DeNatured – Vital Capacities exhibition

3 artists' work from Vital Capacities are represented - in the left corner text says hanover mums love level dick in red font - created by violet marchenkova, on the right Jess Starns' work is an AR image of a fern over a natural garden landscape, on the bottom left is Andrew Luk's work, a still image captured from Minecraft

 

3 artists' work from Vital Capacities are represented - in the left corner text says hanover mums love level dick in red font - created by violet marchenkova, on the right Jess Starns' work is an AR image of a fern over a natural garden landscape, on the bottom left is Andrew Luk's work, a still image captured from Minecraft

For April 2022’s Vital Capacities residency, we invited three artists to join as part of our collaboration with Videotage (Hong Kong), Both Sides Now 7: DeNatured. The artists, Andrew Luk (Hong Kong), violet marchenkova (UK) and Jess Starns (UK), took part in Vital Capacities, while also participating in Videotage’s online residency, Leave Your Body, which enables artists to explore, build and create in a 3D version of Videotage’s space at the Cattle Depot in Hong Kong on Minecraft.

Artists were invited to freely explore ideas, with some emphasis on focusing upon natural and digital environments. The DeNatured exhibition shows some of the work resulting from the residencies on Vital Capacities and Leave Your Body.

See the exhibition now on Vital Capacities by clicking here.

 

關於彼岸觀自在 About Both Sides Now
both-sides-now.org

Both Sides Now is a tactical programme partnership between Videotage (HK) and videoclub (UK). Which uses contemporary and historical film and video work to explore developments within the culture and society of Hong Kong, China, and the UK, and beyond.

     

Arts Council England funding logo (Lottery)     

Brighton & Hove on film, with talk by Dr Frank Gray, Screen Archive South East

John King, Peter Pan’s Playground, 1956 (film still, courtesy of Screen Archive South East)

Brighton & Hove on film, with talk by Dr Frank Gray, Screen Archive South East

Free screening and talk by Dr Frank Gray (Screen Archive South East) at Hop50+ Cafe, St John’s Church, Palmeira Square/Church Rd, Hove BN3 2FL. Click here for a map to the cafe.

Date and time: 11am, 26th May 2022.

Free to attend, no booking needed.

Films have been made in Brighton & Hove since 1896. Dr Frank Gray will guide you through these movies, all drawn from the collection of Screen Archive South East at the University of Brighton. They reveal everyday scenes, the pleasures of the seafront, the work of pioneers around 1900, the King & Queen visiting the Indian Hospital, the opening of the SS Brighton (then the world’s largest in-door swimming pool), preparations for war in 1939, and John King’s portrait of the city in 1956.

Frank Gray runs Screen Archive South East at the University of Brighton. The archive collects, preserves and shares films made in Brighton & Hove and the South East. Visit the archive’s website to see the collection and contact it if you have a film that you think should be saved for the future.

This project is part of Days of Wonder, curated and produced by videoclub and Corridor, delivered in partnership with Royal Pavilion & Museums Trust and Screen Archive South East. Supported by Arts Council England, National Lottery Heritage Fund, Film Hub South East and The Arts Society, East Sussex.

 

Exploring early film in Hove, with Dr Frank Gray, Screen Archive South East

George Albert-Smith & Laura Bailey, Two Clowns, 1906 (courtesy of Screen Archive South East)

Exploring early film in Hove, with Dr Frank Gray, Screen Archive South East

Free screening and talk by Dr Frank Gray (director, Screen Archive South East) at Hangleton & Knoll Project, St Richard’s Church, Egmont Rd, Hove BN3 7FP.

Time and date: 11am, 7 June 2022.

To book a place, email Katie Merrien: katie.merrien@hkproject.org.uk

At the start of the 20th Century, Hove was an important centre for a new technology – the cinematograph. G.A. Smith and his wife Laura Bayley are at the heart of this history. Together they made films at St Ann’s Well Gardens in Hove from 1897 to 1903. Their films began as one minute unedited scenes and then they taught themselves how to combine shots and create film sequences. Dr Frank Gray’s talk will introduce these first film-makers and their films and consider why Hove was so well suited to become a movie capital.

Frank Gray runs Screen Archive South East at the University of Brighton. The archive collects, preserves and shares films made in Brighton & Hove and the South East. Visit the archive’s website to see the collection and contact it if you have a film that you think should be saved for the future.

This project is part of Days of Wonder, curated and produced by videoclub and Corridor, delivered in partnership with Royal Pavilion & Museums Trust and Screen Archive South East. Supported by Arts Council England, National Lottery Heritage Fund, Film Hub South East and The Arts Society, East Sussex.

 

Days of Wonder – Screening programme

Shih-Chieh Lin, A Short History of Decay, 2014 – courtesy of the artist.

Days of Wonder

Days of Wonder is a curated programme of artists’ film & video created using archival footage by international artists, and archive films by Brighton & Hove pioneer filmmakers from Screen Archive South East (SASE). Archive films will be accompanied by a live music performance.

Bringing together some of the earliest films made in Brighton & Hove (1897-1905) to recent work by UK and international artists, the programme celebrates the creativity of early film pioneers to recent techniques, which repurpose found footage in inventive ways. 

Days of Wonder includes work by Leonardo Gracés, Annis Joslin, Seo Hye Lee, Shih-Chieh Lin, Michael Robinson, Alia Syed, and a collection of archive films from Screen Archive South East, including the work of James Williamson and George Albert Smith & Laura Bayley. 

The programme is part of a recent project investigating how artists can bring to life the Film & Media Collections of Brighton & Hove, which resulted in an exhibition at Hove Museum & Art Gallery in February 2022. 

SCREENING DETAILS

Days of Wonder will show at Fabrica Gallery on 28 April at 7pm. 

