Tag Archives: 2016

Film Material: Supernormal

Review by Mary Stark: Film Material was delighted to be invited to take up residence in the all new Vortex stage at Supernormal Festival, 5 – 7 August 2016, presenting expanded filmic performances, screenings and projections that animated the space throughout the weekend.

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Vortex, Supernormal Festival, 2016

We were pleased to feature work by artists Mary Stark, Nick Jordan, Lord Mongo, David Chatton Barker and Sam McLoughlin, plus screenings from Chris Paul Daniels, Clara Casian, Joe Duffy, Dave Griffiths, and a short film programme curated by Nick Jordan (Back Roads to Far Places).

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Lord Mongo ‘MERZMONGO’ – a film by Nick Jordan

Kicking off proceedings on the Friday night was Lord Mongo, with The Slate Pipe Banjo Draggers, presenting an improvised electronic and vocal performance to the expanded version of Nick Jordan’s film MERZMONGO (2016), originally made for ‘Film is Dead, Long Live Dada’ festival at the ICA. Featuring stream-of-consciousness vocals, Babylonian masks, and one forlorn, masticated, bug-eyed ferret marionette, the stupefying/electrifying Lord Mongo kicked off the residency with wild and deranged abandon.

 

Mary Stark & David Chatton Barker’s 16mm performance encompassed three separate works: Boing – springs sourced from abandoned film projectors transform into 16mm photograms with optical sound and live spriinngggg action. Then Solar Spell – saluting the sun through fogged and scorched film with optical sound, pre-arranged soundscape and live lens based light play. Finally, Bread – a filmic ritual giving thanks to tactile magic and domestic alchemy, the craft of making bread. Premiering at Supernormal, the 16mm performances were made only this year at Film Farm in Ontario, Canada, and were shown at Film Farm as well as at CineCycle in Toronto.

00266.MTS_7.jpgMary Stark & David Chatton Barker

 On Saturday, following film screenings from Film Material artists Chris Paul Daniels, Clara Casian, and Dave Griffiths, Mary Stark’s Film as Fabric performance summoned the obsolete industries through 16mm film projection with optical sound, mechanical noise and sounds associated with the production of cloth. Incorporating audience participation and live stitching into 16mm film stock, the work made great use of the dramatic, triangular Vortex space, with multiple projections and light.

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Following Sunday’s screening of experimental short film programme, Back Roads to Far Places, curated by Nick Jordan, collaborative duo David Chatton Barker and Sam McLoughlin enacted their Cognitive liberation happenings and ritual instruments performance. A mysterious, exploratory, alchemical, visual and sonic transformation of everyday objects, rudimentary electronics, instruments and natural elements.

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In partnership with BEEF (Bristol Experimental Expanded Film), Mary Stark concluded the weekend festival residency with Your Cup of Tea,  a 16mm film with original soundtrack, plus live sound including a whistling kettle and clattering tea cups, and of course freshly brewed cups of tea, served to the audience in BEEF’s Cephalopod space, located in the Supernormal woods…

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Mary Stark, Your Cup of Tea (photo courtesy BEEF)

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Nuclear Cultures: HADES

Arts Catalyst & Z33 House for Contemporary Arts, Belgium, 11 – 13 July 2016

A field trip to HADES, Belgium’s underground research lab in Mol, for geologic disposal of high-level radioactive waste. Organised by Nuclear Cultures project in with Z33 (Hasselt), and ONDRAF/NIRAS (Belgian agency for radioactive waste and enriched fissile materials), artists Kota Takeuchi, Andy Weir, Dave Griffiths and curators Ils Huygens and Ele Carpenter spent 3 days visiting Z33 and meeting Christoph Depaus, Maarten Van Geet and Jantine Schröder at SCK.

I organised Deep Field [Club Golf Nuclea Mol] – an art-science golfing dialogue reflecting on time as underground moles in the HADES research bunker, and re-enacting leisure pursuits of post-war nuclear workers. I’m collecting thoughts and feelings on future mattering of time and space implied by burying, and co-existing with, nuclear waste. I’m producing content for Deep Field [Unclear Zine], a microfiche fanzine collaging poetry, drawing, data, photographs and interviews that attempts to translate the contemporary radioactive waste repository for far-future readers, as a folkloric site of conflict and unknowing. 

The HADES lab was constructed in 1980, at 255 metres underground, to research possibilities of geological disposal in deep clay strata. Like underground facilities in France, Sweden and Japan, the research lab is not intended to be used as a final repository for radioactive waste. Hades is also the Greek god of the underworld.

 

Treblinka: Archaeological Investigations & Artistic Responses

centre-of-archaeology-logo_tcm44-72700Treblinka: Archaeological Investigations & Artistic Responses (2016), eds. Caroline Sturdy Colls & Michael Branthwaite, Stoke: Centre of Archaeology Special Issue, ISBN 9781534632295

Between 800,000 and 1 million people lost their lives at Treblinka extermination camp during the Holocaust. A further 10,00 perished in the nearby labour camp as a result of the Nazi death through work policy and ad hoc executions. Since 2007 both camps have been the subject of forensic archaeological research by Dr Caroline Sturdy Colls, to reveal new insights into the nature and extent of Nazi persecution.

This book presents the major findings, which included the discovery of the gas chambers, personal effects of victims, and mass graves. It also includes artistic response to these findings, curated by Michael Branthwaite and commissioned as part of the international exhibition Finding Treblinka. Featuring new artworks by Michael Branthwaite, Dave Griffiths, Janine Goldsworthy, Hilary Jack and Jenny Steele, this opened at the Museum of Struggle and Martyrdom in Treblinka, Poland in August 2015 and the Wiener Library in London, UK in June 2016.

Finding Treblinka: London

Wiener Library for the Study of the Holocaust & Genocide, 6 July – 15 September 2016

The Wiener Library’s new exhibition will explore the Nazi labour and extermination camps of Treblinka using the ground-breaking research of Staffordshire University archaeologist Dr Caroline Sturdy Colls and artistic responses to the topic curated by Michael Branthwaite.

For the first time in the UK, this archaeological work will be adapted and displayed along with specially commissioned artworks by Michael Branthwaite, Janine Goldsworthy, Dave Griffiths, Hilary Jack and Jenny Steele.

Through the team’s unique, predominantly non-invasive approach, a more accurate picture of the camps has emerged. At the same time, religious and ethical considerations surrounding their investigation have been respected. This work allowed the old gas chambers, mass graves and a large number of objects to be located. The innovative exhibition includes highlights from the Library’s collections, such as a contemporary map of Treblinka, Nazi documentation and testimony from survivors. It examines the history and architecture of the camps and the forensic archaeological process that helped reveal the camp’s history. The exhibition also explores the application of art as a means to provide access to scientific and historic data.

Towards a new concept of the Art School

The Precarious University/Chorlton Arts Festival, Sunday 22 May, 2016

The symposium aimed to form a critical discourse on the art school’s history and potential, and construct a radically open and popular concept of the art school for the 21st century within the unique surroundings of the Smallest Sculpture Park in the World, in a Chorlton back garden. The Precarious University is a collaboration between @.ac and Levenshulme Contemporary Art Centre, and the symposium was attended by artists, students and members of Islington Mill Art Academy and School of the Damned.  The resulting dialogue between participants is transcribed, in abridged form, here.

With: Andy Broadey, Jasmir Creed, David Daly, Dave Griffiths, Claire Hignett, Ahmed Hassan, Jane Lawson, Giles Marshall, Nathanial Mason, Richard Miles, Bob Nancollis, Dr Amanda Ravetz and Lisa Risbec.