• Tank tv: Alice Anderson 15th May - 7th June

    By on

    Prompt Book (Alice ANderson, 2005)

    Tank.tv : Alice Anderson 15th May - 7th June

    “Years after years I’m constructing a “Perpetual Novel”. All my work is an autobiographical fiction that I developed over time. Most of my works (sculptures, drawings, films) deals with the notion of Time, which is the canvas of Memory and we all know that memory is “THE” master piece of fiction…”
    Interview with Gillian Mc Iver for ARTSPEAK 2009

    Films on tank.tv:
    “The Dolls' Day” / A girl without a name goes back into her parents' past to seek revenge, 2008.
    “Bluebeard” / A blue-bearded woman falls in love with a young man attached to his mother by a cord, 2007.
    “Recollection” / A mother punishes her daughter in a tower called Melancholia, 2006.
    “Prompt Book” / A mother suggests her daughter jump out of the window, 2005.
    “The Idiot Of Evenville” / A 12 year old girl poisoning her parents, 2004.
    Alice Anderson's Journal / ongoing series, 2005

    See the works by Alice Anderson here.


  • 1st Caszuidas Urban Screen Festival

    By on

    1st Caszuidas Urban Screen Festival

    September 4 - 5, 2009  –  Zuidas, Amsterdam

    On Friday the 4th and Saturday the 5th of September 2009, the CASZUIDAS Urban Screen Festival is taking place in Amsterdam. The CASZUIDAS Urban Screen Festival is a new international festival specially aimed at artworks for urban screens. The focal point of the festival is the contemporary art screen CASZ, which has graced the Zuidas, Amsterdam’s new office and residential district, since October 2007. With its mix of 80% art and 20% art-related programming and advertising, CASZ is unique in the world. The screen runs from six o’clock in the morning until twelve o’clock at night; the art it shows is part of daily life in the public space of the Zuidplein in Zuidas, Amsterdam.

    Up until now, CASZ’s continuous programming has consisted of existing video work. For the first time, the festival is offering you an opportunity to make new work specifically tailored to the possibilities of this public display platform. CASZ is meant for a large, diverse audience of local and (inter)national enthusiasts as well as workers, neighborhood residents and a daily throng of train and metro travelers.

    We would like to invite you to participate and send us your contribution specially made for urban screens on a DVD. The winner, chosen by a jury of professionals, will receive €5000. The festival also has an audience award of €1000.

    – the deadline for entries is July 20, 2009
    – there are no requirements as to length and subject matter; however, the works must be suitable for screening in public space.
    – seeing as artworks on urban screens generally are shown without sound or, as in the case of CASZ, with the possibility of phoning in, we ask you to take these limited sound conditions into account. During the festival, the works will be shown with amplified sound.
    – for other entry requirements, please see the enclosed entry form below

    Please download your entry form here

    Should you have any questions, please contact: [email protected]

    We look forward to receiving your submissions.

    Jan Schuijren – CASZUIDAS curator
    Marina de Vries – project leader, CASZUIDAS Urban Screen Festival
    Sara Bjarland – coordinator, CASZUIDAS Urban Screen Festival

    CASZuidas is an initiative of Virtueel Museum Zuidas (VMZ) and stichting Kunst en Openbare Ruimte (SKOR - Art and Public Space)


  • Los Angeles Filmforum - “Dialogues” by Owen Land

    By on

    Sunday May 31, 2009, 7:30 pm

    Los Angeles Filmforum presents
    Dialogues, by Owen Land – Los Angeles Premiere! Owen Land in person.
    At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

    Filmforum is delighted to welcome back legendary filmmaker Owen Land (formerly known as George Landow) for the official Los Angeles premiere of his newest work DIALOGUES.


