From: Thomas Beard (email suppressed)
Date: Mon Oct 19 2009 - 05:31:32 PDT
Light Industry
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Mouth Room
Curated by James Richards
Tuesday, October 20, 2009 at 7:30pm
Taking Stuart Marshall¹s 1976 video Mouth Room as its namesake, this is a
programme of dysfunctional narrators and wayward voices. Often humorous or
poetic, these works present the voice as an improvised or experimental tool
for expression and communication. Most of the work has a performed,
spontaneous feel, with the voice playing a central role in the action, or
inaction. Similarly, most of the videos have an intimate quality, and share
a sense that what¹s happening is either private or ritualistic; voice and
word are performed in states of abstraction, poetry or song as a means to
control or be controlled by the action. - JR
o Joan, no..., Duncan Campbell, video, 2006, 12 mins
Photoshoot Tape 1 (James Richards re-edit), Kim Fielding, video, 2006, 2
mins
The Waltons, Anne McGuire, video, 1996, 7 mins
Joe Dimaggio 1,2,3, Anne McGuire, video, 1991, 11 mins
Amami Se Vuoi, Michael Curran, video, 1994, 5 mins
OM, John Smith, 16mm/video, 1986, 4 mins
Arcanum, Stuart Marshall, video, 1975, 7 mins
Mouth Room, Stuart Marshall, video, 1976, 6 mins
'Free The Voice', 1 min excerpt
Come to the Edge, Stephen Sutcliffe, video, 2003, 2 mins
Nils Bech Performing Can't Live If Living Is Without You, James Richards,
video, 2006, 3 mins
James Richards is an artist who lives and works in London. Working primarily
with found and re-edited material, projects have taken the form of videos,
curated programs, sculptures and live events. He recently made a solo
presentation at Tramway, Glasgow and participated in a number of group shows
including Naught To Sixty at the ICA, London and Generational: Younger Than
Jesus at the New Museum, New York. He is currently preparing material for a
solo show at Swallow Street, London and curating a series of screenings at
FormContent, London.
This program is supported by LUX, London.
--- An Evening with Bidoun and Semiotexte Presented by Abdellah Taïa Wednesday, October 21, 2009 at 7:30pm Bidoun and Semiotexte invite you to attend a screening of three rarely shown works depicting outsiders' visions of Morocco, introduced by celebrated novelist Abdellah Taïa, Morocco¹s first openly gay writer, who will discuss the fascination that Moroccan literature, landscape and culture has exerted over American expats and travelers. ³More than 50 percent of the Moroccan population is under the age of 25,² Taïa remarked to Michael Luongo of Gay City News. ³I feel it is my responsibility to be an example of freedom...I am not the only one who wants to light the torch to revive the Moroccan dream. The Islamist parties¹ ideas are gaining ground daily in Morocco and the Arab world. We have to destroy this new fear that they are trying to instill in us.² An American In Tangier, Mohamed Ulad, 1993, 27 mins Leaving the US for Tangier, Morocco in 1947 when he was 37 years old, the American writer Paul Bowles remained there until his death in 1999, immersing himself in Moroccan culture. In addition to the classic novels he is best known for, Bowles translated numerous stories by Moroccan storytellers (Mohammed Mrabet, Larbi Layachi and others) and compiled two LP recordings of traditional Moroccan music. An American in Tangier is an intimate conversation in which Bowles reflects upon his life in Morocco. Courtesy of Cinematheque de Tanger and LACMA. Chronicles/Morocco, Michel Auder, 1971-71, 26 mins Morocco 1972: The Real Chronicles with Viva, Michel Auder, 2002, 36 mins Auder alternately refers to the Chronicles as video diaries or novels that are Proustian in nature. Edited almost thirty years apart, Chronicles/ Morocco and Morocco 1972: The Real Chronicles with Viva together are a study in Auder's approach to his memories. The footage is all from the same trip that was a family vacation. Tension developed between the couple and Viva left a few weeks into the trip, while Auder remained for several more months. Auder subsequently edited Viva out of the first version. He also misdated the trip by accident. It took place in 1972, not 1971. Considering Chronicles/Morocco a construct of emotional convenience unfaithful to memory, Auder decided to supplement the first version with a fuller account. The two works feature almost entirely different footage. There are, however, sections where one can see where Auder has omitted Viva. The star of the 1971 version is a young Moroccan Adonis who appoints himself tour-guide for a group of Europeans, including Michel. The camera follows his charming antics as he flaunts his nubile body and rather blunt but effective skills as a hunter. The supplement, Morocco 1972, stars Viva and Alexandra, continuing the theme of mother and child as it was poignantly established in Auder's other diaries. Tickets for all events - $7, available at door. __________________________________________________________________ For info on FrameWorks, contact Pip Chodorov at <email suppressed>.