Live Art & Film

Image: Courtesy Electronic Arts Intermix (EAI), New York

Image: Courtesy Electronic Arts Intermix (EAI), New York

Image: Courtesy Electronic Arts Intermix (EAI), New York

Rachel Pimm, still from Gringo, courtesy of the artist

Rachel Pimm, still from Gringo, courtesy of the artist

Rachel Pimm, still from Gringo, courtesy of the artist

Front cover of Marmalade Me, by Jill Johnston, Published by E.P. Dutton New York, 1971

Front cover of Marmalade Me, by Jill Johnston, Published by E.P. Dutton New York, 1971

Front cover of Marmalade Me, by Jill Johnston, Published by E.P. Dutton New York, 1971

Marmalade Me

Wed 13 Aug 2014, 7pm, Clore Studio, Tickets from £3

Overview

Certainly the films wouldn’t have stood alone. Nor would the dancing. They kind of leaned on each other. But isn’t this generally the case. Leaning implies a deficiency. I suppose the problem in artistic collaboration is to get the leaning properties looking so essential to each other that nobody would guess they needed each other in the first place. Then it isn’t always a matter of need –what a thing needs to complete itself, but a matter of addition – what can be added to strengthen or emphasize or advertise or illustrate a concept. What’s added may finally appear a necessity (a need-lean), but the object in any case is to make it function somehow. Do not just stand there, do something etc.

(...)

Interlocking references back and forth from screen to stage. Live images absorbed by screen images which threw the figures back again, then reabsorbed them until the real and the illusory became magically confused. No single camouflaging device. The cumulative deception exceeded any transient “effect.”

Jill Johnston in: Photoplay in: Johnston, Jill, Marmalade Me, 1971, p122 

This screening programme takes the writings of Jill Johnston as a starting point to look at a selection of recent works that address questions of performance, staging and theatrics in film and video. Johnston who in the 60s and 70s was a vital voice in regards to performance, happenings and dance, expressed a perspective that was anecdotal and deeply personal, addressing her subjects in an intimate manner that conflated art work, personality, and context, and that opened a way of experiencing the work in all its iconoclastic consciousness. The selected films deal with acting, language, staging, gesture, and dance, reimagining ways of dealing with performance for the camera.

The screening presents films by Joan Jonas, Charles Atlas, Rachel Pimm, Sophie Cundale, Alice Theobald and Math Bass.

Programmed in collaboration with Julia Crabtree and William Evans and presented in conjunction with both current exhibitions. 

Booking is essential. Book online or call 020 7703 6120.

Fans pay less for tickets – Join here from £20 per year  


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