VENUE: Fabrica, 40 Duke Street, Brighton BN1 1AG
DATE AND TIME: Thursday, 28 April 2022, 7pm
PRICE: £3
BOOK TICKET: Click here to book on Eventbrite

This programme is screened with subtitles for D/deaf and hard of hearing audiences.

FILM PROGRAMME

  • Leonardo Gracés, Engranajes, 3:53 mins, 2020 (UK premiere)
  • Annis Joslin & Seo Hye Lee, Exquisite Archive, 2:34 mins, 2022
  • Seo Hye Lee, [sound of subtitles], 4:35 mins, 2021
  • Shih-Chieh Lin, A Short History of Decay, 5:45 mins, 2014
  • Michael Robinson, The Dark, Krystle, 9:34 mins, 2013
  • Alia Syed, Points of Departure, 16 mins, 2014
  • Screen Archive South East, Early Filmmaking in Hove (1897-1905), 18:54 mins, 2022

Days of Wonder is produced by videoclub and Corridor in partnership with Royal Pavilion & Museums Trust with support from Arts Council England, National Lottery Heritage Fund, Film Hub South East, Screen Archive South East and The Arts Society East Sussex.

 

PROGRAMME AND NOTES

Leonardo Gracés, Engranajes, 3:53 mins, 2020 (UK premiere)

Dismantle the gaze, analyze the fragments, choose, rebuild, generate a new direction: this is the mechanism that for me involves the appropriation of found files. The bodies become gears that merge with a productive objective, while speeches are heard with words that encourage effort and work. Everything is assembled and overlapped to form a dense and rarefied sense machine.

LIN Shih-Chieh, A Short History of Decay, 5:45 mins, 2014

History is the interpretation of linear signs and symbols. By decontextualizing the signs, the images are liberated. To fight against this illusion, let there be glitches. This video is sampled from Assignment Taiwan, a propaganda film made by the US army in the 70s, introducing the colonised history and the establishment of the US military in Taiwan after the Second World War.

Annis Joslin & Seo Hye Lee, Exquisite Archive, 2:34 mins, 2022

Exquisite Archive was made by artists Annis Joslin and Seo Hye Lee when they were commissioned to develop workshops, videos and objects inspired by the Film & Media Collections of Royal Pavilion & Museums Trust and Screen Archive South East.

Annis and Seo Hye are based on opposite sides of the UK, and their collaboration began during the uncertain times of Covid-19, when they began to find ways to test out ideas remotely by exchanging a series of videos via WhatsApp. 

Inspired by the inventiveness and playfulness of the Hove’s early film pioneers, Exquisite Archive is based on both the game of consequences and exquisite corpse, but using video — starting with an early silent film clip prompt, one makes a response then sends only the last second to the other via WhatsApp who then repeats the process and vice versa  (with a new silent film clip prompt at different points).

Seo Hye Lee, [sound of subtitles], 4:35 mins, 2021

[sound of subtitles] is silent throughout, allowing the audience to travel through the transition of videos and texts and encouraging viewers to conjure their own interpretation of sound and event. Regardless of hearing ability, one can explore their own unique soundscape and reimagine the meaning of listening.

Michael Robinson, The Dark, Krystle, 9:34 mins, 2013

The cabin is on fire! Krystle can’t stop crying, Alexis won’t stop drinking, and the fabric of existence hangs in the balance, again and again and again.

Alia Syed, Points of Departure, 16 mins,2014

The objects and places we cannot leave behind create the tapestry that is Points of Departure.

Exploring themes of personal and collective memory through Syed’s relationship to the city of Glasgow, a voice over describes a tablecloth the artist retrieved whilst clearing her elderly father’s house.

The film attempts to unravel the threads of memory held within this mundane item and to find an image within the BBC archive that relates to Syed’s memories of growing up in Glasgow.

Syed’s father’s unrehearsed attempts to translate an Urdu Ghazal, discovered in the archive, a poetic expression of the beauty of love and the pain of loss exposes a process of translation that becomes the key allowing a path through the labyrinth of both my own memory and the BBC archive.

Screen Archive South East, Early Filmmaking in Hove (1897-1905), 18:54 mins, 2022

G.A. Smith and his wife Laura Bayley made films together at St Ann’s Well Gardens in Hove from 1897 to 1903. Their films began as one-minute unedited scenes and then they taught themselves how to combine shots and create film sequences. This introduced the basic elements of film language. James Williamson was inspired by their work, and made multi-shot comedies, trick films and dramas in Hove from 1899 to 1909.

Train Entering Hove Station

George Albert Smith, 1897

The Miller and the Sweep

G.A. Smith and Laura Bayley, 1897

Hanging Out the Clothes; or, Master, Mistress and Maid

G.A Smith and Laura Bayley, 1897

The Kiss in the Tunnel

G.A. Smith and Laura Bayley, 1899

As Seen Through a Telescope

G.A. Smith and Laura Bayley, 1900

Grandma’s Reading Glass

G.A. Smith and Laura Bayley, 1900

Let Me Dream Again

G.A. Smith and Laura Bayley, 1900

A Big Swallow

James Williamson, 1901

The Magic Extinguisher

James Williamson, 1901

Our New Errand Boy

James Williamson, 1905

Original 35mm prints from the BFI.

Screen Archive South East is part of the University of Brighton, and it collects, preserves and promotes the region’s screen heritage.

Both Sides Now 7: DeNatured – screenings in UK and Hong Kong

Both Sides Now 7: DeNatured is a programme of 8 films by international artists, which shows how artists are creating and building new virtual worlds, and in those spaces how they are exploring environmentalism, new societies, post-apocalypse, the (virtual) body and the afterlife. The programme explores how artists are interpreting different forms of environment, from real to virtual to the spaces in between. 

Through Both Sides Now 7, we examine how artists are disrupting, commenting upon, and engaging with virtual worlds, environmentalism, and the coming metaverse.

