From: Steven Ball (email suppressed)
Date: Sun Jun 25 2006 - 07:09:01 PDT

presents the first of new ongoing series of monthly artist run moving
image screenings

London has long been a hub for Australian film and video artists as
much as Australia has become a home for many British ones. This
screening features four artists working in digital video who each have
shifting connections with both places. Features works by Steven Ball,
Marcus Bergner, sue.k. & Mike Leggett.

4:00pm Sunday 2nd July 2006
basement of CANDID ARTS TRUST,
3 Torrens St,
London, EC1V 1NQ
United Kingdom
£5/£3 (concs)
email suppressed


28 mins, video, UK, 2006
Shot at the height of summer in 2002, liverpool223355 captures the
brilliance of light on an almost deserted nighttime platform at
Liverpool Street Station, London. This work, more than any other
produced by sue.k., references its materiality by introducing the
primary colours of video, blue, red and green, and black and white in
positive and negative in a series of still frame insertion within the
edit weave. These are used to reference points in space and time
determined by the subjective process of filming the original video
material. The audio is edited in a way whereby it further extends the
experience of space and time by announcing each introduction of a
series of colour or positive and negative black and white.

Cryptic Burgess Dub
Steven Ball
12 mins, video, UK, 2006
Dubstep meets experimental video meets cryptology. Electronic video
manipulations follow dub music processes producing visual distortion,
echo and reverb. Like much contemporary dubstep music this evokes the
grimy South London summer, as pavements melt, the humidity rises, a
steamy fug settles and the city slows into an uneasy and frazzled
hallucinatory dub daze. The image track provides a background rhythm to
an experiment testing a proposition that the cryptic in experimental
art might not simply be subjective obfuscated poetical aestheticism, or
self-reflexive formalism, but a vehicle for the transmission of
statements which, from the current paranoiac political/legal purview,
might be considered as sensitive, even dangerous.

The Surface
Marcus Bergner
34 mins, video, Australia, 2004
The object (made) of after-images, The Surface has been made from
liquid paper, white light and over 300 discarded 16mm educational
films. It was screened as a work-in-progress in Los Angeles, two years
ago and immediately after the screening, Berenice Reynaud, within the
guise of a highly eloquent and charged set of reflections, explained
how she thought the images in the film appeared fixated on death and
ruination. At another art school screening of this work-in-progress,
this time at the VCA in Melbourne, Chantal Faust enquired about what
she thought were the persistent and subtle erotic, or haptic, elements
within the same images.

Both of these observations, or comments, accurately and appropriately
go someway in identifying two of the underlining preoccupations, or
thematic tenets, that the film work has been investigating. For, among
other things, it has fixated on exploring the distinctively embodied,
fragmented and compelling form of visuality exclusively accessible to
the event of viewing film. And which are aspects, and qualities,
central to the radical aesthetic associated with experimental cinema.

Laurel's Handle
Mike Leggett
10 mins, video, Australia, 2004
The materials that construct an image on the screen - light, dark,
colour, sound - move in relation to each other to construct a cinematic
spectre. The shapes take on form which may have a bearing upon our
memory of, encounters with, past perceptions. A hand, a handle,
movement, transporting us across the dimensions of the screen, from the
space of an image to a place of reminiscence. The banality of everyday
activities, operations, procedures interact with memories of intimacy,
distance, presence.

“These shifting and confused gusts of memory never lasted for more than
a few seconds; it often happened that, in my brief spell of uncertainty
as to where I was, I did not distinguish the successive theories of
which that uncertainty was composed any more than, when we watch a
horse running, we isolate the successive positions of its body as they
appear upon a bioscope.”
Marcel Proust 'Swanns Way - In Search of Lost Time'.

17 mins, video, Australia, 2003.
A flight of stairs, eight trips down and eight trips up. steps---89
captures the mood and sense of agitation experienced within London’s
Underground network.
email suppressed

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.