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THE PERFECT MEDIUM IS THE WRONG MESSAGE
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UNCONSCIOUS ARCHIVES TWO DAY PROGRAM
FRIDAY 1ST & SATURDAY 2ND NOVEMBER
£9 adv, £12 on door / £15 adv two day ticket
Unconscious Archives transverses noise core and vision spectacle bringing together expanded cinema and sonic propositions from London and afar.
The ‘body’s appearance and disappearance’ is the jumping off point for this eclectic and eccentric two day program, nicely correlated with Day of the Dead. Our last event for this year before UA enters a hiatus.
UA occupies both of our regular venues, Cafe Oto and Apiary Studios, to bring you this double extravaganza.
PART 1: FRIDAY 1ST NOVEMBER
Doors: 7:30pm
Cafe Oto, 18 – 22 Ashwin Street, Dalston, London, E8 3DL
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Malcolm Le Grice’s seminal expanded cinema and rarely seen Horror Film 1 from 1971, new contemporary primitive light performance from Amy Dickson, renowned artist Aura Satz presents a unique flame-sound sculpture and performs a ventriloquist act, Sally Golding performs her contemporary classic projection piece Face of An Other, and Britain’s most under rated and detestable accidental comic thespian Sir Gideon Vein brings us his live TV pilot.
PART 2: SATURDAY 2ND NOVEMBER
Doors: 7pm
Apiary Studios, 458 Hackney Rd, London, E2 9EG
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Film archivist Guy Edmonds expounds his impossibly cross-genre home movie séance complete with invited mediums, Tai Shani’s performs from her oeuvre of personal pulp theatre, Jonathan Kemp attempts the recursive microwaving of sound, Ryan Jordan (noise=noise) sets the scene for Possession Trance as DDD, and finally Glasgow’s TVO (Broken 20 label), conducts his experiments for a bedtime dance floor.
Programmed by Sally Golding & James Holcombe
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Sound Seam uses a gramophone needle to trace the grooves of a human skull, giving voice to the idea that every surface, in particular parts of our anatomy, are potentially inscribed with an unheard sound or echoes of voices from the past. For UA Aura will perform a live flame voice-over echo toSound Seam using her home built flame manometre. Aura also performs her talking book ventriloquist act – Love Songs for Broken Machines.
Aura Satz is a prolific artist and writer, having performed, exhibited and screened her work nationally and internationally, including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte Contemporanea di Trento, Italy; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Switzerland; AV festival, Newcastle; Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Beaconsfield Gallery and Artprojx Space, London. During 2009-2010 she was artist-in-residence at the Ear Institute, UCL, and the Wellcome Collection.
Aura Satz Wire artist page |
Malcolm Le Grice is one of Britain’s most innovative filmmakers. Originally trained as a painter, he has consistently explored the experience of moving images within the art gallery as much as the cinema, and is renowned for his highly conceptual live film performances.
Le Grice has written critical and theoretical work including a seminal history of experimental cinema ‘Abstract Film and Beyond’ (1977). His most recent text is ‘Experimental Cinema in the Digital Age’ published by the British Film Institute (2001).
For UA Le Grice performs the seminal Horror Film 1 (1971, 14 minutes, 3 screens). It shows three layers of changing colour on 16mm film, mapped by Le Grice’s body as he moves away from the projection, exploring the presence of the body and its complex colour shadow. |
Golding combines film projection with performance and installation. She has developed works where she projects films directly onto her body and harnesses the audience’s reflections, creating live cine-sculptures and interactions. Golding creates compositions from printed optical sound and vinyl library music resulting in strained sonorousness. Golding’s projects thread between expanded cinema and media art, curation and audiovisual archiving.
Face of An Other is a creepy materialisation from Golding’s cabinet of curiosities. Obsessions with horror manifest as phantasmagoric projections onto the filmmakers own body in a bizarre accumulation of unreality. Notions of ‘projected’ identity, grotesquerie, and the uncanny are interrogated in this shifting projector alignment for face(s). 16mm film reel & film loop, vintage sound effects, unhinged Foley, stroboscopic lightning.
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Amy Dickson is an artist filmmaker with a background in textiles working across the disciplines of film, video, performance and installation. ForLight Time, Dickson utilises a black thermochromic screen and light, exploring the idea of light as the material substance of ‘film’: light’s movement, flickering and informing time. 24 candles are lit consecutively, the heat and light produced effects the thermochromic canvas – expanding white pattens form on the surface . The candles melt and flicker out one by one, the screen slowly returns to black. An abstract psychedelic hallucination of shape and form.
