Counterculture: London in the Sixties

Date: 25 May 2008 | Season: Videoex 2008

Sunday 25 May 2008, at 12pm
Zurich Videoex Festival Cinema Z3

After The Beatles shook the nation out of the cultural dark ages, Swinging London was the place to be. Prompted by the example of the American Beats, English experimenters and creative rebels challenged the conventions of art, music, literature, filmmaking and society itself.

The Boyle Family, Poem for Hoppy, 1967, 16mm on video, colour, sound, 4 min
Peter Whitehead, Wholly Communion, 1965, 16mm, b/w, sound, 32 min
Antony Balch & William Burroughs, Towers Open Fire, 1963, 16mm, b/w & colour, sound, 16 min
John Latham, Speak, 1968-69, 16mm, sound, colour, 11 min
James Scott, Richard Hamilton, 1969, 16mm, colour, sound, 25 min


Shoot Shoot Shoot: 1

Date: 27 May 2008 | Season: Videoex 2008 | Tags:

Tuesday 27 May 2008, at 6pm
Zurich Videoex Festival Cinema Z3

The London Film-Makers’ Co-operative was established in 1966 to support work on the margins of art and cinema. It uniquely incorporated three related activities within a single organisation – a workshop for producing new films, a distribution arm for promoting them, and its own cinema space for screenings. In this environment, Co-op members were free to explore the medium and control every stage of the process. The Materialist tendency characterised the hardcore of British filmmaking in the early 1970s. Distinguished from Structural Film, these works were primarily concerned with duration and the raw physicality of the celluloid strip.

Annabel Nicolson, Slides, 1970, colour, silent, 11 mins (18fps)
Guy Sherwin, At the Academy, 1974, b/w, sound, 5 mins
Mike Leggett, Shepherd’s Bush, 1971, b/w, sound, 15 mins
David Crosswaite, Film No. 1, 1971, colour, sound, 10 mins
Lis Rhodes, Dresden Dynamo, 1971, colour, sound, 5 mins
Chris Garratt, Versailles I & II, 1976, b/w, sound, 11 mins
Mike Dunford, Silver Surfer, 1972, b/w, sound, 15 mins
Marilyn Halford, Footsteps, 1974, b/w, sound, 6 mins


London On and On

Date: 28 May 2008 | Season: Videoex 2008

28 May–1 June 2008
Zurich Videoex Festival Cinema Z3

Over three loosely-thematic programmes, LONDON ON AND ON surveys recent film and video made by artists who either live or work in the English capital. Since the 1960s, when the formation of the Film-Makers’ Co-operative stimulated independent production, there has been an abundance of personal filmmaking in London, reflecting uniquely English characteristics and the cultural diversity of a capital city. This series, featuring works from the last decade, demonstrates how this rich history has developed into a thriving present. Though video has become the dominant medium, many artists now turn again toward film, perhaps invigorated by its proliferation in contemporary galleries and in reaction to rumours of an end to 16mm.

London On and On I: Social Visions

Date: 28 May 2008 | Season: Videoex 2008

Wednesday 28 May 2008, at 4pm
Zurich Videoex Festival Cinema Z3

Few of these films of the urban environment were shot in London, the artists have more frequently travelled farther afield, to Europe, America and Asia, to conduct their visual inquiries into architecture and society. A musical interlude, tracing the migration of composer Stefan Wolpe, provides a more interior viewpoint.

Mirza/Butler, The Space Between, 2005, 16mm, colour, silent, 12 min
Emily Richardson, Block, 2005, 16mm, colour, sound, 12 min
Redmond Entwistle, Social Visions, 2000, 16mm, b/w, sound, 15 min
Jayne Parker, Stationary Music, 2005, video, b/w, sound, 16 min
Matthew Noel Tod, Jetzt im Kino, 2003, video, colour, sound, 12 min
Lucia Nogueira, Smoke, 1996, 16mm, b/w, sound, 5 min
Guy Sherwin, Rallentando, 2000, 16mm, b/w, sound, 9 min


Social Works: New Documentary Forms

Date: 30 May 2008 | Season: Videoex 2008

Friday 30 May 2008, at 4pm
Zurich Videoex Festival Cinema Z3

Long before the celebrated ‘Free Cinema’ movement of the 1950s, British-based filmmakers were advancing the documentary form through innovative styles and techniques. Beginning with a hilariously absurd travelogue from 1924, this programme traces that development through good times and bad, resolute with humour and irony.