The programme is the seventh edition of a long-term project that proposes re-readings of artists’ moving image from China, the UK and beyond. In this new edition, videoclub (UK) and Videotage (HK) bring together international artists from the fields of film & video with screenings in the UK and Hong Kong between May and June 2022. 

Read the full curatorial text for the programme by downloading the file here: BOTH SIDES NOW 7 CURATORIAL TEXT

SCREENING DETAILS

The programme will be screened in Hong Kong and in the UK at various venues during May and June 2022.

Both Sides Now 7 will show at Fabrica Gallery in Brighton on 26 May and at Phoenix in Leicester on 16 June. Additional dates/venues to follow.

VENUE: Fabrica, 40 Duke Street, Brighton BN1 1AG
DATE AND TIME: Thursday, 26 May, 7pm
PRICE FOR TICKET: £3
BOOK TICKET: Click here to book

VENUE: HART Haus, 3/F, Cheung Hing Industrial Building, 12P Smithfield Road, Kennedy Town, Hong Kong
DATE AND TIME: 30 May, 7pm
PRICE FOR TICKET: TBC

VENUE: Phoenix Cinema, 4 Midland Street, Leicester LE1 1TG
DATE AND TIME: 16 June, 8pm
PRICE FOR TICKET: £5
BOOK TICKET: Click here to book

PROGRAMME

  • AL+AL, Hard Drive (A:), 8 mins, 2004
  • Astrid Feringa and Jean Baptiste Castel, This is not the Amazon, 4:56 mins, 2019
  • Danni Zheng, Mineral Wasteland, 6:18 mins, 2021
  • Alex May, A Kolkata, 6:36 mins, 2021
  • LIN Tzu-Huan, Online Funeral Service I – Tamara, 10 mins, 2015
  • JUAN Poyuan, It was just a virtual kiss, 10:05 mins, 2020
  • HU Rui, Soon It Will Be Deep Enough, 4:04 mins, 2019
  • Lawrence Lek, SoMA (Extract from AIDOL, 2019), 7:46 mins, 2019

 

關於彼岸觀自在 About Both Sides Now
both-sides-now.org

Both Sides Now is a tactical programme partnership between Videotage (HK) and videoclub (UK). Which uses contemporary and historical film and video work to explore developments within the culture and society of Hong Kong, China, and the UK, and beyond.

     

Arts Council England funding logo (Lottery)     

Both Sides Now 7: DeNatured

Both Sides Now 7: DeNatured explores how artists are interpreting different forms of environment, from real to virtual to the spaces in between. It attempts to reconsider the evolving notion of environments and (meta)universes, via recent work by artists and filmmakers.

Through Both Sides Now 7, we examine how artists are disrupting, commenting upon, and engaging with virtual worlds, environmentalism, and the coming metaverse.

The programme is the seventh edition of a long-term project that proposes re-readings of artists’ moving image from China, the UK and beyond. In this new edition, videoclub (UK) and Videotage (HK) bring together international artists from the fields of film & video with screenings in the UK and Hong Kong between May and June 2022. 

Read the full curatorial text for the programme by downloading the file here: BOTH SIDES NOW 7 CURATORIAL TEXT

Click here for more information about the films (programme notes) and artists, and to watch individual films.

PROGRAMME

  • AL+AL, Hard Drive (A:), 8 mins, 2004
  • Astrid Feringa and Jean Baptiste Castel, This is not the Amazon, 4:56 mins, 2019
  • Danni Zheng, Mineral Wasteland, 4:30 mins, 2021
  • Alex May, A Kolkata, 6:36 mins, 2021
  • LIN Tzu-Huan, Online Funeral Service I – Tamara, 10 mins, 2015
  • JUAN Poyuan, It was just a virtual kiss, 10:05 mins, 2020
  • HU Rui, Soon It Will Be Deep Enough, 4:04 mins, 2019
  • Lawrence Lek, SoMA (Extract from AIDOL, 2019), 7:46 mins, 2019

關於彼岸觀自在 About Both Sides Now
both-sides-now.org

Both Sides Now is a tactical programme partnership between Videotage (HK) and videoclub (UK). Which uses contemporary and historical film and video work to explore developments within the culture and society of Hong Kong, China, and the UK, and beyond.

     

Arts Council England funding logo (Lottery)     

Both Sides Now 7: DeNatured – find out more & individual films

Both Sides Now 7: DeNatured explores how artists are interpreting different forms of environment, from real to virtual to the spaces in between. It attempts to reconsider the evolving notion of environments and (meta)universes, via recent work by artists and filmmakers.

Through Both Sides Now 7, we examine how artists are disrupting, commenting upon, and engaging with virtual worlds, environmentalism, and the coming metaverse.

The programme is the seventh edition of a long-term project that proposes re-readings of artists’ moving image from China, the UK and beyond. In this new edition, videoclub (UK) and Videotage (HK) bring together international artists from the fields of film & video with screenings in the UK and Hong Kong between May and June 2022. 

Read the full curatorial text for the programme by downloading the file here: BOTH SIDES NOW 7 CURATORIAL TEXT

PROGRAMME NOTES AND FILMS

AL and AL, Hard Drive (A:), 2004

Hard Drive (A : ) simulates an inertial journey through the world wide web. Following a Nuclear War, the only remains of Homosapien are memories stored in the cloud on hard drives in former nuclear bunkers. A sentient machine discovers thirty percent of internet searches were for naked bodies playing with one another. In this coded space, erotic contact must have become an onanistic hallucination and before the human body disappeared from the earth it was captured in a mental universe of mediated masks.

AL and AL biography

AL and AL met in Derek Jarman’s Garden in Dungeness. They studied together at Central St Martins School of Art in London, where they pioneered their performance based computer-generated filmmaking practice, before going on to exhibit their videos internationally in festivals, galleries, site-specific installations and screenings. Most recently, the duo have created the second chapter in their epic black hole space opera in collaboration with American composer Philip Glass and physicist Professor Brian Greene which has performed in 30 concert halls around the World. AL and AL are currently developing their debut feature film with the BFI and directing a £30m restoration of Haigh Hall, transforming the space into a national visitor destination for the arts.