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Sir Gideon Vein is England’s greatest living actor, renowned for his Shakesperean roles as Hamlet, Mephistopholes, and Bottom. In his self-proclaimed 169 years, Sir Gideon Vein has perfected an on-stage persona that goes way beyond an act.
The base punchlines that suck in the unsuspecting audience can be apologised for and rejected again in the blink of an eyebrow and the subject matter can divert from marital break-ups to the massacre of ants and, on one notable occasion, changing tack dramatically to a recital of Sir Henry Irving, without the merest pause for breath.
Sir Gideon confronts and empathises with his audience almost simultaneously.
Intellectually and emotionally, Sir Gideon and the audience can unanimously find themselves tangled in knots, as accents, morals and perspectives are twisted in all manner of directions.
His performances are hilarious, cathartic, disturbing and intensely addictive.
For UA Sir Gideon Vein presents three late night live TV pilots, dedicated to replacing Vincent Price, Peter Cushing and Christopher Lee and in fame and fortune.
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GUY EDMONDS & MEDIUMS GARY WRIGHT & DEMIAN ALLEN
‘In performance events which I have called Séance du Cinema I have linked together two late 19th century phenomena: The domestic film show and the spiritualistic séance. My intention is to remind us how film achieves a kind of resurrection of its subject, through the simple fact that the material of film can outlive the material of our human bodies. It can therefore be said, after the passage of time, to have provided what many spiritualists and psychical researchers were seeking: contact with dead loved ones. Someone filmed in 1900 can ‘live’ again today when we show that film record of them. This is such a basic function of film that it is now largely overlooked.’ - Guy Edmonds
Guy Edmonds provides a short presentation on the parallels of spirit and early cinema, followed by a seance for home movies led by two invited mediums, Gary Wright and Demian Allen.
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Unperformable script of endless acts and scenes, impossible sets and characters. Oscillating subjectivities of heroines deteriorate, swell and gush, interiors of imaginary characters and that of the bodies. Live holographic performance, a science fiction, and psychedelic dream stories. An immersive experience that combines analogue and digital technology to magical effect. Fantastical and dreamlike – an encounter with the supernatural is imminent.
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Jonathan Kemp has a long history of speculative and situational life coding events elaborated as active makings-in-the-world. Project collaborations (including as ap and xxxxx) include material processing performances, environmental installations, speculative symposia, and social software events executed throughout Europe and the US. Current projects and performances are informed by an interest in aleatory and code-brut reconfigurations of the material, chemical, and electromagnetic substrates and processes that underwrite computation.
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Ryan Jordan is an electronic artist conducting experiments in derelict electronics, possession trance, retro-death-telegraphy and hylozoistic neural computation. His work focuses on self built hardware, signal aesthetics, and the physical/material nature of experience. His live performances make excessive use of stroboscopic light, high volume noise, and electronic stimulation of rocks in an attempt to induce hallucinatory and trance like states.
He runs noise=noise, a research laboratory and live performance platform aiming to develop a network of artists, programmers, and researchers working in the areas of noise, experimental, exploratory, and outsider arts.
Noise=noise
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Glasgow’s Ruaridh Law is a busy man. He has been operating over ten years, from his formative time as one third of electronica heroes The Marcia Blaine School For Girls, through further experimental work as The Village Orchestra, on to dancefloor-focused releases as the foreshortened TVO, and even encompassing drone work as one half of both Accrual and Rose & Sandy. His prolific release schedule sees him comfortable live-soundtracking obscure Japanese surrealist cop shows, improvising live performance, or holding it down in the club.
His DJ mixes run the gamut from beatless soundscapes to clattering bedlam, as heard on a multitude of podcasts and radio shows. Taking influence from a raft of forebears, the Law sound encompasses deconstructed techno, dark ambience, rough electronic beats and an ambivalent sense of playfulness.
2010 saw the launch of Broken 20, a label curated by Ruaridh with assistance from Production Unit and Erstlaub, whose stated aim was to ‘release music rooted in a particular aesthetic … concerned with decay, erosion, entropy, mistakes and errors, line noise and tape hiss, hum and buzz’.
“One of the UK’s more unfairly overlooked electronic artists, someone who’s been quietly working away at his craft for years, comparatively beneath the radar.” – The Quietus
TVO feature in The Quietus
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