Name: videoclub: Selected 14
Start: 2024-05-16T18:00:00+01:00
Location: John Hansard Gallery

videoclub: Selected 14

City Eye and John Hansard Gallery

Selected 14 is a collection of diverse, surprising, and provocative new films by early career artists touring the UK in 2024.

John Hansard Gallery

Selected 14 is a new collection of nine artists's films touring the UK in 2024, taking place at some of the UK's leading venues for showcasing artists' film and video.Nominated by the artists shortlisted for the Jarman Award 2023, Selected is a collection of diverse, surprising, and provocative new film by early career artists. Selected 14 artists are Rohan Ayinde, Darryl Daley, Syd Farrington, Kneed - Ishwari Bhalerao and Leonie Rousham, Peter Millard, Morisha Moodley, Harmeet Singh Rahal, Jame St Findlay, and Divine Southgate-Smith.Produced and curated by <a href="https://videoclub.org.uk/" title="https://videoclub.org.uk/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">videoclub</a> and Film London Artists' Moving Image Network (FLAMIN), supported by Arts Council England and Film London. Programme: Syd Farrington, Descent, 2023 (6 mins)Newly built High-rise buildings in areas of accelerated regeneration across London are abstracted in a series of free-falling motions. Through this abstraction comes an attempted reclamation of London’s skyline.Kneed – Ishwari Bhalerao and Leonie Rousham, Limits of Looping, 2021 (3:42 mins)This film is looping, degrading, resting against the wall. Repeated but different each time. For our bodies in this room are not closed loops.Yarl’s Wood Immigration Removal Centre is a detention centre located in dried open wheat fields, on the outskirts of Bedford. This banal British landscape has been walked, scored and documented by many feet through many lenses. This landscape holds within it the continual violence that this State has always been capable of creating, disguising, and invisibilising.A 16mm film attempting but failing to capture the bucolic British landscape where Yarl's Wood IRC is situated. Leonie and Ishwari's voices question and unfold the hostility and violence held within banal structures of border control and institutions in Britain. This film was initially played the designed film, and the audio is shown on separate loops, a 16mm projector and on tape, creating an asynchronous effect. Scratches start to develop as the film is looped through the projector. Continually playing the film and sound would cause slow, irreversible degradation over time. Despite the continual looping cycle, no two viewings will be the same. Here, we are showing the digital version.Harmeet Singh Rahal, The Time Traveller, Faiz, 2024 (4:24 mins)This is an excerpt from ‘Chori Chori [CAMRip]’, a bootleg Bollywood film. Slipping between animation and found footage, the film explores what it means to be consigned to remembrance – existing only as glimmers of footage and voice memos from faraway friends. The Time Traveller, Faiz, is a remembrance of the Pakistani revolutionary poet and time traveller Faiz Ahmed Faiz. In his time, Faiz was a vocal critic of fascism. He wrote in defiance of the police state, from beyond prison walls and national borders. Today, despite repeated attempts at erasing Faiz from India’s history, he remains a symbol of dissent and solidarity. His songs echo the aftermath of protests, finding new strength with each generation that sings along.Darryl Daley, Youlogy / No Ghost,2023 (9:37 mins)Juxtaposing the notions of arrival and departure adjacent to the sensibilities between life and death, the work re-captures the artist’s grandmother‘s arrival to the United Kingdom and return to her homeland through death. This work enters a transcendental environment and reflects a sensational, dream-like state, which seeks to encompass a new potential future for the artist’s grandmother. The film’s pacing, black and white cinematography, appropriated footage and minimal percussive soundscape challenge the visual structures of space and time whilst Invoking fantastical scenes vividly narrated through typographic memoirs. A reflection of the imaginations present in the minds and spirits of many Caribbeans who journeyed to England during the 1960s.The film provokes a tender commentary on the Black family, built upon a new land through a curious and abstract lens. This is contrasted with footage of the grandmother’s funeral after being brought back to her homeland to be buried. The composition of characters in suits and those in masquerade - referencing the customs of Jamaican spiritual tradition and the Junkanoo festival – encapsulates this liminal space that may exist between life and death and the realities of the lived experiences these ancestors captured in stories told for decades.Rohan Ayinde, Bury the Evidence, 2022 (2:17 mins)From Ayinde’s Corner Piece series, the artist uses his personal archives (photos, videos, downloaded music, YouTube videos) to map the expansive landscape that extends to the corners of daily experience at any given moment. The poetry that intertwines with the visuals serves as a means to trace a path through the material. The poems are experiments in improvised/automatic writing; a method through which to access the subconscious archive and overlay it onto the visual landscape of the everyday.Morisha Moodley, you are a thing which even angels desire to look into, 2024 (4:06 mins)you are a thing which even angels desire to look into is a love letter to transition, queer becoming and a fading friendship. In this stop-motion animation, queerness is not just the central theme; it is instilled in the film’s formal properties. The animation itself is reinscribed as a trans medium – its need to change to be perceived, even to exist, becomes aligned with the flux of queer identities and queer becoming. The film posits collage as an act of self-definition. We watch as incisions into the film’s material reform paper into shape, image and content.you are a thing which even angels desire to look into continues the artist’s project of creating a crip form of filmmaking that unfolds in crip time. Time is understood as inherently unstable, with fluctuating frame rates and recurrent but distorted images all at play. Past and present frames press against each other in the collage itself, and we witness time hovering in its next step.Jame St Findlay, Watching Over Me, 2020 (5:41 mins)Watching Over Me was made in the summer of 2020 as part of an online showcase commissioned by Yaby Contemporary in Madrid. The film comprises scenes filmed between 2019 and 2020, a period of great flux for the artist wherein he moved house 12 times and lived in three different countries. Findlay collated a huge amount of improvised footage using a GoPro camera over the year, mounting it on various things (sticks, rotating jewellery stands, floating foam blocks, my head etc) without any real sense of how, when or even if the footage would become anything. It was born out of a need to do it, and in that sense, it felt pure. When the artist received the invite to the showcase in 2020, this represented an ideal time to dredge his own archive, pick through what he had made, and try his best to stitch it together into something that felt whole. The film, set between Scotland, London, and Berlin, results from this.Peter Millard, Please Let Me in, 2022 (2:09 mins)“please let me in. I want more! I need more! let me in!” A film about wanting to go deeper to further escape reality and always giving in to that temptation.

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videoclub: Selected 14

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