Astrid Feringa and Jean Baptiste Castel, This is not the Amazon, 2019

Is representation of nature through media and entertainment more real to us than nature itself? “This is not the Amazon” is a video essay that investigates how the concept of wilderness is constructed through different perspectives and economies, simulated over and over again into a simulacrum — an image that may never have existed in the first place.

Artists’ biographies

Astrid Feringa is an artistic researcher and filmmaker based in-between Arnhem (NL) and Reykjavik (IS). Through her work, she mainly investigates the ways in which structural design of online platforms, digital technologies and mechanisms of distribution and documentation are used to create and reenforce social-political power structures. Additionally, she also works as lecturer at ArtEZ University of the Arts (NL)

Jean-Baptiste Castel is a multidisciplinary designer born and raised in France, based in Amsterdam. He explores the use of software in contemporary culture by making short videos and animations. His work investigates themes such as illusion, time, materiality, perspective, and infinity, bringing impossible spaces into material dimensions by means of computer-generated images (CGI).

Danni Zheng, Mineral Wasteland, 2021

‘Mineral Wasteland’ focuses on negative impacts of technological development on the natural environment, and also depicts a post-human age wasteland in which digital entities will still exist on the earth but integrate with nature. It will carry the memory of consumerism, modernism and capitalism in the present Anthropocene.

Consumerism and planned obsolescence are prevalent in our high-speed society. At the end of 2020, human-made stuff outweighed all life on earth. Advances in technology are actually the consumption of natural resources, however, recycling activities are unable to keep pace with the growth of e-waste. From raw mineral mining, manufacturing, shipping and then to recycling, all processes generate toxic chemicals. They oxidise, corrode and cause acid rain. The cycle repeats itself and generates new chemical compounds, such as sulphur oxides and nitrogen oxides, and acid rain again. Finally, they will evaporate, forming the crystals and mineral wasteland.

Artist’s biography

Danni Zheng (b. 1997, Liaoning, China) is a new media artist with a spatial design background, currently based in London. Her work recently explored the relationship between physical and virtual space through investigating the status quo and speculating the future in a digital way, such as through 3D animation, immersive experiences, live performances and creative coding. She has also collaborated with sound artists, engineers, composers, and illustrators during her artistic creation. Her works have been presented at Dyson Gallery (London), Menier Gallery (London) and Samsung KX (London).

Alex May, A Kolkata, 2021

A Kolkata is a video artwork realised within the framework of the Indo-European Residency Project Kolkata 2021, supported by EUNIC – European Union National Institutes for Culture in collaboration with the British Council, Kolkata.

The work is a reflection on the experience and role of travel from the perspective of being locked down due to the pandemic.  If we are to curb our travel to reduce our carbon impact on the world, do we need to redefine our idea of having visited a place being entirely a physical act.

Due to the pandemic, the entire residency took place online, with one selected artist from France, Germany, Italy, India, and the UK exploring the city of Kolkata virtually via a curated collection of materials and online events.

During the residency, Alex collaborated with four Kolkata based photographers to capture physical elements of Kolkata as 3d models.  Following a workshop that introduced the technique, each photographer was asked to go out and select objects that act as personal markers for how they navigate the city.  By taking a number of 2d photographs of each object from different angles, Alex was then able to recreate these objects in 3d using photogrammetry software.

These disparate objects were then digitally combined into a visual poem that reflects on what it means to have been to a place.  Partially inspired by an intense lucid dream of walking through Kolkata that Alex had during the residency, the work is a deeply personal exploration of the idea of a city never visited.

Video and soundtrack by Alex May.

Made in collaboration with:
Neel Bhattacharjee
Bappaditya Dasgupta
Ritaban Ghosh
Rohan Mukherjee

Artist biography

Alex May (b. 1972) is a British contemporary artist questioning how our individual and collective experiences of time, and formation of memories and cultural record, are mediated, expanded, and directed by contemporary technologies. His work forges creative links between art, science, and technology through a wide range of digital new media, including virtual and augmented reality, photogrammetry, algorithmic photography, interactive robotic artworks, video projection mapping, generative works, performance, and video and sound art.

His international exhibition profile includes Ars Electronica, LABoral (Spain), IMPAKT (Netherlands), FACT (Liverpool), Furtherfield (London), WRO Media Art Bienalle (Poland), HeK (Basel), The Francis Crick Institute, Bletchley Park, Eden Project, Science Gallery in Dublin (Ireland) and Bengaluru (India), ZHI Art Museum (China), and the Beall Center for Art + Technology, University of California, Irvine.

He gives talks about many aspects of digital art, art/science collaboration, digital preservation, and public engagement with social robotics through art (UCLA, USC, School of Visual Arts (SVA) New York, University of Boulder, SUNY, TEDx Bucharest, Chelsea College of Art (in conversation with curator Robert Storr), Waag Society in Amsterdam) and runs workshops for artists using his own software (UCLA, for Fluxmedia at Concordia University in Montreal, International Symposium on Electronic Art (ISEA) in Istanbul), and gave the 2012 Christmas lecture for the Computer Arts Society.

Alex is a Visiting Research Fellow: Artist in Residence with the computer science department of University of Hertfordshire since 2011, and a Digital Media Arts MA sessional lecturer at the University of Brighton since 2012, and the University of Hertfordshire since 2019.

He is the Head of Projective Geometry at The Institute of Unnecessary Research.

LIN Tzu-Huan, Online Funeral Service I – Tamara, 2015

Tzu-Huan Lin is an artist based in Brooklyn, New York. An alumnus of the Pratt Institute, Lin’s art primarily focuses on narrative film and immersive installation, exploring different facets of art and issues about the digital age by working with issues that deal with various occurrences. Mythology, history, scientific theories, pseudo-documentary films, and experimental films are some contents dealt with in Lin’s artworks and also the approaches he employs. Through his interpretations of certain issues, he uses diverging narratives to dive into the themes being examined and to shape the artworks created. He also creates spatial installations to enhance the way the audience experiences his way of seeing the world.

