Nocturnal Reflections present Homebody: four films by Graeme Arnfield
Graeme Arnfield (b. 1991, UK) is an artist living in London, raised in Cheshire, UK. His work explores issues of communication, spectatorship and history and has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Sonic Acts Festival, Berwick Film & Media Arts Festival, Hamburg International Short Film Festival, Kasseler Dokfest, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA) and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.
- Colossal Cave (11:12 / HD Video / 2016)
"Somewhere nearby is Colossal Cave. Magic is said to work in the cave. I will be your eyes and hands."
Excavated from the world’s largest cave system “Colossal Cave” is a love letter from the prehistory of the Internet. Retracing the production of a pioneering video game the film finds in its debris the blueprints of our contemporary digital network and the emotional remapping of the world. Compiled from amateur caving videos found online, these sources are relocated inside a history of geological representation, adaptation and redistribution.
- Sitting in Darkness (15:29 / HD Video / 2015)
Out of the darkness a sound emerges. It echoes and drones. Terrified people take to the streets in search of its source. They get their cameras out and document the sky, searching for an author. We watch on, sitting in darkness, our muscles contract and our pupils dilate. “I hope the camera picks this up”. “Sitting in Darkness” explores the circulation, spectatorship and undeclared politics of contemporary networked images.
- Shouting at the Ground (Work in Progress) (15:06 / HD Video / 2017)
In a peat bog in the north west of England a Spanish woman was murdered, her body buried and subsumed into the treacherously dense ecological matter. A matter which labours have extracted for centuries, selling this fertile material as fuel worldwide; a material which upon burning releases timeless carbon deposits into our increasingly precarious and damaged ecosphere. After laying dormant under the rich dark peat for an unknown amount of time now a body has returned to the surface but its identity has become dislocated; it has become entwined with the history of its material host. Taking the real life disappearance of Malika Maria De Fernandez along with the global trade of fossil fuels as an poignant opening, “Shouting at The Ground” is an archaeological murder mystery circling around a void, oscillating it’s images and sounds between states of violent networked embodiment and pitch black absence, of burial and exhumation.
- Asbestos (Sasha Litvintseva & Graeme Arnfield/ 19:30 / HD video / 2016)
Mined, extracted, and woven, asbestos was the magic mineral. Towns became cities under its patronage, Persian kings entertained guests with its fireproof nature, and centuries of industry raked in the profits of its global application. We now live in the remains of this toxic dream, a dream that with the invention of electron microscopes revealed our material history as a disaster in waiting. Yet the asbestos industry has far from left us with extraction from the soil transforming to extraction from our walls. We are now faced with two options: to remove this material from our homes and start anew, or to build upon its residue. Removal is a dangerous and costly operation. So often we choose to live amongst it instead, choking out our walls with plastic tarping: the failed promises of modernism literally entombed all around us. Shot in the mining town of Asbestos, Quebec, home to the world’s largest asbestos mine that only stopped extraction in 2012, the film is a meditation on the entanglement of the fragility of bodies, the nonlinearity of progress, and the persistence of matter.