The Mobile Cinema at Allenheads Village Show 6th September 2008

The Mobile Cinema will be screening a programme of short films documenting and exploring life both past and present in Allenheads. Featuring films from local residents as well as films from Allenheads contemporary arts residencies this is an exciting event marking a new direction in the programming of the Mobile Cinema.

If you can make it please come, if not to join in the fun and games going on around about and to marvel at giant vegetables.

The programme has been produced in collaboration with Allenheads Contemporary Arts.

Village show Films Notes 19 Aug 2008

List of Films 19.08.08

Notes/to do/info needed

1. Allenheads Village Show, 2000, (1 hour approx) – to be edited/cut down to approx 10-15 min

2. Coast to Coast bike ride, L. Cavaliere, (date), (54 sec)

3. Voice of Energy, Bruce Gilchrist and Jo Joelson, 2002, (duration ?)

4. Little Allenheads, (date? Source?), (6 min approx)

5. The Ritual, Arturas Raila, 2007, (20 min)

6. Gravity Challenge, (date), (11 min)

7. Chute, Wendy Kirkup, 2003, (18 min)

8. Here, Bruce Gilchrist and Jo Joelson, (date), (5 mins)

9. Film of driving through snow covered Allenheads, Alan Smith, (date), (7 min)

10. Local Birds, Marcus Coates, 2001, (6.50 min) To be edited, some people taken out.

11. Parliament, Kypros Kyprianou, (date), (8.30 min)

12. Sky, Alan Smith, (date), (6 min)

13. Documentation of Walk to ?, Phil Ogg, (date), (4.52 min)

14. Allenheads rebuild (footage), (date), (11.46 min) to be edited/cut down.

15. Charlie, Nora Hancock footage of Prince Charles visit, (date), (4.20 min)

16. Old Allenheads/Willy Wright at Chapel, (date), (duration?) to be edited/cut

17. Jan 1979, Phillipson, super 8, 1979, (15 min approx) Voice over/commentary version

18. Horse riding lessons, Phillipson, super 8, (date), (duration)

Ideas for programme/showreels

1. 
   

(approx duration – 40 min)

The Ritual, Arturas Raila, 2007, (20 min)

Parliament, Kypros Kyprianou, (date), (8.30 min)

Voice of Energy, Bruce Gilchrist and Jo Joelson, 2002, (duration ?)

2.

2. (approx duration – 12 min )

Documentation of Walk to ?, Phil Ogg, (date), (4.52 min)

Coast to Coast bike ride, L. Cavaliere, (date), (54 sec)

Film of driving through snow covered Allenheads, Alan Smith, (date), (7 min)

3.

3. (approx duration – 30 min)

Horse riding lessons, Phillipson, super 8,

Allenheads Village Show, 2000,

Gravity Challenge, (date), (11 min)

Local Birds, Marcus Coates, 2001, (6.50 min)

4.

4. (approx duration – 20 min)

Charlie, Nora Hancock footage of Prince Charles visit, (date), (4.20 min)

Allenheads rebuild (footage), (date), (11.46 min)

Little Allenheads, (date? Source?), (6 min approx)

5.

5. (approx duration – 25 min)

Sky, Alan Smith, (date), (6 min)

January 1979, Phillipson, super 8, 1979, (15 min approx)

Here, Bruce Gilchrist and Jo Joelson, (date), (5 mins)

submission viewing/programming trip to Allenheads

Arrived at Allenheads last night with 2 super 8 projectors.

So far we have recieved about 8 submissions and have another 10 possibles from Alans archive.

watched all digital videos last night, which consisted of:

• footage of the 2000 Allenheads Village Show, held in the Old School House (60 mins)
• Voice of Energy - Bruce Gilchrist and Jo Joelson, 2002, (dur ?)
• Little Allenheads - TV short doc about the Allenheads rebuild, (6 min)
• The Ritual - Arturas, (Pagan ritural performance 2007), (20 min)
• Gravity Challenge, documentation of gravity challenge event a Allenheads, (11 mins)
• Chute, Wendy Kirkup, 2003, (18 min)
• Here, Bruce Gilchrist and Jo Joelson, 2002, (5 min)
• Local Birds, Marcus Coates, 2001, (6.50 min)
• Alan Smith, drive through snow at Allenheads, (silent), 7 min
• Kypros Kyprianou, Parliment, (8.30 min)
• Alan Smith, Sky, (6 min)
• Phil Ogg, film documentation of a walk, (4.52 min)
• Documentation of Allenheads rebuild, (11.46 min)
• Charlie, Nora Hancock, documentation of prince Charles visit to Allenheads, (9.23 min)
• Old Allenheads, film of places in Allenheads, (1 min)

Alan also recieved 2 super 8 films, which with the help of Sophie we watched and filmed on DV cam. the first film was footage of a deep snowfall in January 1979 and the second was footage of horse riding lessons from roughly the same time. Both have been recorded on DV cam and transfered onto Alan's computer.