Artist biography

Online Funeral Service I- TAMARA: is a fiction story about remembering dead people in the digital era. Appropriate from Italo Calvino’s Invisible City, the plot took place on the Internet. The video begins with a man telling his abstract story. The narrator serves as a medium to channel different characters and stories. The narration travels through multiple imaginary cities, turning the inside to the outside, life to death, and narrative to non-narrative. Who is telling the story, a traveler, a bard, a king, or a soul trapped on the Internet? The truth revealed as the story unfolds. 

Footages have been distorted and represented as a new meaning provoking the next cut. I explored the mass reproduction culture by providing these found footage of second life. Then an online funeral service becomes the agent to channel these dead souls(footages) into the online world again. Online funeral service is to dedicate your loved ones and keep them alive and trap them in a fixed form eternally.

JUAN Poyuan, It was just a virtual kiss, 2020

The story of love that takes place in the online game World of Warcraft is turned into the raw material to explain how players of online games construct their own virtual bodies in the digital world and how their bodies are extended in digital form, thus turning a game into a medium to touch, embrace, and kiss each other through different fantasy races of doubles. By crossing to the other side of the screen, visuality enables the character one plays to entail the illusion of bodily and physical connection with other characters, whether as affect or constraints, thus overcoming the limitation of our real body. It is a new sense of body constructed digitally, and much of it through machine-made movies and computer-realistic animation. 

The game world as such purports to link digital haptic perception with actual bodily movement, allowing free traverses across the real world and what is on the other side of the screen. Being in the gameworld, many new questions emerge: are there other possible ways whereby our body exists? How far is media expandability really overcoming the physical limitation of our body? Would a new spirit emerge from these new digital bodies? Are we anticipating new affective connections and new romance?

Artist’s biography

Juan Poyuan, an artist, gamer, and Internet addict, takes digital archaeology as the core concept of his creative process and has been focusing on digital games and online spaces for a long time. With the works of Ruan Baiyuan as an important source of creation, Juan combines online games, online communities, machine-made videos, game engines, 3D software, history, memory, aesthetics, and technical characteristics to create a new, contemporary visual experience, technical thinking, sculpture, video and other ways of viewing, presenting new perspectives and ways of thinking to reflect on and question the meta-set-up behind this post-Internet era.

HU Rui, Soon It Will Be Deep Enough, 2019

In “Soon It Will Be Deep Enough”, a group of people are having a pool party inside an airplane while the water level is slowly rising up. It was made while being confronted by a large wildfire in Los Angeles, a city with a strong pool party scene. Initially conceived as a reflection on the global climate crisis, it may accidentally correspond to many other critical situations we find ourselves in today.

Artist biography

HU Rui (b.1990) currently lives and works in Hong Kong, Shanghai, and Guangzhou. His practice and research focuses on the issues of time, memory, expectation, and decision-making from a multitude of perspectives and through a variety of media and technologies, including moving image, installation, and video game. His work has been featured by Artforum, 艺术论坛 (Artforum China), Ocula, etc. He has participated in exhibitions and screenings at art spaces, institutions, and film festivals internationally, including the International Film Festival Rotterdam, UCCA Center for Contemporary Art, International Symposium on Electronic Art (ISEA), Ann Arbor Film Festival, ifva Festival at the Hong Kong Arts Centre, Vienna Shorts Film Festival, LOOP Barcelona, among others. He holds an MFA in media arts from the University of California, Los Angeles and a BFA in film from New York University, and is currently an Assistant Professor of Practice in Computational Media and Arts at the Hong Kong University of Science and Technology (Guangzhou).

Lawrence Lek, SoMA (Extract from AIDOL, 2019), 2019

SoMA (School of Machine Art) is an extract from Lawrence Lek’s first feature-length film, AIDOL 爱道, a CGI science fiction musical that forms the sequel to his acclaimed film Geomancer (2017). Deploying 3D rendering and video gaming software, AIDOL tells the story of Diva – a fading superstar preparing for a comeback performance at the 2065 ‘eSports Olympics’ – and Geo, an AI with artistic yearnings.

Set in a smoke-and-mirrors realm of fantastical architecture, sentient drones and snow-deluged jungles, AIDOL revolves around the long and complex struggle between humanity and Artificial Intelligence. Fame – in all its allure and emptiness – is set against the bigger contradictions of a post-AI world, a world where originality is sometimes no more than an algorithmic trick and where machines have the capacity for love and suffering. Contemporary anxieties and fixations – the rise of AI, the formulaic dictates of celebrity, the hegemony of technological giants – are refracted through a quixotic prism. AIDOL is accompanied by a score composed and orchestrated by the artist.

Artist’s biography

Lawrence Lek (陆明龙) is a London-based simulation artist known for his CGI films, soundtracks, and immersive virtual worlds, often set within a Sinofuturist cinematic universe. His work explores worldbuilding as a form of collage, incorporating historical and imaginary elements to develop speculative fictions based on the perspective of the Other. Recent exhibitions include Farsight Freeport, HeK, Basel (2019); Ghostwriter, CCA Prague (2019); Nøtel, UKR, Essen (2019); 2065, K11, Hong Kong (2018). Soundtrack releases include Temple OST (The Vinyl Factory, 2020) and AIDOL OST (Hyperdub, 2020). In 2021, he received the LACMA Art + Technology Lab Grant and the 4th VH Award Grand Prix. Lek holds a PhD from the Royal College of Art, and is represented by Sadie Coles HQ, London.

SCREENING DETAILS – click here for information

The programme will be screened in Hong Kong and in the UK at various venues during May and June 2022.

