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Martina Attille's TATE FILM REWIND: SANKOFA MARTINA ATTILLE: DREAMING RIVERS Clore Auditorium, Tate Britain Monday 2 November 2015 19.00–20.30 (1988), directed by Martina Attille. Film still courtesy the artist and Women Make Movies. Photo by Christine Parry ©Jake Auerbach Films Ltd Dreaming Rivers FRANK Jake Auerbach, still from Corinne Skinner-Carter in In director Martina Attille’s own words Dreaming Rivers ‘illustrates the spirit of modern families touched by the experience of migration.’ Awarded a prestigious Filmdukaten at the XXXVII Internationale Filmwoche Mannheim (1988), the film evocatively weaves together the ambition-fuelled dreams and memories of Caribbean-born Miss T. and her family. ARTIST FILM & VIDEO Artist Film and Video at Tate Britain UPCOMING SCREENINGS IN THE CLORE AUDITORIUM: is curated by Zoe Whitley, Curator The screening is followed by artist Sonia Boyce MBE, Professor of Black Art and and Jenny Lund, Assistant Curator, Design at University of the Arts London (and set designer on Dreaming Rivers) in MUSEUM PREMIERE: FRANK Contemporary British Art at Tate Thursday 10 December 2015, 19.00–21.00 Britain. With thanks to the artists. conversation with Dr. Amna Malik, Senior Lecturer in Art History and Theory at Slade School of Fine Art. ZINA SARO-WIWA: ALT-NOLLYWOOD Monday 18 January 2016, 19.00–21.00 tate.org.uk/film Thoughts, comments, reviews? Tatefilm @tatefilm REWIND: SANKOFA Malik writes: “What interests me greatly With Maureen Blackwood and Nadine Marsh- about […] Attille is her concern with the Edwards, she also organised the peer-to- This is the third screening in our autumn past, the generation of post-war immigrants peer 16mm film production workshop Black season that focuses on the visionary collective to Britain that marked the Windrush era, (feminine) — Exploring Images of Black Women Sankofa Film and Video, established in 1983 and, more specifically, her attention to the (London, 1986). by five aspiring filmmakers — Martina Attille, microcosms of life lived in the everyday as a Maureen Blackwood, Robert Crusz, Isaac form of resistance. Arguably, this had already Active in public debate at home and abroad Julien and Nadine Marsh-Edwards. Sankofa’s been examined at length by the Centre for to promote the work of collective film practice, productions centered on the creation of new Cultural Studies in Birmingham through the Attille notably contributed to artist and writer black subjectivities and introduced audiences focus on subcultures; but the difficulties of Coco Fusco’s touring exhibition Young British to New Queer Cinema, black feminist simply existing, of living on a day-to day level, and Black (1988), which showed works from theory and the politics and poetics of self- were not generally acknowledged amongst the Sankofa Film and Video Collective and representation. The name ‘Sankofa’ refers to a a younger generation coming to voice in the Black Audio Collective. Attille also participated mythical Ghanaian bird commonly represented 1980s. In Dreaming Rivers, love is the motive (1988), directed by Martina Attille. Film still courtesy the artist and Women in the conference High Culture/Popular bending its head backwards to reach an egg for migration and dislocation from home: Miss Culture: Media Representation of the Other placed on its back. The bird symbolizes taking T. came to England to be with her now-absent at the Rockefeller Foundation, Bellagio, Dreaming Rivers what is valuable from the past and applying it husband; and love is why she stayed: to bring Italy (1989). to the future. up her children. It is through their eyes that she negotiates and locates herself whilst she Inspired by her work with Maureen Blackwood DREAMING RIVERS goes about her rituals of self-adornment, and Nadine Marsh-Edwards on Black Martina Attille (dir), lighting candles before a mirror, braiding Corinne Skinner-Carter in Make Movies. Photo by Christine Parry Women & Representation (1984) and Black 1988, 16mm film, 30 min her hair, and donning a floral dress; but “Dreaming Rivers was my best thing.” (feminine) — Exploring Images of Black Women love is also what keeps her from belonging Corinne Skinner Carter, Staying Power, Black (1986), Attille continued to focus on the Writer/Director: Martina Attille to England.” Film Bulletin, Summer/Autumn, Volume 6, representational strategies of black women Assistant Director: Isaac Julien Issue 2/3, 1998 alongside her peers in the visual arts forum, Cinematography: Nina Kellgren Amna Malik, “Migratory Aesthetics: Black Women Artists Study Group (1995 – Set design: Sonia Boyce (Dis)placing the Black Maternal Subject in 1997). Attille has contributed to publications Costume design for Miss T.: Lorna Lee Leslie/ Martina Attille’s Dreaming Rivers (1988)” in In