Many of the films need to be edited as there is a lot of unnecessary footage which can be cut so final durations will differ and I will document the final programme here at a soom, after discussions with Alan and Helen.

archive and the community

Beginning to write a strategy for the archive...

Step 1. links between the archive and Allenheads, who and what is it for? who will use it ? how will they access /use it?

ACA brings in diverse and innovative artists who offer fresh ideas and a contemporary approach to issues relevant to the Allenheads environment. Through the intimacy of the venue, their work becomes closely linked with the surroundings and the people. 'The way in which artists are encouraged to work at Allenheads means that community members have the opportunity to actually participate in the creation of the artwork.' (Bridget Kennedy, local artist) 'As well as bringing a redundant building back to life, as a centre for the arts and a resource for the whole community, Allenheads Contemporary Arts has encouraged villagers to unite in their efforts to commemorate and celebrate.' (Dave Hurrell & Suzanne Dilley, local residents)

extract taken from the Allenheads Contemporary Arts website

Research: Mass Observation Archives

A brief history of Mass Observation

A book about the original Mass Observation project

Photo from the Worktown collection, taken in Bolton

Origins of Mass Observation, 1937-50s

The Archive results from the work of the social research organisation, Mass Observation. This organisation was founded in 1937 by three young men, who aimed to create an 'anthropology of ourselves'. They recruited a team of observers and a panel of volunteer writers to study the everyday lives of ordinary people in Britain. This original work continued until the early 1950s. Find out more about the original Mass Observation project.

The archive comes to the University of Sussex, 1970

In 1970, the Archive came to the University of Sussex and was opened up as a public resource for historical research. The Archive holds all the material generated by Mass Observation between 1937 and 1949, with a few later additions from the 1950s and 1960s.

The New Mass Observation Project, 1981

The original Mass Observation idea of a national panel was revived from the Archive in 1981. Through the press, televison and radio, new volunteer writers or 'Mass Observation correspondents' were recruited from all over Britain. The project continues under the direction of Dorothy Sheridan.

About three times a year, we send out a "directive" or set of themes which invite views and experiences. Since 1981, over 2,800 people have contributed to the Project, and the current active mailing list is about 400 strong. We are still recruiting new volunteers.

Awards and celebrations, 2006-7

In 2006, the Mass Observation Archive was awarded Designated status by the Museums, Libraries and Archives Council (MLA). Only 38 collections in libraries and archives across England have so far been recognised as having outstanding national and international importance under the Designation Scheme.

ACA update and NRFTA

A recent update from Alan Smith at ACA, we have more contacts coming forward from the Allenheads/Allendale area. Alan is working with these contacts.
I have been researching footage held by the Northern Regional Film and Television Archives (NRFTA), which has revealed that there was a screening of footage held by the archives relating to rural Northumberland screened 7th June 2005.

"At the invitation of the Allendale Film Society, we screened a selection of films and excerpts relating to life and work in rural Northumberland."

I will be contacting NRFTA to discuss the programme and the possibility of futher screenings in collaboration with Allenheads.

I think there is certainly some potential to set up a touring programme which could be taken from Allenheads to Newcastle.

Curatorial models: Isis Arts, The Big M, Newcastle Upon Tyne

THE BIG M

From motion pictures to mega pixels, the Big M celebrates moving image culture and the possibilities for experimentation created by digital technologies. Unique in both design and function, the Big M provides an alternative to the conventional gallery setting and takes work by emerging and established artists to diverse audiences.

The Big M is a highly-stylised inflatable structure that functions as a temporary and mobile venue for the presentation of video and digital media. Fabricated from pvc, it is 17 metres in diameter and 5 metres high. Click here to watch a short video of the structure.

Via a specially designed touch-screen interface, viewers choose their own programme by selecting individual works, each with a running time of 5 minutes or less. Three video projectors show work on DVD in a three screen arrangement with stereophonic sound.

