<\/p>\n
EXTRAORDINARY LIVES
\n<\/strong>London Roxy Bar and Screen
\nTuesday 20 November 2007, at 8pm<\/p>\nBOGMAN PALMJAGUAR
\nLuke Fowler, UK, 2007, video, colour, sound, 30 min
\n<\/strong>\u201cBogman Palmjaguar<\/em> is a portrait of a man who after a series of disturbing events became distrustful of people and withdrew into nature. Bogman describes himself as \u2018the hidden cat\u2019 and \u2018wild outlaw of paradise\u2019 and is fighting against a diagnosis that that brands him as a \u2018paranoid schizophrenic\u2019. Bogman\u2019s early life, and the diagnosis, subsequently conditioned his relationships with others, both within and beyond the medical establishment. The decision to take legal action to remove this label is of paramount importance to him, both as a search for justice and to seek reason in the course his life has taken over the past three decades. The film was shot across two visits to Bogman\u2019s home in a remote village in the north of Scotland. The former was motivated by Bogman\u2019s solicitor\u2019s request of an independent report by Dr. Leon Redler (author and college of R. D. Laing), to assess whether the label \u2018paranoid schizophrenic\u2019 was justified. The latter was in collaboration with sound artist Lee Patterson, documenting the environment which Bogman sought to preserve during his time as a conservationist. Bogman had been passionate about the threatened habitat of Scotland\u2019s Flow Country; a wilderness made of blanket bogs and peatlands that houses a unique diversity of wildlife. However the peatlands also became a hide-out, when Bogman fled attempts to section him. The film is a reconciliation of the young conservationist with his older self; isolated and withdrawn from society.\u201d (Luke Fowler)<\/p>\nA BALLAD WITH GENESIS P-ORRIDGE AND LADY JAYE
\nMarie Losier, USA, 2007, video, colour, sound, 37 min
\n<\/strong>\u201cI met Genesis by accidentally treading on her feet. I was at an opening in Soho, one of those where you can barely walk and breath and I ended up on her toes. I turned around to apologize and there she was, staring at me smiling with all her golden teeth glittering in my eyes. That\u2019s where it all started. For a while we emailed, learning about each other more and more and one day I ended up in her house, sitting on a giant plastic green chair in the shape of a hand. Since that day I\u2019ve been, in a way, adopted by the family of mom and pop, as Genesis and Lady Jaye call themselves, and by the whole Psychic TV3 band. I\u2019ve been filming them at their home, waking up and going through the routine of being Pandrogynes, which is their main art work today: it\u2019s a living performance in a way. They\u2019ve been having plastic surgery to resemble one another, or rather to be closer to each other in order to break the binary system of male\/female, good\/bad \u2026 creating a third identity that is free from the rules of society. It\u2019s been now a year since I started shooting: they took me on tour in Europe with them, to film them on the routine of the tour. My camera and myself have been totally invited to their life at the rehearsals with the whole band, at home with their favourite person, their dog, Big Boy, with friends, their daughters, going through their incredibly busy daily lifestyles between recording albums, preparing concerts, being in three bands, making art pieces for gallery shows, writing books, doing a raw food diet, shopping for mini skirts, cleaning, and growing their garden in their Bushwick house \u2026 there is a lot more I need to capture, but what you will see now is a sort of love ballad for them.\u201d (Marie Losier)<\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-1895","post","type-post","status-publish","format-standard","hentry","category-the-wire-25"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1895","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1895"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1895\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1895"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1895"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}