A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.
Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international.
Still, the light was beautiful.
On the eve of LUX leaving the building it has occupied for the last 14 years; Shacklewell Studios on Shacklewell Lane in Dalston we present Charlotte Ginsborg and Rose Kowalski’s elegiac portrait of the building filmed in the early 2000s (before LUX moved in). As well as a portrait of how environment shapes our attitude to work, the film captures a Hackney building, a former shirt factory, at a particular moment in time when its tenants were shifting from manufacture and importing to design, as the area changed and the rents increased…
To celebrate ICA London’s David Lamelas retrospective and the performance of his work Time at Tate Modern we proudly present his seminal fictional documentary film about a Native American reservation that critiques the practice of film production itself.
2016 commemorates 400 years since the death of William Shakespeare and we present a small nod to this with Sarah Miles’ 2001 – A Family Odyssey: Ophelia’s Version a highly personal exploration of the artists’ family in which she takes the role of Ophelia from Shakespeare’s Hamlet.
To celebrate the launch of THIS IS NOW: FILM AND VIDEO AFTER PUNK, a new major touring programme curated by William Fowler (BFI Archive) that looks at British artists’ film and video from the post-punk era (1978–85), we present John Maybury’s trip elegy to club culture, Read Only Memory.
Time Together was commissioned for the Baltic Triennial as a daily broadcast in twelve episodes. A fictional scenario unravels in parallel and within the daily performances of the Triennial. This methodology finds its origins in the ethnographic cinema of Jean Rouch, where ‘Radical Fabulation’ provides a relation between the ethnographic authentic image and the inauthenticity of cinema.