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George Barber
Untitled from the collection Various Artists Scratch Video - Volume 2, 1980s
Distributed by LUX
Barber made a name for himself in Scratch Video, making good use of colour and multi-layered fast-moving imagery. His work has been influential, in the orchestration of samples, beats and image.
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Mark Aerial Waller
Glow Boys, 1999
14’
Distributed by LUX
Set in a British nuclear power plant in the company of contract workers termed glow boys. Waller talks about money, time, power relationships, and human frailty. The musical score is by contemporary atonal composer Paul Clark and a specially commissioned musical performance by Mark E. Smith of The Fall.
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Ann Course & Paul Clark
Black Magic, 2002
2’
Distributed by LUX
"Poor people are poor people and they don't understand. A man's got to make whatever he wants and take it with his own hands. Poor people stay poor people and they never get to see, someone's got to win in the human race and if it isn't you then it has to be me."
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Bjorn Melhus
No Sunshine, 1997
6’
Distributed by LUX
Two infantile bodies are floating in a cyberspace ball simultaneously connected with two subconscious bodies in the background. The soundtrack is early Michael Jackson and Stevie Wonder.
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Cerith Wyn Evans
Kim Wilde Auditions, 1996
5’
Courtesy of the artist and White Cube
Backstage, three narcissistic men are auditioning for something with Kim Wilde playing in the background. They perform for the camera dancing and smiling, directions are spoken by someone out of shot.
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Jill Miller
I am Making Art Too, 2003
4’
Courtesy of the artist
Miller inserts herself into John Baldessari’s 1971 video-performance piece, I am Making Art, transforming his meditative gestures so that they both appear to be dancing to the Missy Elliott soundtrack. All I am Making Art footage used with the enthusiastic permission of John Baldessari.
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Malcolm Le Grice
Berlin Horse, 1970
8’
Distributed by LUX (S1 Salon will be presenting the 2 screen version of this film)
An exploration of the film medium and an attempt to deal with some of the paradoxes of the relationship of the "real" time which the film was shot and with the "real" time in which it is screened. The soundtrack is a specially composed score by Brian Eno.
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Matthew Noel-Tod
Atomic, 2003
8’
Courtesy of the artist
A shot-for-shot remake of the 1980 music promo video for ATOMIC by Blondie. The video replicates the imagined post-apocalyptic setting of the original video with the vamp costumes and a lo-fi, homemade stage set. The Blondie song is replaced with a contemporary score written for F.W. Murnau's silent 1922 vampire film Nosferatu, transforming a rebellious punk-rock performance into a screaming orchestral nightmare.
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Liisa Lounila
Play>>, 2003
5’ 50”
Courtesy of the artist and AV-Arkki, Finland
Play>> uses low-fi time-slice photography to navigate the space of a party, slowly circling people frozen kissing or dancing. The film is shot with a self-made pinhole camera exposing 528 frames simultaneously. As a moving image they create the feeling of moving around a frozen subject.
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Manuel Saiz
Upwards Compatible 2001 Opening Credits Sequence, 2001
6’
Courtesy of the artist
The opening credits for Stanley Kubrick’s 1968 film have been re-designed and formulated in the style of American blockbuster feature films. Eighteen takes of London Underground stations on the Jubilee Line make up the sequence. A homage, joke or an upgrade?
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George Shaw
Once Upon a Time,, 1989
4’
Courtesy of the artist and Sheffield Hallam University
Made before his departure into painting whilst still student at Sheffield Polytechnic, a rare opportunity to see the text-based rant set to shoplifted sound.
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Pascal Lievre
Abba Mao, 2000
4’
Courtesy of the artist and Videoformes, France
Lievre lip-synchs the words from Mao Zedong's Little Red Book to a dubbed version of the Abba song Money Money Money whilst putting on red make-up to become the same colour as the background of the set.
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Mika Tajima
Solo Project,, 2001
2’ 45”
Courtesy of the artist
Taking the idea of a band or an orchestra Tajima has formed a group, playing as all the necessary band members herself. She creates a visual and aural pattern, and although the piece obliterates itself, the chaos presents the pattern and a strange order.
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