celebrating 20 years since its release, including The Fact of Blackness: Franz Fanon and Bodyscape ‘Black’ British Aesthetics Today, Cambridge the film was presented at the 68th Annual Visual Representation (1996) and Rhapsodies in Featuring: Corinne Skinner-Carter, Stegan Scholars Publishing (2007), p251 Convention of The College Language Black: the Art of the Harlem Renaissance (1997). Kalipha, Angela Wynter, Nimmy March and Association, (Re) Roots and (Re) Routes: Her presence within the visual arts community (1988), directed by Martina Attille. Film still courtesy the artist and Women Make Movies. Photo by Christine Parry Roderick Hart. Additional performances by As an allegory of migration, Dreaming Rivers Transatlantic Connections in Language and has been documented in imagery produced Dionne Desantos Campbell, Darren Leahy, was inspired by several key moments marking Literature (2008). by artists Sonia Boyce, Lubaina Himid and Dreaming Rivers Leanna Samuel and voice over by Marie Attille, the dynamism and activity of the UK’s Black Ingrid Pollard. Rosemary Julien and Peggy Octave Arts Movement during the 1980s. Chief among About the participants: Music: Shirley Thompson these were visual art exhibitions that rendered Sonia Boyce Distributor: Women Make Movies (NYC), visible the black female experience in Britain Martina Attille (born 1962, UK) Third World Newsreel (NYC) including The Thin Black Line (ICA London, (born 1959, St Lucia) Lives and works in London Corinne Skinner-Carter in 1985); Starring…Mummy & Daddy at The Black Lives and works in London Dreaming Rivers opens on the wake of Miss Art Gallery (London, 1986); Unrecorded Truths Sonia Boyce studied art at East Ham College exhibiting Exquisite Cacophony (2015) a single- African American and Black British art. T. In the space implied by the camera’s (Elbow Room, London, 1986); and From Born in the Caribbean island nation of St and Stourbridge College of Art until 1983 channel video, plus a set of live performances. Her articles include “Migratory Aesthetics: positioning, Miss T.’s children speak directly to Generation to Generation (The Installation), Lucia, before its full independence from and became a key figure in the 1980s Black- Boyce’s work is represented in the Arts Council (Dis)placing the Black Maternal Subject in their late mother; contemplating aspects of her which toured nationally (Caribbean Focus colonial rule, filmmaker Martina Attille has British art scene, with artworks that spoke Collection, The British Council Collection and Martina Attille’s Dreaming Rivers (1988)” in life — her beauty, her religion, and her love ’86). Also formative for Attille was Theatre of lived in London since 1961. She graduated about race and gender. Since the 1990s, her Tate collection, among others. ‘Black’ British Aesthetics Today, Cambridge alongside their own deep longings. The static Black Women, founded by Patricia St. Hilaire, in 1983 from Goldsmiths University, London, practice typically relied on the documentation Scholars Publishing (2007); “Dialogues framing of her children is intercut with fluid Bernadine Evaristo and Paulette Randall. The and entered the media profession in 1984, of performative collaborations addressing the In 2007, Boyce received commendation for between ‘Orientalism’ and Modernism in tracking shots of Miss T.’s domestic setting character of Miss T. is in part a composite as a trainee with Large Door, working on relationship between sound and memory, the edited volume Shades of Black: Assembling Shirin Neshat’s Women of Allah” in Global while she was yet living. The bittersweet drawn from interviews with first generation three programmes for Visions, a documentary and the dynamics of space and the spectator. Black Art in 1980s Britain (Duke University and Local Art Histories, Cambridge Scholars gathering unites past, present and future: from Caribbean immigrant women held in Attille’s series on world cinema for Channel Four. Press/Iniva) and in the same year received Publishing (2007); “Conceptualising Black optimistic dreams of life in a new country, own archive. Equally influential were works As a visiting professor in the Visual Art Selected recent exhibitions include The an MBE in the Queen’s Birthday Honours List, British Art through the lens of exile” in Exiles, to an acute sense of displacement and life by artists Sonia Boyce and Marlene Smith. Department, University of California San Impossible Community, Moscow Museum for services to art. She is Professor of Fine Diasporas and Strangers, Iniva (2008); “Ritual left behind, and finally charting emotional Boyce’s pastel self-portrait She Ain’t Holding Diego (1990), Attille designed a programme of Modern Art (2011); 8+8 Contemporary Art at Middlesex University, Chair of Black
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