El helicóptero

Dora García, 2016

El helicóptero is the film footage of the re-enactment of Masotta’s “The Helicopter” happening and, the first chapter of a longer film by Garcia titled Segunda Vez, which will dwell on the idea of “happening again”, not only with respect to re-enactment, but even more so in the context of fantastic literature, visionary fiction and alternative history.

Wake Work

Charlotte Ginsborg & Rose Kowalski, 2007 English

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…

The Desert People

David Lamelas, 1974 English

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.

2001 – A Family Odyssey: Ophelia’s Version

Sarah Miles, 2002

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.

Read Only Memory

John Maybury, 1998

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

Mark Aerial Waller, 2013

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.