Eduardo Williams Eduardo 48 THE IMAGE AND ITS IMAGE 1 Harry Watt Harry Ayo Akingbade Tito & Tita & Tito THE IMAGE AND ITS IMAGE Martha Atienza Shannon Te Ao Te Shannon Tanatchai Bandasak Kidlat Tahimik Kidlat Mariano Blatt Danech San Danech Duncan Campbell Taiki Sakpisit Taiki George Clark Raúl Ruiz Raúl Shirley Clarke Francisco Rodríguez Francisco Jatiwangi art Factory Jessica Sarah Rinland Sarah Jessica Humphrey Jennings 14-18 OCT 2019 Miko Revereza Miko Joan Jonas Alain Resnais Alain Barbara McCullough Morgan Quaintance Morgan Chris Marker Charlotte Prodger Charlotte Vincent Meessen Juanita Onzaga Juanita László Moholy-Nagy Ogawa Productions Ogawa Ismal Muntaha Kira Muratova Kira Kira Muratova Ismal Muntaha Ismal Ogawa Productions László Moholy-Nagy László Juanita Onzaga Vincent Meessen Vincent Charlotte Prodger Chris Marker Chris Morgan Quaintance Barbara McCullough Barbara Alain Resnais Joan Jonas Joan Miko Revereza NKFS KABELVÅG Humphrey Jennings Humphrey Jessica Sarah Rinland Jatiwangi art Factory art Jatiwangi Francisco Rodríguez Shirley Clarke Shirley Raúl Ruiz George Clark George Taiki Sakpisit Duncan Campbell Duncan Danech San Manny Farber, Cézanne avait écrit, 1986, oil on board Mariano Blatt Mariano Kidlat Tahimik Tanatchai Bandasak Tanatchai Shannon Te Ao D ITS IMAGE ITS D N N A IMAGE THE Martha Atienza Martha Tito & Tita Ayo Akingbade Akingbade Ayo Harry Watt Eduardo Williams 2 THE IMAGE AND ITS IMAGE 3 A peculiar fact about termite-tape- worm-fungus-moss art is that it goes always forward eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity. - Manny Farber [1] Poems are not made out of words They’re made out of emotional absences, rips and tears. That’s the incomplete true fabric of the text. - Eileen Myles [2] [1] Manny Farber, 'White Elephant Art vs. Termite Art', Film Culture, no. 27, Winter 1962–63 [2] Myles, Eileen 'Painted Clear, Patined Black', Evening Will Come, Issue 29, May 2013. http://www.thevolta.org/ewc29-emyles-p1.html 4 THE IMAGE AND ITS IMAGE 5 THE IMAGE AND ITS IMAGE Today, it seems interesting to me to assembling bodies and performing go back to what I would call an animist diverse rituals and phenomena along conception of subjectivity, if need be the way. The unresolved nature of many through neurotic phenomena, reli- vÌ iÃiÜÀëÕà iÃÕÃL>VÌÀiyiVÌ gious rituals, or aesthetic phenomena. on the constellation of signs and images How does subjectivity locate on the through which we attempt to navigate side of the subject and on the side of the world. the object? How can it simultaneously singularize an individual, a group of Central to the series are three intercon- individuals, and also be assembled to nected themes. 1. The lives of images space, architecture and all other cosmic and the lives of objects. In many of assemblages? - Féliz Guattari [3] the works objects become the central protagonists, leading us across cultures, I am interested in the idea of images economies, temporalities and ecologies. 14-18 OCT 2019 generated by other images and the log- 2. The connection between movement ic that’s involved. I’m not a surrealist.... and creation, both of culture and the self. but I am interested in surrealism on the Works explore how movement, migration level at which its technique can be used and displacement can form new models to examine different levels of conscious- of creation and assembly. 3. The capac- ness. - Raúl Ruiz [4] ity of the moving image to cohere and gather bodies (human and non-human) How can we grasp the elusive nature ÌiÜVw}ÕÀ>ÌÃ]VÕÌià 1985, oil on board of an object or an idea? Images can be and allegiances. NKFS KABELVÅG means of capture but then how do we contain the image itself? The thirty work Subjects are as varied as the politics of assembled here draw on a wide array of London’s social housing (with pre-war subjects but are linked in their explora- works by László Moholgy Nagy and tion of the elusive quality of the image. Domestic Movies, Humphrey Jennings and contemporary ÕLiÃ]ÀiyiVÌÃ]iV iÃ>`} ÃÌà work by Morgan Quaintance and Ayo populate the works each of which seeks Akingbade) to oppositional models of Ìw`Ì iÀÜÜ>ÞÌ>««À>V V- self-creation in or despite America (from Manny Farber, temporary reality and the cosmic assem- Shirley Clarke’s portrait of Ornette Cole- blages of images in which we live. The >ÌwÃLÞ,iÛiÀiâ>Ü Ûi` works provide models for how thought undocumented in USA for 20 years). The can be contained in what we may call, i«V>ÃÌwvÀÌ ii}i`>ÀÞ"}>Ü> after Ursula Le Guin, the carrier bag of *À`ÕVÌÃ]>«ÌV>wViVÌÛi images [5], which we know under its other Japan to recent work from the Jatiwan- name; cinema. gi art Factory in Indonesia, illuminate [3] Guattari, Félix, 'Assemblages: Félix [4] Raul Ruiz, Ehrenstein, David, Film: The