friday Sunday Sunday

3 may 2002 12 may 2002 26 may 2002 ticket information

7:30Pm 3Pm 3Pm
tAte Modern All screenings At tAte Modern, BAnkside, london, se1 9tg
tAte Modern tAte Modern
(tuBe: southwArk)
level 7 eAst stArr stArr
www.tate.org.uk/modern/programmes/film/
AuditoriuM AuditoriuM
repeated
tickets for filM progrAMMes £3.50, £2.50 concessions

projection of light Music, paris1975.

monday tickets for seMinAr £10, £5 concessions
Shoot Shoot Shoot 6 may 2002
7:30Pm
to Book in AdvAnce cAll tAte ticketing 020 7887 8888

the first decAde of tAte Modern

Annabel nicolson
level 7 eAst
the london filM-MAkers’ co-operAtive

Mike dunford
for further inforMAtion on Shoot Shoot Shoot visit www.lfmc.org

lis rhodes

tautology

shapes
& British AvAnt-gArde filM 1966-76 tickets limited
to 70 people.
reserve now
to avoid exPanded cinema StructuraL / materiaLiSt diverSificationS Shoot Shoot Shoot internAtionAl tour
the london film-Makers’ co-operative was founded in 1966 and based disappointment. introduced By williAM rABAn And Anthony MccAll introduced By roger hAMMond introduced By MArilyn hAlford
Shoot Shoot Shoot is available to tour world-wide from May 2002 to April 2004.
upon the artist-led distribution centre created by Jonas Mekas and the British filmmakers led a drive beyond the screen and the the enquiry into the material of film as film itself was an from personal montage through to exploration of the enquiries regarding bookings should be made to lux +44 (0)20 7503 3978 or email tour@lfmc.org
new American cinema group. Both had a policy of open membership, theatre, and their innovations in expanded cinema inevitably essential characteristic of the co-op’ s output. these non- cinematic process, the work was sensuous and playful. As a
accepting all submissions without judgement, but the lfMc was unique in took the work into galleries. After questioning the role of the and anti- narrative concerns were fundamentally argued by creative group, the co-op covered vital aesthetic ground and tour ScheduLe (to be confirmed)
incorporating the three key aspects of artist filmmaking: production, spectator, they began to examine the light beam, its volume the group’ s principal practising theorists Malcolm le grice resisted categorisation.
distribution and exhibition within a single facility. and presence in the room. and peter gidal. 2002
may london tate Modern June paris scratch projections July Brisbane international film festival /
perth film & television institute of western Australia / Melbourne experimenta august glasgow ccA
early pioneers like len lye, Antony Balch, Margaret tait and John latham had
September-october Berlin Arsenal / karlsruhe kinemathek / frankfurt deutsches filmmuseum /
already made remarkable personal films in Britain, but by the mid-60s interest Bremen kommunalkino / hamburg kommunales kino Metropolis october stockholm kulturhuset
MAlcolM le grice caStLe one 1966 B/w sound 20M roger hAMMond WindoW Box 1971 B/w silent 3M (18fps) AnnABel nicolson ShaPeS 1970 colour silent 7M (18fps)
in “ underground film” was growing. on his arrival from new york, stephen november Basel kunsthalle / Barcelona fundaç io Antoní tapies / vitoria ArtiuM december
williAM rABAn take meaSure 1973 colour silent (X)M Mike leggett ShePherd’ S BuSh 1971 B/w sound 15M MArilyn hAlford footStePS 1974 B/w sound 6M
dwoskin demonstrated and encouraged the possibilities of experimental williAM rABAn diagonaL 1973 colour sound 6M dAvid crosswAite fiLm no. 1 1971 colour sound 10M MAlcolM le grice taLLa 1968 B/w silent 20M sao paolo cinemateca Brasileira / rio de Janeiro / Buenos Aries Museo nacional de Bellas Arte
filmmaking and the co-op soon became a dynamic centre for the discussion, gill eAtherley hand grenade 1971 colour sound 8M Mike dunford tautoLogy 1973 B/w silent 5M Jeff keen White Lite 1968 B/w silent 2.5M
production and presentation of avant-garde film. several key figures such as lis rhodes Light muSic 1975-77 B/w sound 20M peter gidAl key 1968 colour sound 10M Anne rees-Mogg muyBridge fiLm 1975 B/w silent 5M 2003
peter gidal, Malcolm le grice, John smith and chris welsby went on to Anthony MccAll Line deScriBing a cone 1973 B/w silent 30M John du cAne Zoom LaPSe 1975 colour silent 15M stephen dwoskin moment 1968 colour sound 12M January vancouver pacific cinematheque & Blinding light / los Angeles film forum
become internationally celebrated. Many others, like Annabel nicolson and MAlcolM le grice LittLe dog for roger 1967 B/w sound 13M chris welsBy WindmiLL ii 1973 colour sound 10M february san francisco cinematheque, pacific film Archive & sfMoMA / chicago Art institute
gill eAtherley deck 1971 colour sound 13M John sMith the girL cheWing gum 1976 B/w sound 12M march new york Anthology film Archives april gateshead Baltic april-may image forum festival:
the fiercely autonomous and prolific Jeff keen, worked across the boundaries
iAn kerr PerSiSting 1975 colour sound 10M tokyo / yokohama / kyoto / fukuoka June st petersburg / Moscow film Museum
between film and performance and remain relatively unknown, or at
least unseen.
Saturday Sunday tueSday AdditionAl Shoot Shoot Shoot events in london
the co-op asserted the significance of the British films in line with 4 may 2002 19 may 2002 28 may 2002
international developments, whilst surviving hand-to-mouth in a series of 7:30Pm 3Pm 6:30Pm infinite ProJection At the photogrAphers' gAllery
run down buildings. the physical hardship of the organisation’ s struggle tAte Modern tAte Modern tAte Modern
contributed to the rigorous, formal nature of films produced during this stArr stArr stArr wednesdAy, 1 MAy 2002, 7:30pM
period. while the structural approach dominated, informing both the interior AuditoriuM AuditoriuM AuditoriuM Jeff keen, from raydayfiLm to artWar
and landscape tendencies, the British filmmakers also made significant A special Mayday rayday expanded cinema performance to celebrate the 40th anniversary of the
innovations with multi-screen films and expanded cinema events, producing first rayday broadsheet. using 8mm, 16mm and video, Jeff keen bridges the gap between 1969’ s

