ch, London; Kunsthalle Wien; Transmission, Glasgow; Delfina, London; Feigen, Chicago; Cabinet, London and Postmasters, New York as well as at Edinburgh International Film Festival and Rotterdam’s International Film Festival amongst many others. Cantor is a Cubitt artist. Mike Cooter Untitled (Scarlet Street)
2005 Courtesy the artist + ZINGERpresents, Amsterdam One of an ongoing project re-fabricating lighting props from films, Untitled (Scarlet Street) is a fully functioning reconstruction of the section of sign visible prior to, and during, the attempted suicide scene in Fritz Lang's 1945 film. Mike Cooter, (b.1978, lives and works in London) is currently preparing ‘Dingus’, a six-part radio serial about an object with ResonanceFM and for exhibitions at Arcade Fine Arts (London) and Galerie GP & N Vallois (Paris) in 2011. A solo presentation of sculptures was exhibited at ZINGERpresents (Amsterdam) early in 2011, following  ‘The Snail’, a Serpentine Gallery Artist Walk Commission (London, and online), ‘Shadow Effect’, The Company (Los Angeles), ‘A Stranger’s Window’, Moot (Nottingham) and ‘Hyperborean Manners’, Rob Tufnell at Sutton Lane (London) in 2010. Jaime Davidovich & Gordon Matta-Clark Reality Properties: Fake Estates (Queen’s Project) 1975, 7’, video, b&w Courtesy Electronic Arts Intermix, New York Shot by video artist and cable television pioneer Jaime Davidovich, this recently rediscovered footage documents Gordon Matta-Clark’s unrealised Fake Estates project (1973-74), in which the artist purchased fifteen ‘gutterspaces’ in Queens and Staten Island – slithers of land or in-between spaces that were overlooked during the mapping and zoning of the city grid. Michael Fullerton Nietzche’s House in Panascope 2004, 18 screen-prints, 100 x 75 cm Courtesy the artist, Carl Freedman Gallery, London + Green Naftali, New York Michael Fullerton (b. 1971, Bellshill, Scotland) studied at the Glasgow School of Art and is currently based in Glasgow. He has had solo exhibitions at Chisenhale Gallery, London (2010); Carl Freedman Gallery, London (2007), Greene Naftali Gallery, New York (2006), Art Now, Tate Britain, London (2005), CCA Glasgow (2005) and Transmission Gallery, Glasgow (2003). Recent group exhibitions include ‘Unreliable Witness’, Tramway, Glasgow (2008), ‘Stay Forever and Ever and Ever’, South London Gallery (2007) and the Tate Triennial, Tate Britain (2006). Nick Hallett and Brock Monroe Threeway: for Xenia, 2011 LectureOpera Xenia Kashevaroff was married to John Cage from 1935 to 1945, was the lover of and nude model for photographer Edward Weston, and muse to comparative mythologist Joseph Campbell. Fabled for her erotic nature, Kashevaroff casts new light onto the legacy of John Cage and his noted collaboration in life and art with Merce Cunningham, with whom she and Cage shared a threeway sexual encounter that would, in effect, transform the future of music and dance. Nick Hallett and Brock Monroe present a Threeway: for Xenia, a LectureOpera on the subject of Kashevaroff that offers a contemporary take on the aleatoric procedures, graphic notation strategies, and extended vocal techniques pioneered in Cage's output, and is presented on an equal footing with a pulsebed of analog electronics pulled from softcore erotic film soundtracks of yesteryear. Brock Monroe is a live cinema artist and designer whose work often seeks to connect improvisatory projections with music. Monroe has developed visuals at spaces including The Kitchen, PS1, Lincoln Center Out of Doors, BAM, ISSUE Project Room. Nick Hallett is a composer, vocalist and impresario who works across genre and media to create innovative, multidisciplinary music-based performance. Hallett is the music director of Joshua Light Show, co-director of the Darmstadt new music series. His original music has been performed at Performa, The Kitchen, and New Museum, ISSUE Project Room, Le Poisson Rouge and The Stone. Phillipa Horan March 2011, ants, gel, perspex, wood, screen print Courtesy the artist & Rachmaninoff’s In an ambiguous play on a painting, a screen and a set, March presents a collage of materials and images that include the burrowing of live ants through an agate gel to create a time-based painting that marks the constant act of creation and change. Phillipa Horan studied at Saint Martins School of Art and Chelsea School of Art and currently lives and works in London. Recent solo exhibitions include Take Everything I have then leave, Wonderlock-kellerland, Berlin (2010); ism, prism, jism, Rachmaninoff's, London (2009) and Triumph of the Will, Hong Kong Arts Centre, Hong Kong (2007). Forthcoming shows in 2011 include Tarot, Hayward Touring, UK-wide and Peeping Tom, Kunsthal KaDe Amersfoort, The Netherlands. Horan is the founder of Benderspace Projects and Hats Plus Projects, London, recent exhibitions 2010/11 include Opportunity makes a thief: Oliver Robb; Home of the Lion: Dan Mitchell and Richard Parry; Cash, Gas or Ass, no one rides for free: Sam Porritt, Dustin Erikson, Anthony Faroux, Rochelle Fry; SundayB Morning: Mike Rogers; Feral Face: Wayne Clements, Cameron Irving, David Brian Smith, Matthew Smith and I- Modi: Adam Christensen and Phillipa Horan. 2009 exhibitions include Simon Popper with Alessandro Raho and Sam Porrit; Keep out of the world/ Keep the world out.  