Both Sides Now 7 will show at Fabrica Gallery in Brighton on 26 May and at Phoenix in Leicester on 16 June.

關於彼岸觀自在 About Both Sides Now
both-sides-now.org

Both Sides Now is a tactical programme partnership between Videotage (HK) and videoclub (UK). Which uses contemporary and historical film and video work to explore developments within the culture and society of Hong Kong, China, and the UK, and beyond.

     

Arts Council England funding logo (Lottery)     

Third Thursdays season finale – 21st April

Semiconductor, Magnetic Movie, 2013 (still from film)

Third Thursdays’ theme for April is Memory. We have curated a programme of new and existing works by artists and filmmakers that reflect on and stimulate memories. Including ‘Laser Lunar Lander’ by Seb Lee-Delisle – the 70s videogame projected onto Polo Restaurant (Nile St, The Lanes); ‘Remembering Place’ by Thomas Buckley – a new commission projected on screens floating above Gardner St; ‘Reminiscents’ by Originary Arts – an exhibition of memory-inspired artwork evoked by smell at Lush on East St, plus much more, including musicians playing throughout the streets and a new film trail of reflective films.

Memory is such an important part of human life and experience – join us in celebrating with art, music and film a journey into memory in the streets of Brighton. More details on the Third Thursdays website.

To join and follow the film trail, meet at 8pm outside Maje on East Street

YOUR FEEDBACK – we’d love to know what you think about Third Thursdays, complete a short survey by clicking here

About Third Thursdays

Third Thursdays is an arts, music and culture programme that aims to make the centre of Brighton more vibrant, through events, performances, film projections and new artwork commissions.

See the programme on the Third Thursdays website: thirdthursdaysbrighton.com

To find out more join our mailing list by clicking here.  Or follow us on social media: Facebook // Twitter // Instagram.

Third Thursdays is part of the ABCD Cultural Recovery Plan, supported by Arts Council England, Brighton & Hove City Council, Brilliant Brighton Business Improvement District, Pebble Trust and the Welcome Back Fund (European Regional Development Fund).

About ABCD Cultural Recovery Plan

The disruption of the pandemic brought together over 100 creatives in Brighton & Hove to explore how arts & culture can be more inclusive, sustainable and collaborative in the City in the future. This resulted in a recovery plan that runs to the end of 2022 and has so far raised over £350k for the cultural sector in the City. The plan is overseen by an independent group of people formed of a Governance Group and a series of Working Groups. Our aims are to create paid work and professional opportunities for creative workers in the City, to develop a more inclusive cultural offer and to encourage partnership working to strengthen the creative sector in the long term.

Our partners include Brighton & Hove City Council, Arts Council England, Brilliant Brighton Business Improvement District, the Pebble Trust and many funded arts organisations in the City. If you work in the creative industries and want to get involved and/or find out more visit cultureinourcity.com

                               

UK and Hong Kong artists join Vital Capacities for April

Artists from left: Siphenati Mayekiso; Jess Starns, Andrew Luk and violet marchenkova.

For the sixth Vital Capacities residency, we partner with Videotage (Hong Kong) to work with artists from both Hong Kong and the UK. From 1 April, artists Andrew Luk, Jess Starns and violet marchenkova will join Vital Capacities, to undertake research and develop new work. Working with our partners, they will explore and exchange new ideas using their studio spaces, and create new work throughout the residency.

The artists for April 2022’s residency are:

Andrew Luk (HK) is a Hong Kong artist who works across a range of media examining the intricacies of the human experience as well as the myths and histories associated with civilisation building. Investigating the creases between binaries such as culture and nature, human and non-human, and the personal and the collaborative, Luk’s sculptures and installations explore utopian desires of perfection and their dystopian repercussions. Although the works are diverse, the practice is  united through an exploration of idealogical superstructures and their systems of expression — delicately tracing connections across disciplines, speculating on potential futures and revealing expressions of beauty, preservation and entropy.

Jess Starns (UK) is an artist whose creative process is participatory, collaborative and inclusive with a focus on disability and neurodiversity. Jess completed her Inclusive Arts Practice MA at the University of Brighton where Jess and 8 other participants curated the Neurodiversity Museum. Jess is the founder of ‘Dyspraxic Me’, is experienced with supporting young people and works within museums. Jess was awarded a place on the Shaw Trust ‘Power 100’ 2018 list of the most influential and inspirational disabled people in Britain.

violet marchenkova (UK) is an arts worker, filmmaker, writer and queer-feminist community organiser with Devil’s Dyke Network based in Brighton. They trained in Art History and Digital Documentary, and have a diaristic first person film practice. Violet grew up between Post-Soviet Riga and Moscow’s landscapes in a Russian-speaking family; for the past 8 years they’ve been living in the UK.

Their work is influenced by Disability Arts Movement, Embodied Social Justice practices, and creativity and wisdom of the many friends=teachers. They’ve spent the past few years curating spaces for politicised creative expression.

Residencies will launch on 1 April – to follow what the artists are up to join the mailing list and follow them on: vitalcapacities.com

April 2022’s residency programme is delivered in partnership with Videotage as part of the Both Sides Now 7 programme, with support from Arts Council England and Hong Kong Arts Development Council.

 

Vital Capacities is an accessible, purpose-built digital residency space, that supports artists’ practice while engaging audiences with their work.

Vital Capacities has been created by videoclub in consultation with artists, digital inclusion specialist Sarah Pickthall and website designer Oli Pyle.

Arts Council England funding logo (Lottery)

Third Thursday on 17th March

What Happened to the Trees, Simon Le Boggitt, 2015

We have our next Third Thursday on 17 March. This month’s theme is Environment. There are a number of intepretations of environment in the programme, from artists exploring ecology and environmentalism, to filmmakers looking at their environment and how they respond to it.

