During January and February S1 Artspace will host three programmes of artist film and video featuring work from the UK, Denmark, Germany, Estonia, Serbia and Montenegro, Australia and Peru, combining video formats with screenings in 16mm and Super 8. S1 / salon is curated around material selected from an open call with the intention of creating a platform for presenting artist film and video without prescribed themes or categories. Each salon features films selected by an artist working in the moving image.

This is the second season of S1 / salon. A national tour of tonight we are golden, a programme featuring fourteen films from the first season will be launched in February.

  
Jason Pidd (London)
Darkroom, 2003
10’ 29”
A split-screen treatment of unedited multi-cam television footage from the television show Masterchef. Unexpected and occasionally absurd relationships appear to surface in the jury as Alistair Little, Loyd Grossman and Anneka Rice discuss soufflé...
Stuart Gurden ( Glasgow )
eye-may-mah, 2003
9’ 15”
An apocryphal tale about Brian Wilson’s 1970’s visit to Iceland. A journey to an extinct volcano reputed to contain traces of Wilson’s visit is interlaced with scientific research into the workings of LSD on the human mind and an account of Wilson’s brief meeting with the Maharishi Yogi who gave him the mantra “eye-may-mah”.
Kevin Heavey (London)
Cloud R, 2003
3’ 56”
A series of candy-coloured explosions erupt leaving an industrial skyline intact. Aircraft and birds leave a trail of confetti animation in their path. Charlton Heston narrates an audio-guide to Friedrich Nietzsche as soft rock muzak plays out.
Steven Ball (London)
Sevenths Synthesis, 2001
6’ 20”
Animated abstracted synthetic sound-to-image/image-to-sound digital materialist parsing experiments collide with trad pagan Beltane folk dance remixed Seven Step Polka in fragmentary, fractured and fast digital scratch mix. A hybrid of materialist and spatial exploration.
Morten Larsen (Aarhus)
Foxie Cutting Birthday Cake, 2003
17’
Real-time footage, internet images, animation and Amiga software with 8-bit sound are collaged and strung together in five scenes with an astral web of yarn.
Francis Gomila (Newcastle Upon Tyne)
Animal Stories, 2004
14’ 20"
Schreiner has clipped numerals from footage of taxi meters, buses, hotel doors, sports shirts, telephones and dialogue to compile a countdown in film.

Part 2
selected by Duncan Campbell

Duncan Campbell was born in Dublin and studied Fine Art in Dublin, Belfast and Glasgow where he is currently based. His thirty-minute film Falls Burns Malone Fiddles was exhibited at Transmission Gallery in Glasgow before being selected for Manifesta 5 in San Sebastian last year. Falls Burns Malone Fiddles was also presented in Sheffield for the first season of S1 / salon in revolution is not what it used to be and is touring with the Sparwasser HQ exhibition Old Habits Die Hard. Campbell is currently working on a new piece for a solo exhibition at Lawrence ‘O Hana Gallery later this year. He is represented by Galerie Luis Campana, Cologne. For weird science Campbell has selected Hollis Frampton’s 1971 16mm film Nostalgia.

Hollis Frampton
Nostalgia, 1971
36’
Distributed by Lux

Frampton is recognised as one of the leading figures of the New American Cinema, a contemporary of Michael Snow, Paul Sharits and George Landow. This film, made in 1971 and itself part of a larger work called Hapax Legomena relates to a period between 1958 and 1966- before Frampton was known as a film-maker and was working mainly in still photography. Twelve photographs are presented as 'documents' of that period. A number are of friends in the New York art world, others are images that were of aesthetic interest. The tone throughout is dry and ironic. Each photograph is presented to the camera and a voice, speaking in the first person, describes the content of the image, the personal circumstances that surround it and the memories it evokes. After a minute or so when the commentary has ceased, each photograph gradually curls up and burns, transformed into black ash by the hotplate on which each in turn is placed. The structure of the film is complicated by the fact that the commentary for each image is 'out of synch': each commentary fits the photograph to follow, not the one before our eyes. The spectator himself is thus caught up in the process of memory and prediction that are the subject of the film.