Yves Klein Essai de Toit d’Air 1961, 2.05’ DVD Courtesy Yves Klein Archives, Paris Part of a series of work known as Air Architecture, the drawings for which he collaborated with French architect Claude Parent, Yves Klein was attracted to the idea of the limitless boundaries of technology and used this short film to demonstrate the validity of using high pressure air streams or gases as architectural material to create an ‘air roof test’ that would deflect water and thus the outside elements. Yves Klein (1928-1962) is best known for his monochrome paintings and objects using his patented ‘International Klein Blue’ first exhibited in 1956. His lifelong fascination with immateriality and spirituality led to experimentation with the natural materials of pure pigment, sponge, air, fire and water. Torstan Lauschmann Patchword Cinema, Compilation 1 2010, video, 40mins Courtesy the artist + Mary Mary, Glasgow Patchwork Cinema Compilation 1, is an experimental 42 minute edit of found film footage spanning the birth of the moving image to more contemporary fare. They range from the easily digested humour of silent cinema to the formalistic musings of Beckett and include rare examples of highly inventive pre-cinema techniques, such as phenakistoscopes and flipbooks. Lauschmann directly challenges ideas of authorship and copyright by weaving these shorts together, creating his own cohesive work. The result is an emotive (rather than narrative) experience, with its own internal rhythms and codas, opening up different avenues for multiple readings. Herbert Matter Works by Calder 1950, 20mins, 16mm, colour, sound Music by John Cage, narrated by Burgess Meredith Courtesy Calder Foundation, New York Matt McCormick The subconscious art of graffiti removal 2001, 20mins, 16mm transferred to video Courtesy the artist & Rodeo Films, Los Angeles      A strange and wry dissertation on the idea of subconscious art, with particular emphasis on the removal of graffiti in Los Angeles. Rivane Neuenschwander  The Tenant  Made in collaboration with Cao Guimaraes
 2010, 10.34 mins, HD Digital Film Projection Courtesy the artist, Stephen Friedman Gallery, London, Tanya Bonakdar, New York + Galeria Fortes Vilaça, São Paulo The Tenant follows the journey of a solitary bubble as it floats around a deserted house. Shot at the artist’s studio in Belo Horizonte prior to its renovation, the bubble offers unique glimpses into the minutiae of a derelict structure. A sound track accompanies the film choreographed by Brazilian musicians O Grivo. Residual sounds from the filming process are enhanced and combined with short melodic interludes. Rivane Neuenschwander (b. 1967, Brazil) has participated in numerous exhibitions and screenings internationally. Recent shows include ArtUnlimited, ArtBasel, Basel; South London Gallery, London; 'Life on Mars’, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh; New Museum, New York; St Louis Art Museum, St Louis, MO, Palais de Tokyo, Paris, France; Walker Arts Center, Minneapolis, MN and Portikus, Frankfurt, Germany (2001). Her work is included in the collections of Tate Modern, London, and the Museum of Modern Art, New York. Tony Oursler The Weak Bullet 1980, 12:41 min, color, sound Courtesy the artist + Electronic Arts Intermix, New York Told with raw eccentricity and grotesque humor, The Weak Bullet is an ironic tale in which the trajectory of the eponymous bullet propels a bizarre narrative of social rupture and sexual paranoia. Oursler takes the viewer on a delirious, psychodramatic odyssey through a nightmarish landscape that is part Caligari, part splatter film, and mostly his own outrageously perverse internal universe. As it winds its way through Oursler's world, the subversive bullet acts as a disruptive phallus that both castrates and impregnates. The miniaturized, crudely rendered sets house an expressionistic theater that is distinguished by Oursler's ingenious visual shorthand, narrative disjunctions, and typically droll, stream-of-consciousness text. Pablo Pijnappel Andrew Reid Courtesy the artist, carlier | gebauer, Berlin + Juliette Jogma, Amsterdam Pablo Pijnappel was born in 1979 in Paris and studied at the Gerrit Rietveld Academy in Amsterdam und at the Rijksakademie. His works have been shown in numerous international exhibitions including solo shows at Juliette Jogma, Amsterdam (2011) and carlier / gebauer, Berlin (2010); Kadist Art Foundation in Paris (2008), Künstlerhaus Bremen, Whitechapel Laboratory in London, the Slovakian Pavilion at the 52nd Venice Biennale, Artists Space in New York (all in 2007) und at Witte de With in Rotterdam (2006). Sally Potter Combines 1972, 15 mins 16mm transferred to video Courtesy the artist As part of her experiments into expanded cinema, Potter often combined live performances of music and dance with film projection as well as using dancers as the subject of her experimental shorts. Potter trained as a dancer during the 70s and toured as a dancer, choreographer, musician and performance artist with Alston's Strider dance company, the Limited Dance Company (co-founded with Jacky Lansley) as well as with performance artist Rose English and with fellow musicians in the Feminist Improvisation Group (FIG). Sally Potter directed her first feature, THE GOLD DIGGERS, starring Julie Christie, in 1983. After making a number of short films and documentaries, she wrote and directed the Oscar-nominated ORLANDO, starring Tilda Swinton, which won more than 25 international awards. This was followed by THE TANGO LESSON (1996), which was nominated for a BAFTA, and THE MAN WHO CRIED (2000), starring Christina Ricci, Johnny Depp, Cate Blanchett and John Turturro. In 2004 Potter made YES, starring Joan Allen, Simon Abkarian, and Sam Neill. Potter then directed CARMEN for English National Opera in 2007. Potter’s latest film, RAGE (2009), starring Judi Dench, Jude Law and Steve Buscemi was the first ever film to premiere on mobile phones and was nominated for a Webby Award for Best Drama in 2010. Sally Potter has had full career retrospectives of her film and video work at the BFI Southbank, London in 2009, and Filmoteca, Madrid, and MoMA, New York, in 2010 and recently presented a series of early films at Serpentine Cinema, London. Sally Potter has a blog and message board at www.sallypotter.com. Laure Prouvost It heat, hit 2010, 6 mins Courtesy the artist + MOT International, London It, heat, hit is a new work that constructs and propels an inferred story through a fast-moving sequence of written commentary and excerpts of everyday incidents and pictures that hav


