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Photo Gallery for VITRINE, 11 colourful outside jobs

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Vitrine: eleven colourful outside jobs is about reconsidering the relationship between image, audience and space, engaging with a situational aesthetics in order to question ideological representations and languages of everyday life. This group exhibition brings together artists working across the moving image spectrum who each in their own way offer possibilities of inquiry, engagement and participation in the formulation and ascription of meaning. The works function in direct relation to the actual urban environment: their specific context of exhibition, street shop-windows, underlines the variety of processes at play during the production of meaning while at the same time allowing for new subjectivities to emerge. Space becomes an object of intervention and at the same time the instrument of that same intervention. Vitrine: eleven colourful outside jobs is a possibility of critical reflection, a fluid framework of instability emerging from the unexpected yet meaningful visual combinations that might open individuals to a potential significant role in giving meaning to contexts and objects.

https://filmcolab.wordpress.com/introducing-vitrine-part-of-white-night-festival/film-programme/

Vitrine is proudly sponsored by White Night Brighton and artrepublic, the collectable art prints gallery in Bond Street, Brighton.

We would also like to show our appreciation to our kind individual funders : Duncan Lewis, Hugues Decobert, Janko Calic and Franck Trebillac.

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Introducing Jess Macneil

As the final day showcasing emerging artists exhibiting at VITRINE (opening today at 7pm) we would like to introduce :-

Jess Macneil
Lives and works between London, United Kingdom, and Sydney, Australia.

Jess MacNeil works at the points of intersection between painting, installation, video and photography, often taking as her subject matter the dynamics of the human/environment relationship. MacNeil has exhibited widely internationally and within Australia. Her work was included in ‘Primavera’ at the Museum of Contemporary Art, Sydney and the Samstag Museum of Art in 2008 and was presented at the Tokyo Metropolitan Museum of Photography, the Museum of Contemporary Art, San Diego, and the Museum of Contemporary Art, Sydney, in 2009. She was awarded the Anne & Gordon Samstag Scholarship, the Fauvette Louriero Memorial Artists Travel Scholarship, and an Australia Council Grant in 2006 and completed a Graduate Affiliate Program at the Slade School, London in 2008. In 2009 she won the Primavera Veolia Acquisitive Award. Her work is held in public collections including the Museum of Contemporary Art, Sydney, and the Australia Council for the Arts as well as numerous Australian and international private collections.

Web: http://jessmacneil.com

Still from: The Swimmers, 2009.

This piece will be exhibited in Vitrine – 11 colourful outside jobs, a public moving image exhibition in the streets of Brighton as part of the White Night, 29th to 30th October 7pm to 6am.

Introducing Greta Alfaro

Over the next few days until Saturday – VITRINE’s opening – we will be profiling one of the emerging artists exhibiting at the show.

Today we would like to introduce :-

Greta Alfaro
Spain, 1977. Lives and works in London.

MA graduate in Photography from the Royal College of Art, London and BA from Universidad Politécnica de Valencia, Spain. Her work has received grants and prizes from different institutions such as Beca CAM de Artes Plásticas, Genesis Foundation London, Ministerio de Cultura de España, Matadero-City Council of Madrid, Casa de Velázquez, Government of Mexico, Government of Navarra, Foundation BilbaoArte and Rogaland Art Centre. Among her recent exhibitions are the groups shows Bloomberg New Contemporaries at the ICA London, Visionary Trading Project at Guest Projects, London, Inéditos. Inanimate Beings at La Casa Encendida, Madrid, and the solo shows Elogio de la Bestia at the Centro de Arte Contemporáneo Huarte in Spain, In Ictu Oculi at Carpe Diem Arte & Pesquisa in Portugal and Ricorrenza at Dryphoto art contemporanea in Italy. Alfaro’s video work has been recently screened at the Centre Pompidou in Paris, Haus der Kulturen der Welt, Berlin, International Film Festival Rotterdam and Caixa Forum Madrid.

Artistic Statement:
We visualize the barren landscape of desire and will. Through the cracks of our consciousness, breaking the comfort of alienation, we catch, from time to time, glimpses of corruption, decline and decay that belong to our very selves. The phantoms appear, the dead change sides. Ours is a posthumous celebration.

Still from: Fall On Us, And Hide Us, 2011.

Web: http://www.gretaalfaro.com/

Greta’s piece In Ictu Oculi, (2009) will be exhibited in Vitrine – 11 colourful outside jobs, a public moving image exhibition in the streets of Brighton as part of the White Night, 29th to 30th October 7pm to 6am.

Introducing Jorge Santos

Over the next few days until Saturday – VITRINE’s opening – we will be profiling one of the emerging artists exhibiting at the show.

Today we would like to introduce :-

Jorge Santos
Silves, 1974. Lives and works in Lisbon.

