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DAVID LEISTER: NATURE BOY A pastoral projection by David Leister, centred around his 16mm found footage hybrid Nature Boy<\/i> (1990), and films from his extraordinary and eclectic collection. Featuring glimpses through the back gardens of British amateur movie makers, an instructional film on flower arranging, and a Cine Society film with poetic commentary on the passing of the seasons. Plus surprise films and a celebration of Eden Ahbez\u2019 classic song \u201cNature Boy\u201d, interpreted in many strange and wonderful ways.<\/p>\n Arranging Flowers, date and filmmakers unknown, 12 min<\/strong> Gregory Kurcewicz, The Past is History, Tomorrow is a Mystery, Today is a Gift, That’s Why it’s Called The Present, 2004, 3 min<\/strong> Safety First, date and filmmaker unknown, 10 min<\/strong> Sophie Lascelles, Dig, 2002, 3 min excerpt of continuous loop<\/strong> Sophie Lascelles, Till, 2003, 3 min excerpt of continuous loop<\/strong> My Second Love and Garden Girl, anonymous amateur films, date unknown, 6 min<\/strong> William English, Displaced, 2000, 15 min<\/strong> David Leister, Nature Boy, 1990, 14 min<\/strong> The Changing Scene, anonymous amateur film, early 1960s, 13 min<\/strong> “Nature Boy: David Leister” curated by Mark Webber for LUX and Tate Britain. Programme composed by David Leister. Thanks to Ben Cook for the musical interludes.<\/p>\n","protected":false},"excerpt":{"rendered":" DAVID LEISTER: NATURE BOY Sunday 21 March 2004, at 2pm London Tate Britain Clore Auditorium A pastoral projection by David Leister, centred around his 16mm found footage hybrid Nature Boy (1990), and films from his extraordinary and eclectic collection. Featuring glimpses through the back gardens of British amateur movie makers, an instructional film on flower […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3954","post","type-post","status-publish","format-standard","hentry","category-miscellaneous"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3954","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=3954"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3954\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/b> Sunday 21 March 2004, at 2pm<\/strong>
\nLondon Tate Britain Clore Auditorium<\/strong><\/p>\n
\nA film made by and\/or for a women’s group demonstrating \u2026 the arranging of flowers! With commentary and tasteful music. (Kino Club Archives)<\/p>\n
\nBlown up from super 8 original, flower arranging of the experimental kind.<\/p>\n
\nAn educational film warning of the dangers of stinging plants using time lapse cinematography, with an equally time lapsed commentary. (Kino Club Archives)<\/p>\n
\nCreated for the exhibition Diversion at the Museum of Garden History<\/p>\n
\nCreated for Great Piece of Turf, at Danielle Arnaud Gallery<\/p>\n
\nTwo clips from amateur filmmakers; the first a close up look at flowers in a backyard garden, and the second being an affectionate portrait of a young woman playing to the camera. (Kino Club Archives)<\/p>\n
\n“the more I thought of it later the more it seemed strong as an image of alienation, emptiness and just strangeness, those shots of colour on the surface somehow of those trailers, the gloss of them just being there, and the tents, the kind of mystery and (un-heavy-handed) alienation at the same time without some spurious meanings intercut, they had a necessary time of their own to impart their effect(s)… no anecdotal copouts; the whole thing gained rather than lost afterwards which is always a good sign with films I think” \u2014Peter Gidal, August 2000<\/p>\n
\nNature Boy<\/em> is a film about making things grow. Found footage is grafted on to ‘shot to match’ film to produce a successful hybrid of new and old. In this way of ‘recycling’ imagery, Nature Boy is truly an environmentally friendly film. Aleks Kolkowski (violin) and Ian Hill (accordion) specially prepared the original music score from Kino Club sessions. Note: for maximum enjoyment a number 138 green gel should be placed over the lens during projection.<\/p>\n
\nA rare 16mm amateur sound film with ‘live’ commentary from T. B. Sansom giving his candid and charming observations on the passing of seasons in and around Edinburgh and the north of England in the early 60s. (Kino Club Archives)<\/p>\n