Third Thursdays’ film trail will be showing a collection of films which delve into environmental themes. A silent disco, DJ’d by X-CITE will bring a new experience to an everyday location. Films in windows by international artists explore themes of landscape, environment and disaster. An exhibition by Little Green Pig showcases Letters to the Earth written by young people. And musicians bring hopeful music to the streets of the city, turning Brighton’s outdoor areas into places for enjoying performance.

Find out more about the Third Thursdays programme in March by clicking here.

About Third Thursdays

Third Thursdays is a new arts, music and culture programme that aims to make the centre of Brighton more vibrant, through events, performances, film projections and new artwork commissions.

Third Thursdays will be an opportunity to showcase creative work for people to participate in, including exhibition openings, events, music performances and film projections.

See the programme on the Third Thursdays website: thirdthursdaysbrighton.com

To find out more about opportunities for artists, creatives and audiences, join our mailing list by clicking here.  Or follow us on social media: Facebook // Twitter // Instagram.

Third Thursdays is part of the ABCD Cultural Recovery Plan, supported by Arts Council England, Brighton & Hove City Council, Brilliant Brighton Business Improvement District, Pebble Trust and the Welcome Back Fund (European Regional Development Fund).

Call out for stewards – paid opportunity

We’re looking for people who would be willing to be stewards and help support the delivery of Third Thursdays. To work with us to deliver our outdoor walking film trail, support musicians and to oversee films in windows. May require a little light lifting.

Dates: 17 Mar, 21 Apr, between 3pm and 8pm. £10 an hour plus expenses.

If you are  interested, email Jamie Wyld at: jamie@videoclub.org.uk

About ABCD Cultural Recovery Plan

The disruption of the pandemic brought together over 100 creatives in Brighton & Hove to explore how arts & culture can be more inclusive, sustainable and collaborative in the City in the future. This resulted in a recovery plan that runs to the end of 2022 and has so far raised over £350k for the cultural sector in the City. The plan is overseen by an independent group of people formed of a Governance Group and a series of Working Groups. Our aims are to create paid work and professional opportunities for creative workers in the City, to develop a more inclusive cultural offer and to encourage partnership working to strengthen the creative sector in the long term.

Our partners include Brighton & Hove City Council, Arts Council England, Brilliant Brighton Business Improvement District, the Pebble Trust and many funded arts organisations in the City. If you work in the creative industries and want to get involved and/or find out more visit cultureinourcity.com

                               

Paid opportunity for stewards for Third Thursdays

Call out for stewards – paid opportunity

We’re looking for outgoing, friendly people who would be willing to be stewards and help support the delivery of Third Thursdays. To work with us to support musicians and to oversee films in windows. May require a little light lifting.

Dates: 17 Mar & 21 Apr, between 4pm and 9pm. £10 an hour plus expenses.

If you are  interested, email Jamie Wyld at: jamie@videoclub.org.uk (please state which dates you are available, send a CV and details of any experience of stewarding or working with the public – this could include retail or other environments).

Third Thursdays is a new arts, music and culture programme that aims to make the centre of Brighton more vibrant, through events, performances, film projections and new artwork commissions. It will create moments each third Thursday of the month, beginning on 16 December, for residents and visitors to engage with art and culture around the centre of Brighton.

Third Thursdays will be an opportunity to showcase creative work for people to participate in, including exhibition openings, events, music performances and film projections.

 

                               

Third Thursdays Brighton – 17 February 2022

Public Figure by Ryan Ormonde and Madalina Zaharia (2021)

February’s Third Thursday’s theme is Colour in celebration of LGBTQ+ History month during February. Colourful films and artworks will be installed and projected around Brighton, spreading from The Lanes and North Laine to Western Road and Preston Street.

Bring Your Own Beamer will be part of this month’s Third Thursday, delivered by Pop-Up Brighton, lighting up Brighton Place. There are two new artworks shown especially for Third Thursdays, selected through our exhibition submission programme. Plus a newly curated, colour-saturated film trail to follow and films in windows to watch.

Find out more about this month’s Third Thursday by clicking here.

YOUR FEEDBACK – we’d love to know what you think about Third Thursdays, complete a short survey by clicking here.

About Third Thursdays

Third Thursdays is a new arts, music and culture programme that aims to make the centre of Brighton more vibrant, through events, performances, film projections and new artwork commissions.

Third Thursdays will be an opportunity to showcase creative work for people to participate in, including exhibition openings, events, music performances and film projections.

See the programme on the Third Thursdays website: thirdthursdaysbrighton.com

To find out more about opportunities for artists, creatives and audiences, join our mailing list by clicking here.  Or follow us on social media: Facebook // Twitter // Instagram.

Third Thursdays is part of the ABCD Cultural Recovery Plan, supported by Arts Council England, Brighton & Hove City Council, Brilliant Brighton Business Improvement District, Pebble Trust and the Welcome Back Fund (European Regional Development Fund).

Call out for stewards – paid opportunity

We’re looking for people who would be willing to be stewards and help support the delivery of Third Thursdays. To work with us to deliver our outdoor walking film trail, support musicians and to oversee films in windows. May require a little light lifting.

Dates: 17 Feb, 17 Mar, 21 Apr, between 3pm and 8pm. £10 an hour plus expenses.

If you are  interested, email Jamie Wyld at: jamie@videoclub.org.uk

About ABCD Cultural Recovery Plan

The disruption of the pandemic brought together over 100 creatives in Brighton & Hove to explore how arts & culture can be more inclusive, sustainable and collaborative in the City in the future. This resulted in a recovery plan that runs to the end of 2022 and has so far raised over £350k for the cultural sector in the City. The plan is overseen by an independent group of people formed of a Governance Group and a series of Working Groups. Our aims are to create paid work and professional opportunities for creative workers in the City, to develop a more inclusive cultural offer and to encourage partnership working to strengthen the creative sector in the long term.

