Projectors invade the auditorium to reveal seven amazing double screen works – three seminal classics and four from the British new analogue wave. Interaction, juxtaposition, synchronization and repetition drive these films. The action here is not just happening on the filmstrips – it also belongs in the moment of projecting.
- Berlin Horse (Malcolm Le Grice, UK 1970, 16mm, 9min)
Found footage is re-filmed from the screen, a horse is led through solarized eff ects that colour it blue and red and acid green and yellow… repeated backwards and superimposed and negative, a beautiful film enhanced by Eno’s score (made specifically for this piece).
- Angles of Incidence (William Raban, UK, 1973, 16mm, 12min)
An investigation into ways of presenting cubist space on the flat surface of the film screen. The image is a view through a window, the window-frame providing a constant spatial reference point. The film is just as it was filmed in the camera.
- E LP DR BK PL PF ST NN (Richard Bevan, UK 2014, 16mm, 2min 30sec)
Tree, hoop, hand, vice, rubber ring, compression and expansion.
- Passage (Bea Haut, UK 2014, 16mm, 2min 30sec)
Luminous objects are hauled left and right to meet at an interstice, at moments full of absence.
- Untitled (Insertional) (Jenny Baines, UK, 2014, 16mm, 2min 30sec)
Repeated absurd actions are performed for camera, across both frames, in and out of sync.
- OXO XOXO (Karel Doing, UK, 2014, 16mm, 2min 30sec)
A film palindrome. Reading this film becomes an active game; images appear upside-down, forward-backward, negative-positive.
- Razor Blades (Paul Sharits, USA, 1968, 16mm, 25min)
A frenetic vision challenges our eyes, ears and minds to withstand a barrage of high powered and often contradictory stimuli revealing the positive-negative dynamics of sexuality, birth, growth, reality, horror, confusion, absurdity, suicide, sprinkled stars, stuttering stripes, naked bodies, Fluxus instructions, cuts by a straight razor, shaving cream, etc...
- About The Dream that Kicks (Greg Pope)
Greg Pope brings you on a tour of discovery where new and old film works connect in new ways: The parameters are wide and the definitions are unnumerable and mutable. These films should speak for themselves, without compromise or apology. I wish to present the fantastic; the probematic; the beautiful; the dangerous; the brilliant and the ugly - all in one programme, if possible. One film work can illuminate its predecessor or successor and give glimpses into an alternative creative world. The Dream that Kicks aims to detect resonances and draw traces - connecting artists of different times, movements, history and culture.