    On one level, DIALOGUES (2009, 133 minutes, video) is a parody of Scorpio Rising, using era-specific hit records to locate scenes in time; on another level, it’s an interpretation of Plato’s dialogue ‘Phaedo’, in which Socrates proves the doctrine of re-incarnation; on still another level, it is a polemic for the Tantric belief in the sacredness of male-female polarity in the form of thirty “Platonic Dialogues.” Rated R: Restricted to audiences with a knowledge of Art History. – Owen Land

    Dialogues - The Urge To Merge

    Dialogues - The Urge To Merge

    Dialogues is a feature-length self-reflexive experimental film by Apollo Jize (aka Owen Land) with music by the American Buddhist composer Meredith Monk, a graduate of Sarah Lawrence College, Yonkers, New York:

    It was raining torrents in Torrance
    But she had no rain insurance
    She said to a molester
    I’ll go back to Westchester
    It never rains at Sarah Lawrence
    But, alas, she finally went bonkers
    Because it was raining in Yonkers
    – Owen Land

    More details at LA filmforum's blog.


  • Larry Gottheim screenings - London 26 & 28 May

    By on

    Larry Gottheim - FoglineThese two programmes survey the trailblazing career of one of America’s foremost avant-garde masters.

    Larry Gottheim: Programme 1
    Tuesday 26 May 2009 at 7pm

    - Fog Line
    - Doorway
    - Horizons (Elective Affinities I)
    - Mouches Volantes (Elective Affinities II)
    - The Opening (excerpt from work-in-progress, Chants & Dances for Hand)

    Bethnal Green Working Men’s Club, Pollard Row, London, E2 6NB (Nearest Tube / Train: Bethnal Green). 
    Tickets: £7 / £5 concessions & Close-Up members. 
    Telephone: 020 7739 7170.


    Larry Gottheim: Programme 2

    Thursday 28 May 2009 at 7pm

    - Blues
    - Tree of Knowledge (Elective Affinities IV)

    no.w.here, 3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG (Nearest Tube / Train: Bethnal Green). 
    Tickets: £5 door / £4 advance / £3 students & no.w.here members.
    Telephone: 020 7729 4494.

    Email: [email protected]



  • Light Industry: Kevin Jerome Everson, May 18

    By on

    Light Industry
    Films by Kevin Jerome Everson
    220 36th Street, 5th Floor
    Brooklyn, New York
    Monday, May 18, 2009 at 7:30pm

    Grounded in historical research and a strong sense of place, Kevin Jerome Everson¹s films and videos combine documentary and scripted elements with a sparse, rugged formalism. His ongoing subject matter is the lives of African Americans and other people of African descent, often working class, but he eschews standard realism in favor of strategies that abstract everyday actions and statements into theatrical gestures: archival footage is re-edited or re-staged, real people perform fictional scenarios based on their own lives, historical observations intermesh with contemporary narratives. His films suggest the relentlessness of everyday life?along with its beauty?but also present oblique metaphors for art-making.

    Many of his works return to Mansfield, Ohio, where Everson was born and raised. The community's past is examined in Company Line, in which city employee Curley Lanier explains why he and his family left Alabama in the late 1950s to migrate North: ³To do better?I guess.² The remarks betray a sense of deep ambivalence about the promises of upward mobility in America that runs through this collection of recent projects; fifty years later, the people of Mansfield still aren¹t sure what ³better² means.

    - Company Line, 2009, 30 mins
    - Lead, 2009, 3 mins
    - North, 2007, 2 mins
    - Second and Lee, 2008, 3 mins
    - Fifeville, 2005, 14 mins
    - Ike, 2008, 3 mins
    - Undefeated, 2008, 2 mins
    - The Reverend E. Randall T. Osborn, First Cousin, 2007, 3 mins
    - Home, 2008, 2 mins
    - The Wilbur, 2008, 2 mins
    - Two-Week Vacation, 2005, 1 min
    - Honorable Mention, 2009, 2 mins
    among others.

    Followed by a conversation with Everson and Michael Gillespie.