Fine Arts degree at E.S.T.G.A.D., Caldas da Rainha, Portugal, 2001. Participated in Project Room at Centro Cultural de Belém, 2001, and was an assistant of Pedro Cabrita Reis between 2001 and 2002. Colaborator with Galeria ZDB, Lisbon, in 2003. Received an artistic development fellowship from the Fundação Calouste Gulbenkian between 2005 and 2006, for a residence in Casa de Velázquez, Madrid. In 2007, presented the project Running Window at the Museu Colecção Berardo in Lisbon. Received an artistic development fellowship from the Fundação Calouste Gulbenkian Uk Branch, in 2009, for a residence Spike Island, Bristol. Artist of the week in the Guardian for the exhibition at Spike Island in 2010.

Web: http://www.jorgesantos.net

Press: http://www.guardian.co.uk/artanddesign/2010/aug/11/artist-of-week-jorge-santos

Still from: Window, 2011.

This piece will be exhibited in Vitrine – 11 colourful outside jobs, a public moving image exhibition in the streets of Brighton as part of the White Night, 29th to 30th October 7pm to 6am.

Introducing Olga Koroleva

From today until Saturday – VITRINE’s opening – we will be profiling one of the emerging artists exhibiting at the show.

Today we would like to introduce :-

Olga Koroleva
Tula, Russia, 1987. Lives and works in London.

Olga works across media including writing, photography, video and sound. In 2006 she completed a Foundation Diploma in Fine Art Media at Chelsea College of Art and Design with distinction. In 2010 she graduated from Wimbledon College of Art in Fine Art Time Based Media with honours. Olga received the Landmark Art Prize for her recent work in June 2010. Her work has been shown across a variety of platforms in the UK and Europe.

Web: www.olgakoroleva.com

Still from: Dialogues: White Chocolate and Jesus, part 2, 2011.

This piece will be exhibited in Vitrine – 11 colourful outside jobs, a public moving image exhibition in the streets of Brighton as part of the White Night, 29th to 30th October 7pm to 6am.

Official Programme for Vitrine : eleven colourful outside jobs

Official Film Programme

AL and AL, I killed thousands of people last night and these are all the weapons I used – 3D, HD, 2009, UK, 2:22
Commissioned by Edwin Carels for MuKHA (Antwerp Museum of Modern Art), Cultuurcentrum Mechelen and MMMechelen vzw as part of the City Visions event.

In I killed thousands of people last night and these are all the weapons I used – 3D, a series of animated weapons are labelled with their value as though in an arms dealer’s showroom, or is it just a computer game waiting for the player to buy their munitions?

Greta Alfaro, In Ictu Oculi, HDV, 2009, Spain, 10:35
There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.

John Baldessari, Six Colorful Inside Jobs, 16mm on video, 1977, US, 32:53  
Seen from a bird’s eye view, a figure paints the walls and floor of a windowless room six times in six days, using each of the primary and secondary colours.

Dara Birnbaum, Mirroring, Video, 1975, US, 6:01
Courtesy of Marian Goodman Gallery, New York & Paris and Electronic Arts lntermix, New York

In this early performance-based work, Birnbaum investigates the notion of video as a mirror to create a psychological self-portrait. Devising a simple but ingenious formal exercise, she layers real and reflected images to articulate metaphorically the duality of internal and external selves.

Herz Frank, Ten Minutes Older (Par Desmit Minutem Vecaks), 1978, Latvia, 35mm on video, 10.00
The film Ten Minutes Older has been advised by Land In Focus, multidisciplinary arts organisation specialised in revealing and promoting world cinema cultures.

Acclaimed documentary film director Herz Frank, with cameraman Juris Podnieks, captured the purest range of human emotions without a word being spoken in a single continuous ten-minute shot.  The viewer does not actually see what is happening off camera; instead, we are drawn to witnessing the facial expressions of a child perplexed with a puppet show.

Ian Helliwell, Coloured Light District, Super 8mm on Video, 2002, UK, 2:10
Derived from found super-8 footage of night-time cityscapes shot in London and Berlin in the early 1970s, this silent amateur film of lights and neon signs has been reorganized through editing, superimposition and colour inversion, with Helliwell`s soundtrack combining electronics, computer sounds and short wave radio signals.

Olga Koroleva, Dialogues: White Chocolate and Jesus, (part of ongoing series), 2011 onwards, UK, 5:21
Dialogues is an ongoing series of text and video works inspired by the banality of the everyday and our tendency to give away personal information in public context. Split between two screens it aims to underline a degree of self-awareness, questioning the accuracy behind information we readily take for a fact. Screen 1 features a series of typed text complied from dialogues overheard and recorded as the conversations were taking place, those written down from memory, others written as a reaction to the immediate context, at different times. Akin to the type of screenplay writing it is shown in conjunction with screen 2, where two the figures are seen sat at a table; both screens are set to unsynchronized loop, meaning no particular part of the text is directly linked with any part of the image –instead there is a possible connection raising the question of (mis)communication and psychological alienation between two interlocutors while within close physical proximity.