Steven Cairns


Untitled (Take Me and It Back)

2011


Performance with three single-channel video projections and 6-channel audio

Extending from his practice based on physical and intellectual collage, Steven Cairns presents a new performance developing multi-layered audiovisual language based on occurrences of cultural appropriation. Combining found footage from high fashion and music with video culled from the artist’s personal archive, Cairns builds a minimal dialogue over a triptych of projected images that are continually layered and recalibrated. With an accompanying audio played live on six CD players, the performance’s soundtrack comprises manipulated narrative voice-overs and found sound.


Steven Cairns is an artist and writer based in Dundee. His works are an open-ended exploration of visual and semiotic associations, often incorporating a collage-like aesthetic whether through video, photography or performance. His work has been shown in Gothenberg, Edinburgh, Glasgow and Stirling.



Alexander Calder


Black mobile with Hole

1954

Courtesy Calder Foundation, New York


Black Mobile with Hole, 1954 represents the resolution of Calder’s sculptural language. The surprising scale accounts for the mobile’s broad sweep. With its infinite possibilities constantly shifting, it charges its surrounding environment. Calder further redefines space with the suggestive use of a piece of wire, which “carves” a cavity out of one of the larger black elements (the “hole” of the mobile’s title).


Work in Progress

1968, 16mm, 15mins, colour, silent

Cinematography by Giulio Gianini, performance from Teatro dell’Opera,

Courtesy Calder Foundation, New York


Alexander Calder (1898-1976), whose illustrious career spanned much of the 20th century, is the most acclaimed and influential sculptor of our time. Born in a family of celebrated, though more classically trained artists, Calder utilized his innovative genius to profoundly change the course of modern art. He began by developing a new method of sculpting: by bending and twisting wire, he essentially "drew" three-dimensional figures in space. He is renowned for the invention of the mobile, whose suspended, abstract elements move and balance in changing harmony. Calder also devoted himself to making outdoor sculpture on a grand scale from bolted sheet steel. Today, these stately titans grace public plazas in cities throughout the world.