    Born in 1965, Everson now lives and works in Charlottesville, Virginia. Everson¹s artwork and films has been exhibited at the Museum of Modern Art in New York; the Whitney Museum of American Art, the Cleveland Museum of Art, the Studio Museum in Harlem; the Armand Hammer Museum in Los Angeles; Whitechapel Gallery in London; the Palm Beach Institute of Contemporary Art; Wurttenbergischer Kunstverein, Stuttgart, Germany; the Spaces Gallery in Cleveland; the American Academy of Rome in Italy, the Sundance Film Festival, Rotterdam International Film Festival, Cinematexas, Ann Arbor Film Festival, New York Underground Film Festival, and many other venues worldwide. He is the recipient of a Guggenheim Fellowship, a NEA Fellowship, two NEH Fellowships, two Ohio Arts Council Fellowships, an American Academy Rome Prize, residencies at Yaddo and MacDowell Colony and numerous university fellowships.

    Tickets - $7, available at door.

    About Light Industry

    Light Industry is a venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

    About Industry City

    Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in need of reasonably priced space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production. For more information:


  • Parakino Florian Wüst/Screaming City: West Berlin 1980s

    By on

    Parakino Florian Wüst/Screaming City: West Berlin 1980s
    Centrum Sztuki Wspólczesnej Laznia
    ul. Jaskólcza 1, 80-767 Gdansk
    13 June 2009, at 6 p.m.

    Between the end of the 1970s and the fall of the Berlin Wall in November 1989, a vast number of films were produced in and about West Berlin, dealing with the ambivalent realities of the enclosed city. Highly subsidized by the Federal Republic of Germany as a "shop window of the Free West", West Berlin had become an island, an inverted fortress for all those who saught to experience themselves without economical pressures, and to express themselves by all means. It wasn't about devoting oneself to the World Revolution anymore, but to implement alternative life styles and ways of housing, giving rise to social resistance, strident underground cultures and sexual border-crossing. Pessimism and apocalyptic moods, not least driven by the enhanced arms race and nuclear threats of the period, mixed with extravagance, punk and queerness.
    Where images lived a special life inmidst the deadlock of socialist and capitalist ideologies that nowhere else materialized as spectacular as in the divided city of Berlin, an idiosyncratic crossover of music, performance, art and super-8 movement developed. For many young filmmakers, super-8 facilitated the production of low cost and truly independent films. The technical limitations of the medium embodied a strong means of spontaneity and purposeful dilettantism, while super-8 was easy to distribute and show in underground cinemas, clubs and cafés. Even institutions like the German Film and Television Academy in Berlin (dffb) fostered a spirit of radical subjectivity and experimentation among students.
    Screaming City: West Berlin 1980s presents a selection of short experimental and documentary films based on an extensive retrospective in October 2006 at Kino Arsenal, Berlin, entitled Who says concrete doesn't burn, have you tried?. Since then, Schulte Strathaus and Wüst have been showing selected tour programs of West Berlin '80s films internationally, and published a book of the same title in November 2008, casting light on this unique historical period and urban site of German film production.
    With films by, amongst others, Brigitte Bühler & Dieter Hormel, Michael Brynntrup, Christoph Doering, Die Tödliche Doris, Yana Yo.


  • Expanded Cinema Seminar: Expanded Cartography And The New Live Cinema

    By on

    Expanded Cartography And The New Live Cinema
    London Central Saint Martins
    Wednesday 20 May 2009, from 10am

    Expanded Cinema Seminar: Expanded Cartography And The New Live Cinema

    Session one will look at the different spaces of expanded cinema and its unique interrogation of media reception. 20-30 minute illustrated papers will be followed by discussion with the audience. Session two will consider expanded cinema in an age of digital technologies and their effect on the ever changing live forms of visual media. The day will culminate with a new digital video performance work by artists Steven Ball & Martin Blazicek.

    Abstracts for the papers and performance information are available here.

