David Hall - End Piece...
16 March - 22 April 2012
Private View Thursday 15th March 6:30-8:30
Wednesday-Friday 11-19h, Satyrdays & Sundays, 12-18h
Ambika P3 Gallery, 35 Marylebone Road, London NW1 5LS

The contemporary reworking of one of David Hall’s early major works ‘101 TV sets’ will form the centrepiece of the exhibition. '1001 TV Sets (End Piece)' features 1,001 cathode ray tube TV sets, of all ages and conditions, which will fill the massive Ambika P3 subterranean space. The TVs will be tuned to different analogue stations playing randomly in a cacophony of electronic signals, gradually reducing between April 4 and April 18, as the final analogue signals are broadcast from London’s Crystal Palace. When transmission is turned off, the multiple sets will emit only terminal audio hiss and a visual sea of white noise.

David Hall’s first works for television appeared unannounced on Scottish TV in 1971. The transmissions were a surprise, a mystery, and have been acknowledged as the first artist interventions seen on British television. An installation version of these early ‘TV Interruptions’ will be exhibited in Ambika P3 alongside ‘Progressive Recession’ a multi-screen interactive work utilising 9 cameras and 9 monitors as complex analogical mirrors.

Projektion - Lucide
Thursday, March 1st, 2012, 19:30h
kunstraum t27/Kunstverein Neukölln, Thomasstr. 27, 12043 Berlin-Neukölln

This Projektionen programme on the "Lucidness" theme represent different artistic struggles with dream states, with different awareness ...

Curated by Deborah S. Phillips

- Paysages humains (Alice Baillaud, Performance, ca. 10 Min)
A winter dance with immobile, transparent figures. Again and again, flit past a young woman in summer dress and a big kid too - until the wind carries them away, and intimate, fleeting thoughts whisper that could also be ours.

- Anxious Automation (Richard Serra, 16mm, 5 Min, 1971)
Two camera views by Joan Jonas, which performs a series of four movements, while the cameras into the picture - and zoom out of it. The movements of the actor and the cameras enter into a reciprocal relationship - with a soundtrack by Philip Glass.

- Naturfilm (Tsuyoshi Harada, 16mm, 14 Min, 2007)
The water, light, waves and the wind meet and cross, creating images in motion.

- Mater (Anke Doepner, 16mm, 6 Min. 1991)
The film begins with a boat ride. The water flows in streams, trees lose their leaves. At the end a daughter settles accounts with her mother, with a knife.

- Weird War (Albert Alcoz, Super 8, 9 Min, 2011)
Weird War is a found-footage film consisting of documentary on Super 8 measures. Explosions happen backwards, soldiers are injured, even deleted using direct methods on the film. At different levels, the film proves that war is always nonsense.

Special Directors Lounge screening: Andreas Müller-Pohle in Person
The 8th Berlin International Directors Lounge, 2012
Friday, 17 February 2012, 19h
Naherholung Sternchen, Berolinastraße 7, 10178 Berlin / Mitte

"Directors Lounge presents the first theater screening with Andreas Müller-Pohle, featuring a whole range of his video work.

Water would seem to play an important role in Andreas Müller-Pohle's recent work, both in film and photography. It may also be a key for interpreting his work as a whole. In the case of Hong Kong Waters - the Asian metropolis is surrounded by water on three sides, the South China Sea and the Perl River Delta - the waters inspired a number of photo, video and sound works. 'Dark Waves,' 'Zig Zag' and 'Coasting' were conceived in Hong Kong. 'First of all, the water has to be surpassed in order to move around the city,' Müller-Pohle told me, and water embodies both dangers and chances for the city. The rising sea level, due to climate change, will put the city under threat. Large parts of the urban area have been reclaimed from the sea and will be in danger. However, the sea has also given the city a good trading position and a strategic importance.

http://www.riverproject.net

A very different work in the program is 'Araki at Work,' shot in 1996 in Japan, but first published in 2011, a few months ago. Here, Müller-Pohle is the documentary photographer with a small un-intrusive camera, and driven by his interest in documenting the creative process of an artist. Araki, well-known as a provocative and commercial photographer, seems to surpass limits of privacy when working, especially seen from a European perspective. However, the film also reflects and produces the strange relations between 'observer and observed,' the settings in which the photographer worked with a model. As the video possibly takes the viewer to the limits of 'moral habits,' without being pornographic or offensive, the viewer becomes the observer of the observer, maybe even reflecting back on his or her own position as spectator, or voyeur.

The program will include a discussion with Andreas Müller-Pohle. We thus expect an extraordinary evening that will be an eye- and ear-opener. And brains."
- Klaus W. Eisenlohr, Curator