Students in the MRes Art: Moving Image programme at Central Saint Martins/LUX present a screening in response to The New Pluralism, a mid-decade survey of British film and video art held at the Tate Gallery in April 1985. Curators Michael O’Pray and Tina Keane selected nearly one hundred works for the exhibition in an ambitious attempt to map the pluralistic practices and politics that emerged as a reaction against the Structuralist aesthetic of 1970s British experimental film. Revisiting this exhibition as a moment rather than a movement, the students will reactivate some of these works within a contemporary critical framework. Works shown as part of this programme will include Kim Flitcroft and Sandra Goldbacher’s Scratch video supercut Night of a Thousand Eyes (1984) and Mark Wilcox’s surreal, proto-Lynchian videotape Calling the Shots (1984).

The Factory Media Centre is proud to present the work of Toronto-based filmmaker, photographer and media artist Dan Browne. Browne has been producing films and videos for over 10 years that examine our contemporary relationships to technological and natural environments through densely kinetic audio-visual patterned forms. His most recent video works traverse the fertile territories and intersections between cinema, video installation, music, photography, painting and poetry and have been presented in a range of venues, including festivals, concerts, galleries, and public spaces.

For his first-ever solo show, Browne will present a selection of his recent works in person, followed by a unique two-hour live performance of "memento mori", featuring musician collaborators Dan Driscoll and Steve Richman, that will rework material from the film to create an astonishing and singular live cinematic event.

Avanti Film Discourse is happy to invite you to its second screening, featuring a fine selection of classical experimental films, as well as contemporary works. The topic of this edition: parallel lines.

Parallels never meet, they go alongside without direct interchange. Nevertheless, there is visibility, observation of each other, which, one can argue, is enough to produce an influence, even change. Like the parallel montage technique, two story lines, which don't interfere, build a new meaning through their alignment. So this topic is a lot about indirect influence and power.