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LONDON ON AND ON I: SOCIAL VISIONS<\/strong> 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.<\/p>\n Mirza\/Butler, The Space Between, 2005, 16mm, colour, silent, 12 min<\/strong> LONDON ON AND ON I: SOCIAL VISIONS THE SPACE BETWEEN BLOCK SOCIAL VISIONS STATIONARY MUSIC JETZT IM KINO SMOKE RALLETANDO
\nWednesday 28 May 2008, at 4pm<\/strong>
\nZurich Videoex Festival Cinema Z3<\/strong><\/p>\n
\n Emily Richardson, Block, 2005, 16mm, colour, sound, 12 min<\/strong>
\n Redmond Entwistle, Social Visions, 2000, 16mm, b\/w, sound, 15 min<\/strong>
\n Jayne Parker, Stationary Music, 2005, video, b\/w, sound, 16 min<\/strong>
\n Matthew Noel Tod, Jetzt im Kino, 2003, video, colour, sound, 12 min<\/strong>
\n Lucia Nogueira, Smoke, 1996, 16mm, b\/w, sound, 5 min<\/strong>
\n Guy Sherwin, Rallentando, 2000, 16mm, b\/w, sound, 9 min<\/strong><\/p>\nPROGRAMME NOTES<\/a>
\n<\/strong>Wednesday 28 May 2008, at 4pm
\nZurich Videoex Festival Cinema Z3<\/p>\n
\nKaren Mirza & Brad Butler, 2005, 16mm, colour, silent, 12 min
\n<\/strong>Time and space shattered into shards of light. The footage was shot in India and thoroughly reworked in the optical printer into a rigorous, flickering duality. (MW)<\/p>\n
\nEmily Richardson, 2005, 16mm, colour, sound, 12 min
\n<\/strong>Day through night, a portrait of a 1960s London tower block, its interior and exterior spaces explored and revealed. Patterns of activity build a rhythm and viewing experience not dissimilar from the daily observations of the security guard sat watching the flickering screens with their fixed viewpoints and missing pieces of action. (ER)<\/p>\n
\nRedmond Entwistle, 2000, 16mm, sound, b\/w, 15 min
\n<\/strong>Social Visions<\/em> suggests the myriad histories and futures that constitute Los Angeles; a city whose public image has been used as cover for the abuse of its population but also a city where one senses the potential for radical social change. The film is about the impossibility of adequately representing a city when whole sections of the population are excluded from the channels of power. (RE)<\/p>\n
\nJayne Parker, 2005, video, b\/w, sound, 16 min
\n<\/strong>Poetic record of \u2018Sonata 1\u2019 (1925) by modernist Stefan Wolpe \u2013 a Jewish communist who was forced to flee Germany in 1933, ultimately making the transition from the Bauhaus to Black Mountain College. An appropriately still and empathetic camera captures this vibrant solo piano performance by his daughter Katerina, who first recounts some of the composer\u2019s personal history. (MW)<\/p>\n
\nMatthew Noel-Tod, 2003, video, sound, colour, 12 min
\n<\/strong>Jetzt im Kino<\/em> (literally \u2018Now in the Cinema\u2019) brings together adapted texts from Laszlo Moholy-Nagy\u2019s \u2018Painting, Photography, Film\u2019, Rudolf Arnheim\u2019s \u2018Film As Art\u2019, David Cooper\u2019s polemical psychology book \u2018The Grammar of Living\u2019 and writings from and around Rainer Werner Fassbinder\u2019s film The Marriage of Maria Braun<\/em> into a hybrid narrative floating across the cityscape of modern Berlin. (MNT)<\/p>\n
\nLucia Nogueira, 1996, 16mm, b\/w, sound, 5 min
\n<\/strong>A black bench looks out across the sea, and we hear the sound of kites flapping in the wind. Black pigeons fly through the air, their flight echoed by black kites. One kite is manipulated by an old man who looks like he\u2019s performing hyperpassionate tai chi moves. The string is barely visible, and you only see the kite\u2019s shadow, but it doesn\u2019t matter \u2013 what\u2019s more important is the outline of the man\u2019s body against the sky and the graceful language he creates with his gestures. (Emily Spears Meers)<\/p>\n
\nGuy Sherwin, 2000, 16mm, b\/w, sound, 9 min
\n<\/strong>Accelerating and decelerating movements of a train, of film-speed, and of music derived from Honegger\u2019s \u2018Pacific 231\u2019. (GS)<\/p>\n