Adrian Brunel, Crossing the Great Sagrada, 1924, 35mm, tinted b/w, sound, 10 min
Arthur Elton & E.H. Anstey, Housing Problems, 1935, 35mm, b/w, sound, 13 min
Stefan & Franciszka Themerson, Calling Mr Smith, 1943, 35mm, colour, sound, 10 min
Len Lye, N or NW, 1938, 35mm, b/w, sound, 8 min
Charles Ridley, Germany Calling, 1941, 16mm, b/w, sound, 2 min
Claude Goretta & Alan Tanner, Nice Time, 1957, 16mm, b/w, sound, 17 min
John Bennett, Papercity, 1969, 35mm, colour, sound, 5 minutes


Shoot Shoot Shoot: 2

Date: 31 May 2008 | Season: Videoex 2008 | Tags:

Saturday 31 May 2008, at 6pm
Zurich Videoex Festival Cinema Z3

The 1960s and 1970s were a defining period for artists’ film and video in which avant-garde filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers’ Co-operative, an artist-led organisation that incorporated a distribution office, projection space and film workshop. Despite the workshop’s central role in production, not all the work derives from experimentation in printing and processing. Filmmakers also used language, landscape and the human body to create less abstract works that still explore the essential properties of the film medium.

Malcolm Le Grice, Threshold, 1972, colour, sound, 10 mins
Chris Welsby, Seven Days, 1974, colour, sound, 20 mins
Peter Gidal, Key, 1968, colour, sound, 10 mins
Stephen Dwoskin, Moment, 1968, colour, sound, 12 mins
Gill Eatherley, Deck, 1971, colour, sound, 13 mins
William Raban, Colours of this Time, 1972, colour, silent, 3 mins
John Smith, Associations, 1975, colour, sound, 7 mins


London On and On II: Surface Structures

Date: 1 June 2008 | Season: Videoex 2008

Sunday 1 June 2008, at 4pm
Zurich Videoex Festival Cinema Z3

Exploring the surface of the film strip, the surface of the earth and the structures that make up cinematic movement, the programme begins with an overwhelming barrage and ends with a sliver of carpaccio. Between those extremes, time-lapse films survey the landscape or atmosphere and John Smith directs the flow of traffic.

Greg Pope, Shadow Trap, 2007, 35mm cinemascope, colour, sound, 8 min
Nicky Hamlyn, Water Water, 2005, 16mm, b/w & colour, silent, 11 min
William Raban, Continental Drift, 2005, 35mm, colour, sound, 15 min
John Smith, Worst Case Scenario, 2003, video, b/w & colour, sound, 18 min
Alix Poscharsky, As We All Know, 2006, 16mm cinemascope, colour, silent, 8 min
Emma Hart, Skin Film 3, 2006, 16mm, colour, sound, 11 min


London On and On III: A Place to Be

Date: 1 June 2008 | Season: Videoex 2008

Sunday 1 June 2008, at 6pm
Zurich Videoex Festival Cinema Z3

The most personal of the three contemporary programmes considers our situation in relation to others and our surroundings, with poetic works that look in at the viewer, and out into the world. Featuring characters alienated by circumstance or isolated by choice, it ends with a wistful song of love.

Dalia Neis, Saints, 2005, 16mm, b/w, silent, 5 min
Miranda Pennell, You Made Me Love You, 2005, video, colour, sound, 4 min
Jimmy Robert, L’Éducation sentimentale, 2005, 35mm, b/w & colour, silent, 5 min
Ben Rivers, This is My Land, 2006, 16mm, b/w, sound, 14 min
Alia Syed, Eating Grass, 2003, 16mm, colour, sound, 23 min
Emily Wardill, Ben, 2007, 16mm, colour, sound, 10 min
Oliver Harrison, Love is All, 1999, 35mm, colour, sound, 4 min