    10am - Session One

    "Parameters of Practice - Annabel Nicolson’s 1970s Practice"
    Patti Gaal-Holmes (Portsmouth University)

    "Figurative Interventions: A Narrative in Expanded Cinema"
    Emile Shemilt (University of Dundee)

    "Expanding the Event Structure and the Effect of Presence"
    Ingrid Boeck (Graz University of Technology)

    "Levels of Unreality"
    Ken Wilder (Chelsea College of Art)

    1pm - Lunch Break

    2pm - Session Two

    "Through the Dark Room – An Approximation between the Movie Theatre and the VJing Space"
    Gabriel Menotti (Goldsmiths)

    "The Spectator in Expanded Cinema of the Digital Age: A “Body Without Organs”?"
    Bill Balaskas (Royal College of Art)

    "Expanded Cinema: Teaching New Media"
    Martina Bramkamp (LCC/Kingston University)

    "Light Sculptures: Marinella Pirelli’s Expanded Cinema"
    Matilde Nardelli (British Academy Post-Doctoral Fellow, University College London)

    "Interface: The Move to Global Participation"
    Craig Smith (London College of Communication)

    4.30pm - Drinks Reception

    6pm - Performance


    For five days Ball and Blazicek will capture moving image, still image and audio material around and about Central St Martins’ Lethaby Building. They will be concerned with interrogating a range of spatial, historical and other phenomena of the space and its use. The material will be developed into a one-off live audio-visual performance conceived specifically for this event at this site. The exact nature of the work will be determined during its development, which will be documented over the days preceding the performance at http://blazicek.net/lethaby

    This performance has been made possible with the support of Film Academy of Performing Arts Prague (FAMU) Prague and International Centre for Fine Art Research (ICFAR) UAL, with thanks to Judy Lindsay, Head of Museum and Contemporary Collections, Central St Martins.


    Room G12
    Central St Martins College of Art and Design, Southampton Row, London,
    WC1B 4AP
    Nearest Tube: Holborn

    This event is free but places are limited.
    To book, email Duncan White



  • HEP Portugal

    By on

    hepFirst Human Emotion Project event in Portugal.
    First out-door event of the HEP worldwide tour.

    Two screening sessions: May 16, 21h00 - 22h00 and 23h00 - 24h00.
    Place: Garden of the Ceramic Museum (State Museum)
    Location: Caldas-da-Rainha, Portugal

    Curated by Alberto Guerreiro
    HEP Global Director: Alison Williams

    Festivities: Museums Night 2009 - fest event integrated in the International Museum Day celebrations.
    Production: HEP Global | Museu da Ceramica | IMC (Portuguese State Museums Institute)


    21h00 - 22h00

    - Two in One (Debbie Douez, SP, 03:18)
    - Genesis (Neil Howie, AUS, 10:00)
    - God Shaped Hole (John Criscitello, USA, 03:29)
    - The Source (Mads Ljungdahl, DN, 01:47)
    - Absent (Alberto Guerreiro, PT, 03:20)
    - Nine Deaths (Tatjana De Luxe, GER, 04:11)
    - For Sore Eyes (Anders Weberg, SWE, 02:17)
    - Title (Kyle Van Osdol, USA, 04:39)
    - Concerto Azzuro (Michael Chang, DN, 06:14)
    - Red Yellow Blue (Alison Williams, SA, 03:43)
    - There & Back (Alicia Felberbaum, UK, 02:57)
    - Error Lips (Masha Yozefpolsky, ISR, 03:34)
    - outes (Karina Smigla-Bobinski, GER, 04:47)
    Length 54:25

    23h00 - 24h00

    - The Narcissist (Jose Drummond, PT, 03:02)
    - OOC (Adamo Macri, CAN, 05:54)
    - Bluescape (Ebert Brothers, GER, 02:57)
    - Isolation (Christy Walsh, USA, 03:29)
    - Fragility (Glen Church, UK, 05:33)
    - Agonized (Manfred Marburger, UK, 02:59)
    - Niro (Robertina Sebjanic & Nika Autor, SL, 02:21)
    - Silent Cry (Wilfried Agricola, GER, 03:09)
    - Closer to Fall (Tim White-Sobieski, USA, 04:10)
    - The Slaves of The System (Irina Gabiani, GEO, 03:56)
    - Opus Incertum (Ektora Binikos, GRE, 07:02)
    - 17 South (Marty McCutcheon, USA, 01:23)
    - The Book (Bill Millett, UK, 06:46)
    - Fluid Transfer (Niclas Hallberg, SWE, 03:02)
    Length 56:11

    More information at:



  • London Light Reading series 9: Bernd Behr with Brian Dillon

    By on

    Light Reading Series 9
    Bernd Behr with Brian Dillon
    Wednesday 20 May 2009, at 7pm

    Light Reading’s ninth series continues with a dialogue between artist Bernd Behr and writer and critic Brian Dillon. The event will include Behr discussing his current project WEIMAR VILLA, as well as screening his recent works HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006).

