A group show of experimental film and video artists that explore the notion of before-and-after a memorable event in relation to their work. Does the “after” mirror the “before” or is the reflection completely different? Each artist responds to the question in a different way. This group screening reflects on a binary aspect of ‘before and after’ an event, trauma, pandemic, or “just” the passage of time, and the way it influences the cinematic narrative as well as the artist’s reading of the concept itself.
For more information and tickets: https://www.cafeoto.co.uk/events/film-screening-beforeandafter/
(Please note that this is not the running order)
- Body, re-edit (2018) originally shot on 16mm in 1992 – film, 1 min 14 sec
- Punch, re-edit (2005) film, 1 min
- Hello, re-edit (2019) film, 2min 26 sec
- Deities, (2015) film, 1 min 23 sec
- 3 heads, (1992) film, 3 min 20 sec
- 2012, (2012) film, 1 min 9 sec
- Mumble, (2005) film, 1 min 12 sec
Pablo Robertson De Unamuno:
- ‘The Dream Life Of Debris’ (2014) film, 11min
- ‘Before And After ‘(2021) film, 2min 30sec
Zhel (Zeljko Vukicevic)
- 'Noise Ain't Silence, Silence Ain't Dark' (2018) film, 1min 30sec
- ‘Mute Departures: Semiotic Threat’ (2014) film, 1min
- ‘Here They Come: The First’ (2020) film, 1min
- ‘Here They Come: The Second’ (2021) film, 1min
- ‘Red States, Blue States’ (2011) film – 1min
- ‘Bar Delay’ (2009) film - 1min
- ‘Glenn Would Not Want It Any Other Way’ – (2021) film/performance, 5min
- ‘Views from Home Reviewed’ film/performance with live sax by Alan Wilkinson, 10min
- ‘Washi MM’, 3x 16mm film projection performance with optical sound, 15min
Lynn Loo is originally from Singapore and currently based in London. Loo made a transition from a music background to filmmaking in 1997. She studied film and video at The School of the Art Institute of Chicago and film archiving in University of East Anglia. A way to describe her films is that they are compositions of images and sound that suggest narratives or convey an event without text or words. Unfinished Symphony (2001, 16mm) and Floating (2004, super-8) are examples of that. In 2004, She was introduced to films made from makers involved in the London Filmmakers’ Co-op. Works specifically from the 70s. This has influenced her present work where the exploration of filmmaking has moved to an investigation of the celluloid and presenting works in a performance element with multiple projectors. Her first film from this is ‘0’ (2004, 16mm), followed by Vowels (2005, 2x 16mm). Letterforms printed onto strips of film that would also produce the soundtrack. Vowels is expanded to Vowels and Consonants in collaboration with Guy Sherwin. Her most recent work is a 2x 16mm projection performance piece, Washi #2 (2014). Since 2005, She has been collaborating with Sherwin in numerous film performances and projects. Her films have been included in numerous international festivals and galleries. Some of her works are in the collection of Asian Film Archive in Singapore and recently in He Xiangning Art Museum in China. She supports herself working as a Conservation Specialist at BFI National Film and Television Archive in UK
Guy Sherwin studied painting at Chelsea School of Art in the late 1960s. His subsequent film works often use serial forms and live elements, and engage with light, time and sound as fundamental to cinema. Recent works include installations made for exhibition spaces and performance collaborations with Lynn Loo working with multiple projectors and optical sound.
Sherwin was guest curator of ‘Film in Space’ an exhibition of expanded cinema at Camden Arts Centre London 2012-3. He taught printing and processing at the London Film-Makers’ Co-op (now LUX) during the mid-70s. His films were included in ‘Film as Film’ Hayward Gallery 1979, ‘Live in Your Head’ Whitechapel Gallery 2000, ‘Shoot Shoot Shoot’ Tate Modern 2002, ‘A Century of Artists’ Film & Video’ Tate Britain 2003/4. He lives in London and teaches at Middlesex University and University of Wolverhampton.
Kerry Baldry works in a range of media including film and video. Many of her films have been shot on 16mm with a Bolex movie camera using facilities such as superimposition and stop frame, often edited 'in camera'. Consumerism, alienation, emotionality, conflict and mortality; aspects of the human condition are recurrent themes.
She has had many screenings at international film festivals and galleries, including The Rotterdam Film Festival, BBC2’ s The Late Show, The I.C.A., The Lux, The Venice Biennale and had work on billboards during Hull City of Culture 2017. Kerry graduated from Middlesex University (B.A Fine Art) and Central Saint Martin’s School of Art (postgraduate in Film and Video). Kerry Baldry has also curated and distributed 'One Minute' a self-initiated project over the last 14 years screened worldwide. There are ten programmes to date and have recently been archived at the BFI.
Pablo Robertson de Unamuno is an experimental filmmaker who started his career as a photographer. He moves freely between the contemporary art world and mainstream film festivals while retaining every bit of his integrity as an experimental filmmaker.
Pablo has also been running an experimental film festival, ‘Underneath the Floorboards’ which shows work from filmmakers and artists from the UK and abroad and which has grown in stature over the last five years.
As an experimental filmmaker, Pablo often deals with subject matters such as man’s relationship with nature in both urban and rural environments, and how we have in many respects lost our sense of purpose due to cutting ourselves of from the natural world. This theme is very much explored in one of his more recent works ‘The Dream life of Debris,’ which is very loosely based on W.G Sebald book the ‘the Rings of Saturn.’ His work has a real sense of space and composition which he has perfected through his years as a photographer and by working the camera in most of his work.
Zhel is a sound and video artist whose recent work explores links between film sound and contemporary accounts of ethics and spectatorship in film and media. Recent practice is primarily concerned with the question of communication in film and media and how re-modelling its content affects its primary message. Zhel holds a master’s degree in film theory from 2010 in Cambridge, and since 2011 through a doctoral study he has been researching film ethics through the aspect of films sound. His work has been shown worldwide at ICA (London), FACT (Liverpool), and the Transmediale Festival (Berlin) to name but the few. He has participated in several festival selections (Best of Transmediale 2000, EIFF, 2008). He won the Octavian Award for the best video and the jury award for the best new director at the 9th DHF, Zagreb 2000. He also curates and organizes ‘Screamstation Fest’ a film event that explores the relationship sound and image. Born in Pula, Croatia - lived and worked in London since 1999.