ISIS Arts has produced three programmes and tours for The Big M; Programme 1 was launched in June 2000 and included 21 new and commissioned works by 16 artists. Programme 2 was launched in 2002 and featured 24 innovative works by 18 international artists. The current Programme, number 3, features 20 works by 17 artists addressing the theme of 'Crossing Borders' and was launched in September 2005 in conjunction with the Berwick upon Tweed Film and Media Arts Festival.

From experimental narrative, to performance and computer animation, all of these works push the boundaries of video production and highlight the diversity of practice within this expanding field.

Text sourced from Isis Arts

Curatorial models: The Caravan Gallery, Jan Williams and Chris Teasdale, Portsmouth

The Caravan Gallery is a mobile exhibition venue and visual arts project run by artists Jan Williams and Chris Teasdale. The aim of the project is to record the ordinary and extraordinary details of life in 21st century Britain. Williams and Teasdale are eager to examine clichés and cultural trends, they are particularly drawn to absurd anomalies and curious juxtapositions, typical of places in transition and in the process of reinventing themselves.

Simultaneously seduced by and suspicious of the rose-tinted tones of tourist information brochures, and frustrated by their yawning omissions, Williams and Teasdale have set out to redress the balance by sidestepping the brown signs and interpretation boards to see what lies beyond. Their findings form the basis of a substantial exhibition, as well as a highly subjective survey-cum-tour guide to the ‘real’ Britain in the new millennium.

The Caravan Gallery, a diminutive mustard model (circa 1969), with white walls and beech floor on the inside (like a ‘real’ gallery), provides the perfect setting for an evolving exhibition of photographs made in response to places visited; at any one venue, location-specific work arising from a previous research visit is exhibited alongside other material from the Caravan Gallery archive.

Also displayed are some unique custom made postcards that reveal the reality - and surreality – of contemporary Britain. Although not picturesque in the traditional sense, (Caravan Gallery cards don’t airbrush out Portaloos and are as likely to feature tanning salons as thatched cottages) the appeal of these cards lies in the very familiarity of their subject matter and their celebration of overlooked details; unexpected delights are to be found in the most unpromising situations – and, of course, the reverse is true.

The Caravan Gallery exhibits at an eclectic range of locations, rural, urban and suburban, from small-scale community events to major festivals and venues. The scope for interaction with an extremely diverse audience is enormous, the inevitable feedback (including enthusiastic recommendations of places worthy of investigation) making a valuable contribution to the project. Having seen the exhibition in the caravan, visitors are invited to complete a Caravan Gallery survey about their locality and lifestyle. With questions ranging from the serious to the frivolous, these surveys have proved incredibly popular, yielding fascinating results, e.g:

99% of people surveyed would rather die than arrange a pre-paid funeral.

17% of people surveyed have won meat in a raffle.

30% of people surveyed have seen their parents naked.

18% of people surveyed avoid their neighbours when out shopping.

57% of people surveyed manage to kill houseplants without even trying.

Alan Titchmarsh is loved and loathed in equal measure.

Source: 'About Yourself' - The Caravan Gallery at Aspex Gallery, Portsmouth, 2000.

The Caravan Gallery : Early Days

In 2000, members of Art Space Portsmouth were invited to submit proposals for 'an outdoor installation along the seafront' for Portsmouth City Council's 'Summer Arts Across Portsmouth' season.

Jan Williams put forward an idea that involved using a caravan as the focus of her ongoing investigations into British leisure, landscape and lifestyle. Having got the go-ahead for the project, Williams and co-collaborator Chris Teasdale set about finding a suitable caravan; a small-ad led them to Hayling Island where they found just the thing - a tiny mustard (on one side) egg-shaped 4 berth 'Europe' model. They couldn't resist.

Prior to its conversion into a gallery, the caravan enjoyed a brief incarnation as a small but effective gin palace in London - this was at the opening of an exhibition called '3 in the Park' ( John Dargan, Jo Roberts, Jan Williams ) at The Pump House Gallery,Battersea Park.

Williams, Teasdale and friends went on to transform the caravan into a clean functional gallery space by gutting and rebuilding the (rather tatty) interior; brown velour curtains, floral upholstery and a small wood-effect table were retained in the reception area as a mark of respect to the gallery's 1969 origins.

'The Caravan Gallery Millennium Experience' took place over a rather tempestuous August Bank Holiday weekend on Southsea seafront. Following a celebratory launch featuring traditional caravanners' fare (dress code : socks with sandals), a steady stream of visitors received a guided tour of the exhibition in the caravan before completing a survey about their leisure interests and thoughts about Britain today.

