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LONDON ON AND ON III: A PLACE TO BE<\/strong> 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.<\/p>\n Dalia Neis, Saints, 2005, 16mm, b\/w, silent, 5 min<\/strong> LONDON ON AND ON III: A PLACE TO BE<\/strong> SAINTS YOU MADE ME LOVE YOU L’\u00c9DUCATION SENTIMENTALE THIS IS MY LAND EATING GRASS BEN LOVE IS ALL
\nSunday 1 June 2008, at 6pm<\/strong>
\nZurich Videoex Festival Cinema Z3<\/strong><\/p>\n
\n Miranda Pennell, You Made Me Love You, 2005, video, colour, sound, 4 min<\/strong>
\n Jimmy Robert, L\u2019\u00c9ducation sentimentale, 2005, 35mm, b\/w & colour, silent, 5 min<\/strong>
\n Ben Rivers, This is My Land, 2006, 16mm, b\/w, sound, 14 min<\/strong>
\n Alia Syed, Eating Grass, 2003, 16mm, colour, sound, 23 min<\/strong>
\n Emily Wardill, Ben, 2007, 16mm, colour, sound, 10 min<\/strong>
\n Oliver Harrison, Love is All, 1999, 35mm, colour, sound, 4 min<\/strong><\/p>\nPROGRAMME NOTES<\/a>
\nSunday 1 June 2008, at 6pm
\nZurich Videoex Festival Cinema Z3<\/p>\n
\nDalia Neis, Saints, 2005, 16mm, b\/w, silent, 5 min
\n<\/strong>A reflection on cinema and its relationship to devotional belief. Saints<\/em> presents itself as a fragment from an abandoned folk archive; a document of portraits of North African, Jewish and Islamic saints. It is believed that through meeting the gaze of a saint, their wisdom and courage are transmitted to the onlooker. (DN)<\/p>\n
\nMiranda Pennell, 2005, video, colour, sound, 4 min
\n<\/strong>A group of teenage performers are filmed as a sea of faces, filling the frame, locked onto and following the single take, studio set, stop-start journey of the camera like a shoal of attentive fish. The piece\u2019s minimalist movement vocabulary of walking, stopping, turning and swaying is suggested mainly by the sound of moving feet and sudden silences as the striving to maintain an unbroken relationship of performer gaze to camera\/viewer becomes the central focus of the work. (Chirstinn Whyte)<\/p>\n
\nJimmy Robert, 2005, 35mm, b\/w & colour, silent, 5 min
\n<\/strong>Bas Jan Ader disappeared at sea over 30 years ago. My new film acts as an intervention on his filmed performances. In five minutes I attempt to locate myself within his vocabulary, re-enacting gestures that I identify with, whether these gestures come from record covers, such as David Bowie\u2019s \u2018Heroes\u2019 or \u2018The Idiot\u2019 by Iggy Pop or appropriations and transformations of Bas Jan Ader\u2019s own work. (JR)<\/p>\n
\nBen Rivers, 2006, 16mm, b\/w, sound, 14 min
\n<\/strong>A portrait of Jake Williams, who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one time, rarely throws anything away, is an expert mandolin player, and has compost heaps going back many years. It struck me straight away that there were parallels between our ways of working \u2013 I have tried to be as self-reliant as possible and be apart from the idea of industry \u2013 Jake\u2019s life and garden are much the same \u2013 he can sustain himself from what he grows and so needs little from others. (BR)<\/p>\n
\nAlia Syed, 2003, 16mm, colour, sound, 23 min
\n<\/strong>Shot in London, Karachi and Lahore and encompassing five stories relating to the times of day for Muslim prayer, this visually stunning work explores overlaps between time, memory and location through Syed\u2019s use of allegory and complex editing. By building tonal rhythmical cadences \u2013 similar musical structures to those found in jazz or Indian classical music \u2013 meaning is not only conveyed by what is said, but also by repeated rhythms built up as the textures of individual voices slip from one language to another. Meanwhile the shadows cast by the sun become emotional triggers for a young woman whose present is continually enmeshed with the past. (inIVA)<\/p>\n
\nEmily Wardill, 2007, 16mm, colour, sound, 10 min
\n<\/strong>Shot in colour on a set that was built in black and white, Ben<\/em> re-inhabits a famous case study involving hypnosis. The authority of the case study, the rickety construction of the set, and the faltering voice over hold the film together in a precarious balance. (EW)<\/p>\n
\nOliver Harrison, 1999, 35mm, sound, colour, 4 min
\n<\/strong>Winter bound, a snow queen dreams of love and the blooming of spring. Through frosted rococo cartouches she sings about the virtues of true love accompanied by miniature animated sequences. Originally recorded by Deanna Durbin in 1940, the lyrics are reinterpreted to portray universal ideas of love: good overcoming evil, warmth melting the snow, spring following winter. (OH)<\/p>\n