Jess MacNeil, The Swimmers, HDV, 2009, UK, 4:00
Commissioned by Kaldor Public Art Projects for the project “MOVE – Video Art in Schools”

The Swimmers presents an apparently simple scene of an ocean pool against the ocean, played in slow motion.  The organic motion of the water contrasts the underlying geometry of the pool.
The footage has been digitally manipulated to remove the bodies of the swimmers from the water, leaving only the conditions and effect of their presence – the disturbance they create in the pool, the shadows left by their bodes.  This, along with the mesmeric motion of the ocean waves and their effects on the water in the pool, composes the work.
The work loops seamlessly and with no discernable beginning or end.

Jorge Santos, Window, HDV, 2011, Portugal, 3:00
Commissioned for Vitrine : eleven colourful outside jobs as part of Brighton and Hove White Night 2011.

The window of a train frames the word Window written in the glass while behind a moving landscape emerges.

Richard Serra, Hand Catching Lead, 16mm on video, 1968, US, 3:02
Richard Serra’s first film features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.

Gillian Wearing, Dancing In Peckham, Video, 1994, UK, 25:00
Courtesy of the Government Art Collection

The artist recorded herself dancing in a busy South London shopping centre to the bewilderment or indifference of passers-by. Wearing’s intimate understanding of the language of documentation explores the gap between public and private experience.

Gillian Wearing’s video Dancing in Peckham shows the artist dancing in the middle of a south-London shopping centre. Members of the public walk past, bemused by her behaviour or ignoring her completely, as she moves to the music of Nirvana and Gloria Gaynor, played only in her head. Wearing is interested in the boundaries of what might be considered “normal” behaviour and the lines between private and public. The idea for Dancing in Peckham came to Wearing when she saw a woman dancing wildly at the Royal Festival Hall in London, unaware that other people were mocking her.

Vitrine is proudly sponsored by White Night Brighton and artrepublic, the collectable art prints gallery in Bond Street, Brighton.

For further information regarding the programme please click here

Curatorial team: Clare Holden, João Laia and Michaela Synackova

BYOB at Moving Image: An Art Fair of Contemporary Video Art during Frieze London

Showcase your work in the biggest moving image event in London and screen your films as part of the newest fair art fair in London – Moving Image: An Art Fair of Contemporary Video Art happening alongside Frieze.

Film Co Lab is hosting a Bring Your Own Beamer event in the attic of the iconic Bargehouse on OXO Tower Wharf. This collective showcase is open to the participation of all those interested. We will supply the electric and artists will bring their own displaying materials (laptop, dvd player, projector, etc). We would like as many artists and filmmakers to come along and make the most of the opportunity to have your work shown as part of Moving Image: An Art Fair of Contemporary Video Art in London, transforming the attic’s black canvas into an immense screen of moving image work.

Moving Image has been conceived to offer viewers a unique viewing experience, providing a rich program of time-based work from around the globe by today’s most important and exciting new artists. Throughout the 4 days Moving Image presents works by 28 artists represented by 28 galleries and non-profit institutions from South America, Asia, the Middle East, Europe and the United States.

Bring Your Own Beamer (BYOB) is an international movement started by the visual artist Rafael Rozedaal, an open source DIY curatorial format of one-night-exhibitions where artists collaborate on site to create a moving image performance. BYOB events have been held in over 40 international cities.

Film Co Lab is a platform dedicated to the exhibition of moving image work outside familiar settings. We will be hosting the latest BYOB event over two hours from 4.30 to 6.30 pm on Saturday 15th October in the raw attic space of the impressive 4-storey Bargehouse warehouse within OXO Tower Wharf. Film Co Lab’s forthcoming moving image show will take place in Brighton during the White Night on the 29th of October, displaying 10 moving image pieces in the shop-windows accross two streets of the city, from 6pm until 6 am the following morning.

For a full list of the artists and galleries participating in Moving Image Art Fair of Contemporary Video Art please browse the fairs website here

TO REGISTER JUST SEND YOUR NAME AND CONFIRMATION OF WHAT YOU’RE BRINGING TO info@filmcolab.org

Spread the word and see you there!

Introducing VITRINE part of White Night Festival

Film Co Lab will be screening up to 15 films in Brighton’s shop windows on the 29th of October as part of White Night Festival.

Illuminating shop windows with short films, Film Co Lab will harness the surrounding sounds of the festival to create a unique soundtrack for each film. Bringing cinema out of the dark and into the street, the boundary between art and life is challenged and the audience transformed from spectators to participants.

The idea of the exhibition is to break away from the division between life and art, which is usually enclosed in a gallery space, and life and film typically shown in a dark, closed space. The moving images encourage a process of reflection about the context and framing of art/film as well as the daily use of the streets and shop windows, allowing for different readings of space and film to emerge. The films span both upcoming artists and established figures of the art world, helping young artists to promote their work whilst simultaneously developing a dialogue with better known films providing fresh new meanings to all works involved.

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