The weekend was so successful that plans were made to develop the project and take The Caravan Gallery on tour. Funding from Southern Arts, local authorities and gallery and event organisers enabled The Caravan Gallery to undertake a pilot tour of the Southern Arts region in 2001 before venturing further afield.

Public Accessibility

Audience diversity and social inclusion are fundamental to the project. The Caravan Gallery project is accessible to all and operates in a range of public and highly visible locations. Although access to the caravan itself may be difficult (although not impossible) for people with certain physical disabilities, we will ensure that provision is made for full participation in the area set up around the caravan. This could include taking part in surveys, looking at exhibits and shows in an adjoining marquee etc. People unable to enter the caravan can view a certain amount from the outside and are able to look at a portfolio containing images displayed inside the caravan.

source of text - Caravan Gallery Website

Any uncanny link between the Mobile Cinema and my interest in crafts (and design)...

maybe there should be an article on caravan culture in the arts (and crafts)?

check out the designed and Made TrailerMade caravan...

sadly sold now :(

Mobile Cinema beginings

The Mobile Cinema began it's 'life' as part of the 'RISK: Creative Action in Political Culture', 2005 exhibition curated by Ele Carpenter. '

'RISK' was an exhibition, which featured Film - Web - Discussion - Media Lab - Participation.

The RISK exhibition presented social actions and processes, political statements and questions, films, participatory computer based works, research material, alternative trade systems, live performance, media lab, discussion forums and art objects. Over 34 Artists and Collectives took part including: Aisling O'Beirn, The Atlas Group, Doug Aubrey, Ross Birrell, Jota Castro, Ruth Catlow, Clandestine Insurgent Rebel Clown Army, Jem Cohen, Critical Art Ensemble, Andrea Crociani, Jeremy Deller, Ghazel, Gregory Green, Jordan & Hewitt, Gavin Hill, ICOLS, Martin Krenn, Torsten Lauschmann, Maris, Harold Offeh, Josh On, Platform, Topsy Qur'et, Jai Redman & Damian Mahoney with UHC, Oliver Ressler & David Thorne, Kate Rich, Jackie Salloum, Trans:it, Yes Men, Variant.

Here is a statement regarding the role of the Mobile Cinema in the Exhibition:

The RISK mobile cinema presents a selection of short films investigating the relation between content and spectacle, truth, fiction and conspiracy.

Media is political: the medium is the message. Free and independent media is crucial to understanding and transforming the power structures in which we live. In the 21st Century information and recreational media is becoming polarised with increasing corporate and government control of the mass media and an explosion of independent grassroots media distributed through the worldwide web, festivals and micro cinemas.

Alternative print presses, radio stations, film collectives and micro-cinemas have a history of collective working and a commitment to independent production and distribution. This collective model, combined with the open source, open access potential of the internet to both upload and download content has led to new opportunities in filmmaking, promotion and programming.

Collectives are formed as non-heirachical organisational models to skill-share complex technologies and to create alternative social centres. A commitment to horizontal planning, grass roots communities and creating new modes of production and distribution is a core value of Indymedia, micro-cinemas and arts film collectives alike.

Artists use many different strategies to interrogate the relations between aesthetics and ideology in film: from documentary essay work to re-enactment, performance and deconstructed narratives; motivated by personal experience or artistic research; from witness to direct action; exploring the shifting relationship between the political and the aesthetic. Art practice deconstructs the ways in which we make and view film, functioning as a process of cultural evaluation, offering alternative narratives and conceptual strategies for investigation.

The Mobile Cinema has the potential to travel, taking experimental and independent film to our cities, towns, villages and summits.

Written by Ele Carpenter, follow the link for more information about the other projects.

An interesting day...

Just had a tutorial with Tim who threw some interesting questions at me. Here is my attempt to remember these interesting questions and answer them in preparation for my next attempt to begin to write my report.

Why am I doing this project?

I have been the Mobile Cinema Coordinator for almost three years now. In that time I have coordinated over 20 events. Most of these have been as hires meaning the Mobile Cinema was hired as a venue to screne an organisation's curated programme of works. My role thus far has primarily been as a project coordinator: managing hires, coordinating schedules and publicity (including the Mobile Cinema Website), managing funding and budgets and arranging invigilation and towing.

I am viewing my project with Allenheads Contemporary Arts as an opportunity to expand on a)my own personal interests in the curation, production and exhibition of moving image work and to also develop my curatorial role within the organisation.