Ellen Cantor


Uncut RAW FOOTAGE: The Techno Party

from "Pinochet Porn" (a feature film in progress)

Directed by : Ellen Cantor

Director of Photography : John Brattin

Art Director : Jay Kinney

Executive Producer : John Maybury


The Techno Party, starring: Kerry Davis, Francesca Gangitano, Cate Giordano, Malcom Hamilton, Ryan Harman, Andy Haynes, Jay Kinney, Rosalie Knox, Debbi Martini, Jo Murray, Shandi Sullivan, Stephen Ward.


'The Techno Party' is an uncut episode of raw footage from 'Pinochet Porn' a feature film currently in production. 


"Pinochet Porn" is a soap opera-like narrative about five children growing up during the Pinochet regime, and their subsequent maturation into adulthood. Shot on Super-8, this feature-length film is based on a 2005 hand drawn film script "Circus Lives from Hell". The story while disclosing the intertwined lives of these five characters, also reveals its nature as a microcosm of surrounding political discord, cycles of destruction, and mounting violence. It is at once tragic and comedic. Segments of a particular history are made observable through the circumstances of the lives depicted, all obliquely revolving around the Pinochet regime in Chile. Within this story, childhood fantasy is permeated by structures of annihilation, which the characters later create in their own lives as adults. The story ends with the question: Is tragedy a choice? The title refers to the complex intimate relationships of the characters; but more so, to the regime’s systematic, sadistic destruction of individual lives - policies furtively upheld by the United States, United Kingdom, and the Papacy. This film stretches across the twentieth and twenty-first centuries, extending across continents, countries, cities…. It reaches from the shtetl, the barrio, the concentration camp, into a digital age of increasing mobility and globalization. Yet, despite genuine progress, it describes a world plagued by colonialism, imperialism, fascism, and terrorism.


Pinochet Porn 

Directed by : Ellen Cantor

Director of Photography : John Brattin

Art Director : Jay Kinney

Executive Producer : John Maybury


Narrated by : Pablo Leon de la Barra


Starring : LIA GANGITANO 

Michel Auder, Patrick Blumer, Ellen Cantor, Jim Fletcher, Andrew Haynes, Tristan Hughes-Freeland, Jay Kinney, Rosalie Knox, Harri Kupiainen, Danny McDonald,  Brandon Olson, Annabel Sexton, Spencer Sweeney, John Thomson, Sofia Elisabeth Von Herrlich, Stephen Ward, Cerith Wyn Evans

With special guest star appearances:

Kerry Davis, Francesca Gangitano, Cate Giordano, Malcom Hamilton, Ryan Harman, Mateo Kamzelas, Nuutti Kataja, Debbi Martini, Carmel McMahon, Jo Murray, Emma Nilsson, Arturo Carlo Samperi Malagnino, Shandi Sullivan


Ellen Cantor currently lives and works in London and New York. She has exhibited internationally with solo exhibitions and screening including Participant Inc, NY; 1000000mph, London; Sketch, London; Kunsthalle Wien; Transmission, Glasgow; Delfina, London; Feigen, Chicago; Cabinet, London and Postmasters, New York as well as at Edinburgh International Film Festival and Rotterdam’s International Film Festival amongst many others. Cantor is a Cubitt artist.



Mike Cooter


Untitled (Scarlet Street)
2005

Courtesy the artist + ZINGERpresents, Amsterdam


One of an ongoing project re-fabricating lighting props from films, Untitled (Scarlet Street) is a fully functioning reconstruction of the section of sign visible prior to, and during, the attempted suicide scene in Fritz Lang's 1945 film.


Mike Cooter, (b.1978, lives and works in London) is currently preparing ‘Dingus’, a six-part radio serial about an object with ResonanceFM and for exhibitions at Arcade Fine Arts (London) and Galerie GP & N Vallois (Paris) in 2011. A solo presentation of sculptures was exhibited at ZINGERpresents (Amsterdam) early in 2011, following  ‘The Snail’, a Serpentine Gallery Artist Walk Commission (London, and online), ‘Shadow Effect’, The Company (Los Angeles), ‘A Stranger’s Window’, Moot (Nottingham) and ‘Hyperborean Manners’, Rob Tufnell at Sutton Lane (London) in 2010.



Jaime Davidovich & Gordon Matta-Clark


Reality Properties: Fake Estates (Queen’s Project)

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