modes of collective practice and embed- The works shift time periods and plac- Guattari and Machinic Animism,' e-Flux Front Line, 1984. Arden Press, Inc., 1984 `i``iÃvÀw>}]LÕÀÀ}Ì i Journal #36 July 2012. [5] Le Guin, Ursula K. ‘The Carrier Bag es drawing lines of thought as well as ÌÌ«Ã\ÉÉÜÜÜ°iyÕÝ°VÉÕÀ>ÉÎÈÉÈ£ÓxÉ Theory of Fiction’, Dancing at the Edge of line between art and life in rural spaces. seeking new collisions and ruptures, >ÃÃiL>}iÃyÝ}Õ>ÌÌ>À>`>V V the World: Thoughts on Words, Women, animism/ Places, New York: Grove Press, 1989 6 THE IMAGE AND ITS IMAGE 7 Throughout the week will be a series of [6] Kidlat Tahimik, Aily Nash, Speaking Collaborations across media permeate Directly: Oral Histories of the Moving Image, sited screenings organised in the sur- Cinematograph vol. 7, SFC Books, 2013 many of the works from Eduardo Williams ÀÕ`}>Ài>vÌ iwÃV ]`À>Ü} kinetic recasting of the cumulative poem on the landscape and resonate sites of by Mariano Blatt, to Barbar McCullough’s Kabelvåg. These will range from moun- documentation of Yolanda Vidato’s water taintop screening of Joan Jonas’s perfor- ritual performed in south central Los An- >ViwWind to outdoor screening geles. Martha Atienza and Kidlat Tahimik of works gathered under the Animistic provide depictions of communities across Apparatus project curated by Julian Ross generations exorcising bad spirits by re- and May Adadol Ingawanij, exploring how making signs and symbols from Spanish cinema can address all types of being and Manny Farber, colonisation, American imperialism and a special screening in the old courthouse corrupt governments of the Philippines. featuring works by ńÀ artist Shannon Te Ao and Ismal Muntaha from West Java. The means by which one art form can New Blue look at another is put into play in Kira The relation between images and ob- Muratov’s masterpiece The Asthenic Syn- jects, and between human and non-hu- drome, ostensible seeking to identify a , 1993, oil on board man, is the subject of Jessica Sarah >>Ãi]Ì Ãwv`ÕLiÃ>`i>ÌÌ i Rinland new feature on the hidden rituals collapse of the Soviet Union, is one of NKFS KABELVÅG of museums, a study of those who touch the great works on entropy and dispersal. and care for rare objects. The politics of Raúl Ruiz’s seafaring epic Three Crowns such object relations, taking into account of a Sailor, gathers an abundance of post-colonial discourse and critiques of ghost stories and folk tales farmed from value, links to the double bill of Duncan Ruiz’s life in exile from his native Chile. >«Li½ÃiÃÃ>ÞwIt for Others to ÀÃ>ÀiÀ>`Ƃ>,iÃ>Ãw Images and stories accumulate, multi- the afterlife of objects Statues also Die plying entrances and exits across these 14-18 OCT 2019 and Vincent Meessen’s performative works in the way that Scheherazade tracing of the afterlife of the colour blue constantly invented new stories through- in his collaboration with African-American out The Arabian Nights. Each tale was spoken word poet Kain. left as a fragment with the promise of a new, more exciting story the following The fragmented narrations of displace- night; her free wheeling invention was ment and belonging are similarly charted the means to prolong her life. As Kidlat À>VÃV,`À}Õiâw>à iÕVÛ- Tahimik has stated “when you work with ers tales of Chinese workers found on the the cosmos, suddenly you get ideas for shores of Chile. In other works Juanita how to treat some visuals, some images Onzaga encounters ghosts in the jungles that had no intention of being in the of Colombia, Charlotte Prodger search- w°/ >̽ÃÌ ivÀii`vÌ i`i«i`- es for a elusive lioness, Tito & Tita hold ent.”[6] screen test for a cat and Taiki Sakpisit charts the rising hysteria in Thailand. - George Clark THE IMAGE AND ITS IMAGE ITS AND IMAGE THE 8 THE IMAGE AND ITS IMAGE 9 PARSI THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER 2:00PM MONDAY 14 OCT 2019 2:00PM MONDAY Eduardo Williams & Mariano Blatt, that uncertainty can yield its own sourc- Jessica Sarah Rinland, UK/Argentina/ balances the sterility of her work’s lab Argentina/Switzerland/Guinea-Bissau, es of beauty and forms of small-scale Spain, 2019, color, sound, 67 min environment setting with a sumptuous 2019, colour, sound, 23 min resistance through communal escape VÕÀ«>>Ìi>`Ì i>}wV>Ì and shared complicity, so as to chart the Those That, at a Distance, Resemble of textures. More warmth comes from No es (It isn’t) is a cumulative poem by rhythms of autonomy over automatism. - Another is the debut feature by Argen- repeated shots of hands, almost exclu- Mariano Blatt, whose constant writing Biennale de l’Image en Mouvement Ì> ÀÌà >ÀÌÃÌw>iÀiÃÃV> sively shown uncoupled from bodies - in process extends over a lifetime.
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