What are my Interests?
Since graduating from a BA Fine Art at Newcastle University I have become increasingly interested in alternative models of exhibition of Artist's Film and Video (AFV) partially from my own artistic practice, which is focused on the use of newer mobile technologies such as mobile phones to shoot, edit and distribute short films and also as a result of my role as Mobile Cinema Coordinator. The Mobile Cinema (MC) is a unique venue not only in it's appearence (as a caravan) but also in it's function as a mobile venue, which allows artist's and organisations to screen moving image work outside of the more expected gallery setting. The mobility of the MC also allows these works to be more accessible to a more majority non art audience by which I mean those who do not frequent art galleries, exhibitions and events and may even have not experienced AFV previously. Thus far my experience and encounters with this audience have been extremely positive and have allowed both myself, other MC team members and artists to engage in interesting dialogues about both the work and the MC. The majority of people leave saying that it (The MC) is both exciting and a fantasitic opportunity.

So how does all this lead to What I am doing at Allenheads?
In late 2006 Alan Smith, one of the founders of Allenheads Contemporary Arts (ACA) approached me with the idea of bringing the MC the Allenheads annual village show, held in September. I was very keen on the idea, however time restraints and other commitments meant that the idea was put on hold. Then earlier this year, around March, the MA Curating group visited ACA and I was reminded of Alan's suggestion and we arranged to meet. I then decided that the MA final project would be a perfect opportunity to combine ACA's interest in the MC and my interest in developing my curatorial role. After a few discussions with Alan and Helen we came up with the Village Life Project.

Why Allenheads?
Allenheads is an interesting place, it is not just a beauty spot in Northumberland but a hive of creative activity since Alan Smith and Helen Ratcliffe founded ACA about 12 years ago. ACA now hosts a series of opportunities for Artists to do residencies in the Area and as a result have produced a diverse back catalogue of moving image work, ranging from documentary of performace to films such as Marcus Coate's 'Bird Song', which has been exhibited Nationally.

As a result of ACA the surrounding community have the opportunity to experience work and meet artist's that many communities do not. Alan and Helen do not by any means force this 'opportunity' upon the local residents but remain open and willing to welcome visitors and locals to see, experience and discuss what is happening or been produced at ACA.

I can not catagorically state that as a result of ACA the Allenheads community are more open and willing to engage with art, but I do expect this to be partially the case.

I am keen to find out what the response the MC and the Village Life Project will be at Allenheads, so far Alan has reported that there has been a very positive response to the call out for moving image submissions from residents, some even asking 'how much do we want!'

I have also applied for the a place on the Graduate Placement Scheme at ACA due to begin in July for which I hope to further develop the project and possibly include some Digital Storytelling workshops to further add to the archive that will be left as a result of the project.

This is pretty much where I am at for now...

Digital Storytelling

"Digital Storytelling" is an emerging term, one that arises from a grassroots movement that uses new digital tools to help ordinary people tell their own 'true stories' in a compelling and emotionally engaging form. These stories usually take the form of a relatively short story (less than 8 minutes) and can involve interactivity.

The term can also be a broader journalistic reference to the variety of emergent new forms of digital narratives (web-based stories, interactive stories, hypertexts, and narrative computer games).

As an emerging area of creative work, the definition of digital storytelling is still the subject of much debate.

Final Call out

WE WANT YOUR FILMS!

Allenheads Contemporary Arts (ACA) and The Mobile Cinema want your videos of local life. These can be your home movies or be more broadly about your local community.

The videos will be included in a programme of work, which will be screened in The Mobile Cinema on the 6th of September as part of the Allenheads village show.

All formats welcome.

Please let Alan or Helen have your videos by Friday the 15^th of August.

Or send them to, Allenheads Contemporary Arts, The Old School House, Allenheads, Hexham, Northumberland, NE47 9HR.

For more information contact Clare Ruddock.

T: 07708098696

E: Ruddock.clare@googlemail.com

www.acart.org.uk

Week 13 (still I think)

This Tuesday I joined the MFA course students at Sunderland for a trip to leeds. Our first port of call was Leeds Art Gallery. As it was quite a traditional gallery I took myself off to Leeds Met to see the 2008 degree show "Eat Cake". There was a good range of work overall and I was pleased to see a good amount of film and video work, some of which I documented (see previous post).