Our partners include Brighton & Hove City Council, Arts Council England, Brilliant Brighton Business Improvement District, the Pebble Trust and many funded arts organisations in the City. If you work in the creative industries and want to get involved and/or find out more visit cultureinourcity.com

                               

Days of Wonder – celebrating the magic of early cinema

Turntable zoetrope created by artist Annis Joslin

Days of Wonder is a free festival of creativity, installations and experiments for all ages celebrating the magic of early cinema and filmmaking.

For three days in February, Hove Museum & Art Gallery will be packed with fun ways to get creative:

  • learn more about the museum’s film and media collection
  • discover the innovations of our local film pioneers
  • experiment with techniques that led to contemporary filmmaking

There will be activities for all visitors to enjoy, a range of bookable workshops with artists, plus a screening with film historian Dr. Frank Gray.

Activities are free, but spaces will be limited to maintain social distancing, so pre-booking for workshops and events is advised. Places can be booked by clicking here.

Artists Annis Joslin and Seo Hye Lee will lead a series of workshops, One Minute Wonders, inspired by early film’s limited footage. Participants will create collaborative films in response to Hove’s early film pioneers and the game ‘Consequences’, resulting in a mystery film created by everyone involved. Experiment with turntable zoetropes, collage with film images, or add subtitles to create new narratives for films.

Film history expert, Alexia Lazou, will deliver magic lantern slide-making workshops, using original Victorian designs as inspiration. Participants will create new slides to be projected with magic lantern slide projectors.

Meet artist Laura Kloss and her giant zoetrope and turn your own drawings into moving pictures. Learn about creating moving images from still images, and find out how this Victorian optical toy inspired early filmmaking.

Try your hand at making a thaumatrope, a two-sided drawing playing tricks on the eye to create a simple animation. Put a hat on a sheep, or sunglasses on a pharaoh. Use your own drawings, or those provided to create your own thaumatropes to take home.

A programme of early film by pioneer filmmakers from Brighton & Hove can be watched in Gallery 3 at the Museum. Including films by George Albert Smith and James Williamson, who both lived and worked in Hove, and started making films in the 1890s. Both made great advances in filmmaking, including editing techniques, the close-up, use of locations and sets, and developing film narratives.

Dr. Frank Gray, Director of Screen Archive South East, will talk about the museum’s Film & Media Collection and how it relates to the film history of Brighton & Hove. An opportunity to gain insights into Hove’s significance as a centre of the international film industry at the turn of the 19th to 20th century.

Days of Wonder is produced by videoclub and Corridor in partnership with Royal Pavilion & Museums Trust with support from Arts Council England, National Lottery Heritage Fund, Film Hub South East, Screen Archive South East and The Arts Society East Sussex.

Knotted Water Sizzled Tongue by Tzu-Huan Lin – Online exhibition with Platform Asia

You are looking at a black-and-white image. The scene is in a wood, you will see trees at the back and tall grass on the ground that reaches the waist of an adult. Two men standing in the center of the image facing each other. They both wearing the ancient look with robes. The man on the left is taller with four eyes, holding a crystal cube. The man on the right has another head attached to his head with white hair. He is holding a book with a rope on a book cover. It looks like the man on the right is talking to the man on the left.

Languages are shapes that have fallen out of our mouths. A story about the attempt to make perfect pronunciation for immigrants.


Exhibition dates: 24 Jan – 11 Feb 22, online – opening at 11 am on 24 Jan.

Platform Asia presents Knotted Water Sizzled Tongue 形聲, a new film by Tzu-Huan Lin, in collaboration with videoclub.

Inspired by the Chinese mythical character of Candjie, Knotted Water Sizzled Tongue traces the learning experience of foreign languages as immigrants. Reflecting on our ability to mimic and speak non-native languages, to the falling of Pixiu, an ancient Chinese mythical creature, from heaven. The work discusses the authenticity of displaced identities and languages, and the embracing of acceptance.

The work will show for the first time in the UK on Platform Asia’s website between 24 Jan – 11 Feb. Having been shortlisted for the 2021 Taipei Art Awards, this programme will run parallel with an exhibition of the work at Taipei Fine Arts Museum till 20 March 2022.

Click here to read about the Taipei Art Awards and exhibition in Taipei.

Supported by Arts Council England. With additional support from British Council Connection through Culture Grants and National Culture and Arts Foundation, Taiwan.

About the artist

Tzu-Huan Lin is an artist based in Brooklyn, New York. An alumnus of the Pratt Institute, Lin’s art primarily focuses on narrative film and immersive installation, exploring different facets of art and issues about the digital age by working with issues that deal with various occurrences. Mythology, history, scientific theories, pseudo-documentary films, and experimental films are some contents dealt with in Lin’s artworks and also the approaches he employs. Through his interpretations of certain issues, he uses diverging narratives to dive into the themes being examined and to shape the artworks created. He also creates spatial installations to enhance the way the audience experiences his way of seeing the world.

林子桓生活與創作於紐約布魯克林。畢業於普瑞特藝術院(Pratt Institute)。創作形式主要以敘事性的影片與沉浸式的空間裝置為主,議題以結合不相同的事件探索藝術不同的樣貌與數位時代的問題。作品內容與方法涉及神話、歷史、科學理論、偽紀錄片以及實驗片等,將議題自我詮釋後以發散的敘事方式漸漸切入主題形塑出作品,另也透過空間裝置強化觀者去感受作者在作品中的的世界觀。作品曾於奧胡斯現代美術館(ARoS Museum)「2021 Flux at ARoS」中放映,近期也參與2020台北數位藝術節「愛情數據」(01_Love)、第六屆台灣國際錄像藝術展「離線瀏覽」(2018,Offline Browser)、第14屆雅典數位藝術節(2018,ADAF);舉辦過的個展有關渡美術館「假想圖集與旅行者(2020,Hypothesis Atlas and Voyager)」、臺北市立美術館「銜尾蛇」(2017,The Yellow Snake Is Waiting)等。