    Behr’s work is produced at the investigative intersection between art and architecture, and more precisely on the instances and possibilities of architectural performativity in the moving image. Behr’s new work in progress, WEIMAR VILLA, addresses notions of an archaeology of modernity and the archeologically modern in relation to the Bauhaus. Spanning locations in China and Germany, the film conflates the construction site of a Bauhaus-themed luxury suburb on the outskirts of Shanghai with the recently exhumed ruin of Laszlo Moholy-Nagy’s house, originally part of Walter Gropius’ row of prototype "Master Houses" in Dessau. The project follows his exploration of the spatial conditions of a 1972 lecture by Robert Smithson in HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006) which collapses a WWII US military test site with 1920s Expressionist Film.

    Behr’s work can often be seen to employ a method of lateral investigation; in place of neutral documentary, the camera performs the archeological act, examining architectural topographies of the 20th Century and their social implications. In Behr’s practice, the research process infiltrates the perception of the work as a finished product, enabling it to actively question the production of knowledge with regards to its subject. In this way, Behr’s work simultaneously performs a subtle operation of current investigation and retrospective consideration, creating work that performs contemporaneously not only through its medium of video, but also acts as a proposition for potential re-engagement with the ruins and/or failures of its subjects.

    Bernd Behr lives and works in London and has exhibited in numerous solo and group projects in the UK and internationally. Recent solo projects include “House Without a Door” at High Desert Test Sites, California, USA, 2008, e-raum, Cologne, Germany, 2007 and Chisenhale Gallery, London, 2006. Group exhibitions and screenings include Wurttemburgischer Kunstverein, Stuttgart, Germany, 2009, Blancpain Contemporary Art, Geneva, Switzerland 2008, Lewis Glucksman Gallery, Cork, 2007, Chelsea Space, London, 2007, European Kunsthalle, Cologne, Germany, 2006 and Palais des Beaux Arts, Brussels, 2005.

    Brian Dillon is UK Editor of Cabinet magazine and AHRC Research Fellow in the Creative and Performing Arts at the University of Kent. He writes regularly for Frieze, Art Review, Modern Painters, the Guardian, the London Review of Books and the Wire. He is the author of a memoir, “In the Dark Room” (Penguin, 2005) and his “Tormented Hope: Nine Hypochondriac Lives” will be published in September 2009.

    Light Reading is an ongoing series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. To book or to be included on the mailing list for future events, please contact:

    Light Reading
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
    Nearest Tube / Train: Bethnal Green

    Tickets: £5 door / £4 advance
    Telephone: 020 7729 4494
    Email: [email protected]
    Places are limited so booking is essential



  • Tank tv: John Bock

    By on

    John Bock
    1st - 15th May 2009
    on www.tank.tv

    tank.tv is extremely pleased to present John Bock’s first online solo show. The special selection of fourteen videos includes several recently completed works and tank.tv will offer a unique opportunity to view these strong, chaotic and inventive videos : Alice Cooper, Boxer, Gast, Kleinodtodsod, Trecker, Fischgrätenmelkstand kippt ins Höhlengleichnis Refugium, Hysterie im Nonchalance, Pied de Porc, Bilanzgeraden, Schattenkanten Abfahren, Messi Mecker, Das Baumstück and Tierauflauf.

    Bock (b. 1965 Gribbohm, Germany) attended the Hochschule für Bildende Künste (HfBK) in Hamburg. He has exhibited internationally for over 15 years including solo exhibitions at the Schirn Kunsthalle in Frankfurt, The Moore Loft in Miami, Institute of Contemporary Arts in London and Insa Art Space, in Seoul. He has also participated in Documenta 11 (2002), the 2001 Yokohama Triennial, and the 48th, 50th and 51st Venice Biennials. Bock lives and works in Berlin.