There was a mix of approaches to display, but overall I would say it was mainly installation. I liked the use of overlapping/layering images in the first images (previous post) which produced a quite painterly feel. The room was very well blacked out and the images were very crisp. However it also made me feel quite inadequate in my ability to conceptually analyse the work.

This weeks reading: M. Rush, Video Art, Thames and Hudson, 2003.

Another work which caught my eye was two 8mm projections, at first i did not notice the second projector, as it's film had burnt out. Outside the space was a hand written notice stating that the film had unfortunately burnt out 3 days into the exhibition, I liked the way the artist dealt with conceptualising the fault by accepting that what was left was a trace of the previous film, which now exsisted as a memory in those who had had the opportunity to view it. As always it did feel slightly cringe inducing, due to the over conceptualising of work with accompanying statements, but overall I felt it was a worthwhile trip.

Second stop off was Allenheads. The main reason I joined the trip. It was good to catch up with Helen and to get some feedback on my call out which I had posted the previous night. Alan has reworded some of the content to make it more readable by the Allenheads community, which has made me begin to think more about the language we use to discuss art with different communities. This includes communities such as Allenheads, but could also apply to the differences between Newcastle and Middlesbrough and also the Arts Council....

A lot to do and think about this week...must also arrange another trip to Allenheads.

Leeds trip projections

Film Festival research - Berwick Film and media festival

Quick notes and research to compare and contrast my project(s) against.

• Berwick Film Festival was set up in 2005.
  
• The Aims of the festival are to showcase a national and international programme of moving image works.
• Described as "An inspiring, diverse and international celebration of the moving image, exploring the boundaries of film and art in one of the most unique locations in the UK."
• Programmes and exhbitions are devised in collaboration with guest curators and programmers.
• The 2007 festival showed around 100 films and individual art works over 9 days. The festival featured 46 programmes and exhibitions from 26 different countries, which were screened in 15 locations around Berwick (nice stuff).
• locations included The Ice Houses, Prison Cells, fortifications and other features of the Elizabethan Ramparts.
• The next major Berwick Film and Media Festival will be in 2009 and there will be a mini fest in Nov of this year.
  

The Aim of the Berwick Film and Media Arts Festival is to:

• Stage a world-class contemporary film and art event, which is seen as an important regional and international showcase of the moving image.
• Exhibit challenging and engaging moving image art of the highest level in terms of critical acclaim and conceptual relevance.
• Present a unique programme of artists film/performance, international mainstream film and independent film and explore the relationship and cultural dynamic between these different forms of media.
• Attract a wide and varied audience, both locally, nationally and internationally.
• Invest in the cultural identity of Berwick and its local communities and creatively reflect its rich architectural heritage and location.
• Contribute to economic regeneration of Berwick and the surrounding region by attracting in visitors, creating employment and diversifying the skills base. Raising aspirations and local participation.
• To establish and promote working partnerships between separate local organisations and communities.
• Increase media awareness and literacy through an education programme aimed particularly at young people and future generations of filmmakers and audiences.
• To establish a lasting showcase for artists and filmmakers.

Notes from screening of 100 minutes of non verbal communication by Alan Smith

This week I organised a screening and discussion centred around the works '100 Minutes of Non Verbal Communication', 2006-07, Alan Smith.

The object of this project was for Alan and sound artist Phil Ogg to make 10x10minute audio-video pieces. The challenge was to work separately, intuitively, unaware of one and others intentions.

The session was attended by:

Alan Smith
Tim Brennan
Jo Ana Morfin
Mark James
Louise Marchal

We began the session with a brief introduction to why we had arranged the session. I was very interested in the curatorial possibilities of the project as was Alan.

We then showed the first 2 short films as single screen shots, which we followed by the duel screen version that combines the films eg 1 and 2, 2 and 3. The sound for the films on the duel screen version, as Alan explained was a combination of the two films shown side by side, which changes from one to the other.

After watching the films Alan explained the project and it's concept in more detail and showed a diagram of the process which he had used. (I hope to get a copy of this at a later date).

We then opened the session up to a discussion regarding peoples impressions and possible curatorial approaches to the work.

• 10 single screen monitors
• 10 single monitors in a round - Alan added to this that in order for the sound to not bleed too much between the monitors the round would face outward not inwards of the circle. Alan was also keen to not have headphones as he believed some bleeding of the sound would add interest and dialogue between the pieces.
• Tim suggested the possibility of using a space such as the NGCA in Sunderland and breaking it up into 10 separate spaces with a single projection in each.

I asked how important the context of the project was to the final work, how important was it that the audience understood the process in which the works came to be produced?

• Mark felt that the process was of some importance to the work, but would probably prefer the viewer/audience to make their own interpretation. Therefore he would not provide supportive material alongside showing the work. - I wondered if by not giving the process too much prominence but supplying supportive material in the form of a booklet would offer the viewer the option to take it on board or not.

Tim felt that it was important to fix the work as an object, by deciding upon a format such as an ipod to display it on. This he suggested may help it to last longer.

Jo Ana stated that if they were all projected at the same time the viewer would be more inclined to see the 10 short films as components of a bigger whole work. The working title 100 minutes also suggests this. However if they were shown as separate films, independent of each other they would be seen as separate pieces.

Louise suggested the possibility of projecting in alternative spaces - outside, inside houses?

Mark also highlighted the length of 100 minutes required a lot of dedication from a viewer and reffered to the possibility of sequencing, such as that used in the Hattons Jordan Baseman exhibition.

Working Methods 1.

Week 13 b.

So as part of this weeks 'homework' we have been asked to make a table of contents, as part of this I also began to think about my working method.

This diag is the first attempt at visualising how I see my working methods on this project. the top arrow signifies the process/mechanics of coordinating the screening. The second, bottom arrow or dotted line signifies the research and critical arguments that shall come out of my ongoing investigations around the distribution/exhibition and archiving of the material in the programme.
I am never entirely sure how well I explain these things, any comments are very welcome.

Just some notes from 'Curating Artist Film and Video'

I finally found my notes from an ICO course last September. What better way of preserving them for future generations....blog it!

Mike Sperlinger - LUX

• LUX archive - Can be hired
• Offers Curatorial advice
• Collaborations with organisations on screenings and exhibitions
• Touring programmes (relatively inexpensive/for hire to venues)
• email 'Newswire' - up to date info about LUX archive/programmes and events
• Online Archive - view archive online, advance bookings, DVDs, copies, published books

ICO are also developing a site specifically aimed at Curators specialising in AFV.


Other interesting Orgs.

• ICO - Project launching next year, 6 progs. Classic work, (HDV) good media coverage.
• Lumen - Leeds based, equipment
• FACT - Liverpool based, MITES offers advice, equipment and installation.

International

• New York Film Makers Coop
  
• Electronic arts intermixed (EAI) New York based
• Video Databank - Chicago based
• Canadian Film Makers Distribution
• Lightco - France
• Netherlands Art Institute
• Study Centre, St Martins, London - To view works

Funding - Think Ambitiously

• Arts Council - grants for the arts
• Local Councils (Local arts officer)
• National Institutions e.g. Goethe Institute (specific artists e.g. German)
• Collaborations
• Look to your peers
• Rotterdam Film Festivals/Oberhausen - good networking opportunities

Generating an awareness in the audience of why they are there/who with?

Sarah Wood - "A Curator in search of an audience"

Where to Focus?
Approach?
Audence led?
Artwork/Artist led?
Personality/institution?

Artwork/Film





Audience Curator


History/context of artist film - lots of terms:

• Experimental film
• Exerstential film
• Avant Garde

Showed film examples:

1. Early experimental films - 'Dickenson experimental sound film', 1894, 20secs (from Library of Congress)
2. Current artist - Vicky Bennet, 'The Remote Controller'. (created using found footage, collage, found sound) www.peoplelikeus.org
   

Important to understand context for where you are screening work. Watch films in different spaces e.g. Cinema, Gallery, installation.

Be sympathetic to peoples discomfort [with the medium]. encourage development and understanding via:

Talks
discussion
marketing

Film examples no 2:

Elizabeth McAlpine - screened in different contexts - Gallery
Cinema
Monitor } all create different
interpretations of the work

'Curating and Developing audiences' - Mike Sperlinger and Michelle Cotton

MC - more of a gallery background, Independent curator. Ran S1 Salon programme 2003 - 2006 at S1 gallery.
MS - Gallery and Cinema background

images - artist's interaction with cinema environment
- Guy Sherwin, 'Man with a mirror', performance lecture

• Make screenings an event, ephemeral, an occassion.
• Invite artist/filmmaker/curator discussions

MARKETING

• Email lists - community. Pulls out adn highlights event from the printed programme.
• Word of mouth
• artists as core part of audience?
• share programme with local galleries and orgs
• invite artists to an open event. FIlmmakers bring work to screen/ask 3-4 artists to bring work to screen/discuss.
• remember screening notes! Who, where, when, info about artist
• DVD is not the best format
• MONEY/Expenses - usually £175/day artist screening fee for a 1/2 day talk and travel.
• remember to provide feedback to artists - statistics, feedback

Keep a sensitivity to framing of work.
try to remain strategic, informative and open regarding the work.

Week 13

This week we have been asked to consider the structure of our reports. In order to do this we have been requested to draft a table of contents and to also think about our working methods.

My notes thus far are as follows:

• Title - Village Life Project

Part 1

• Intro
• Background
• Proposal & Project aims/objectives

Part 2

• Critical discussion - curation and exhbition of artist film and video
• Curatorial models

- Urban screens
- Berwick Film Festival
- The Caravan Gallery
- The Isis Arts Big M
- Ele - Risk Exhibition/ Side Cinema

Part 3

• working method

• Evaluation
  

week 14

An interesting exercise at uni this week. We had to work with another member of the group and explain to each other what each of our projects was. We then had to present our partners project to the rest of the group. As I haven't yet sat down and written out my actual project I found it really useful to have to explain to someone with no prior knowledge of the project what it was.
Here are my notes:

• collaboration with Allenheads Contemporary Arts
• Working title 'Village Life'
• 2 starting points for the project/ the project was born out of 2 factors.
  
• (1) I have ran the Mobile Cinema since 2005, which has primary operated on a venue for hire basis rather than a curatorial project.
• My own interests lie within the distribution and exhibition of Artist Film and Video and through my project I hope to combine my role as Mobile Cinema Coordinator with my interest/research in programming and exhibiting the moving image.
• (2) I came to be working with Alan Smith and Helen Ratcliffe (ACA) as over a period of about a year Alan and I have been in discussion about bringing the Mobile Cinema to Allenheads. Alan was especially keen to have it at the village show, held annually in September.

• For the actual 'Village Life' project came from a trip to Allenheads on 10th/11th May 2008. As the result of talking with Alan and Helen I came up with the suggestion to combine Alan's interest in developing an archive of moving image work exploring peoples life in Allenheads, comprising of films/documentation of events at ACA and films from the community.
• I am interested in combining work produced by artists at Allenheads, documentation of artists residencies and 'home' videos to create a dialogue between the two, which I hope will explore different and varied experiences and perceptions of Allenheads.

I have broken the project into two phases. My report for my final project will primarily record the first phase but will also explore the potential of the second phase.

Phase 1.

I have drafted an open call for submissions of moving image from the Allenheads community.
I also hope to revisit Allenheads in the coming weeks to review their moving image material for inclusion in the programme. I still need to decide on a deadline for submissions of work for the open call. This should really be done this weekend!

From the submitted material and the chosen films from ACA I will programme a showreel of films to be screened in September at the village show.

I have also drafted a budget, which has highlighted the need to source extra funding. Ben from the curating course recommended that I look into Elephant Trust and the Leverhulme Trust as potential funders. I also plan to submit an application to ACENE.

Phase 2

This is the achieve stage, where I hope to bring together the work screened in September with potentially some new commissions. I envisage the archive to be hosted online and again will marry this phase with my previous research into curating moving image online.

I am interested in exploring a project run by Julie Ballands at the Tyneside Cinema called 'digital Stories' with the view to using techniques from this project to make films with residents of Allenheads.

Curatorial influences and models for this project are:

Caravan Gallery
Berwick Film Festival
Ele Carpenter (Risk exhibition at Glasgow CCA, Caravan used as alternative screening venue)
Archive projects - Radix NE, Tim Brennan
Amber
Tyneside Cinema - Digital Stories and Newsreel projects
Jeremy Deller

Ok almost a year since my last post and probably about time to catch up.

I am now in the final semester of my MA in Curating at Sunderland University and have been pondering what to concentrate on for my final project.

Part of my pondering process has taken me to Allenheads Contemporary Arts (see ACA link).
In between splashing about in pools, drinking, eating and general merriment, Alan (Smith) and Helen (Ratcliffe) managed to discuss potential ideas for the Mobile Cinema when it visits later in the year.

Alan and Helen told me about an idea to create an archive of videos from various sources and in a variety of styles, homevideo, artist video, documentary etc which reflect on the village. I have offered to run with the idea and am hoping to compile an archive of work which reflects different notions and reflections on 'Village Life' not just specific to Allen heads but globally (if possible)

First step...write call out