the Man with the Movie camera

works whose essence was defined by their ephemerality. Many of the works raydayfilm and his recent Artwar: the last frontier. A unique and spontaneous mixed-media
fell into the netherworld between film and fine art, never really seeming at collage from Britain’ s first and most productive independent filmmaker.
home in either cinema or gallery spaces.
wednesdAy, 29 MAy 2002, 7:30pM

Mechanical Ballet

david crosswaite
david parsons

david larcher
shoot shoot shoot, a major retrospective programme and research project, 8mm fiLmS from the London co-oP

Mare’ s tail
will bring these extraordinary works back to life. including single and multi-screen small gauge wonders by david crosswaite, Mike dunford,
Malcolm le grice, Annabel nicolson, sally potter, william raban and others. Many of the makers
will be on hand to present rare screenings of their earliest works.
douBLe Screen fiLmS intervention & ProceSSing the ePic fLight
At the photographers' gallery, 5 great newport street, london, wc2h 7hy (tube: leicester square)
introduced By MAlcolM le grice introduced By lis rhodes introduced By dAvid lArcher tickets £4 / £2.50 members and concessions.
widening the visual field increased the opportunity for both the workshop was an integral part of the lfMc and provided An extended personal odyssey which, through an accumulation places are limited so booking is recommended, call 020 7831 1772 to reserve.
spectacle and contemplation. with two 16mm projectors almost unlimited access to hands-on printing and processing. of visual information, builds into a treatise on the experience of
side-by-side, time could be frozen or fractured in a more within this supportive environment, artists were free to seeing. it’ s loose, indefinable structure explores new Light reading At 291 gAllery
complex way by playing one image against another and experiment with technique and engage directly with the possibilities for perception and narrative.
projection of the 16mm film “ line describing a cone” (Anthony Mccall, 1973)

creating a magical space between them. each screening filmstrips in an artisan manner. wednesdAy, 22 MAy 2002, 8pM
became a unique event, accentuating the temporality of the ron haSeLden & chriS WeLSBy: Sea Seen Six Screen
cinematic experience. shoot shoot shoot and light reading present a once only opportunity to see two important film
structures of the 1970s. ron haselden’ s Mfv Maureen was shot on a fishing vessel in 1975, and
williAM rABAn & chris welsBy river yar 1971-72 colour sound 35M AnnABel nicolson SLideS 1970 colour silent 12M (18fps) dAvid lArcher mare’ S taiL 1968 colour sound 143M originally presented over week-long periods in which the material was reworked on site and shown
sAlly potter PLay 1971 B/w & colour silent 7M fred druMMond ShoWer Proof 1968 B/w silent 10M (18fps) alongside stills and diagrams. shore line by chris welsby (1977) offers a phasing, meditative view
dAvid pArsons mechanicaL BaLLet 1975 B/w silent 8M guy sherwin at the academy 1974 B/w sound 5M of the ocean over vertical frames. Both run loops on six projectors and will be presented for
chris welsBy Wind vane 1972 colour sound 8M dAvid crosswAite the man With the movie camera 1973 B/w silent 8M approximately 90 minutes each.
dAvid crosswAite choke 1971 B/w & colour sound 5M Mike dunford SiLver Surfer 1972 B/w sound 15M
photo copyright 1974 by peter Moore.

MAlcolM le grice caStLe tWo 1968 B/w sound 32M Jenny okun StiLL Life 1976 colour silent 6M
at Artists space, new york, 1974.

At the 291 gallery, 291 hackney road, london, e2 8nA (Buses: 55, 26, 48)
lis rhodes dreSden dynamo 1971 colour sound 5M Admission free.
chris gArrAtt verSaiLLeS i & ii 1976 B/w sound 11M call 020 7613 5686 for further details and directions.
roger hewins WindoWframe 1975 colour sound 6M

Sunday tueSday Saturday Shoot Shoot Shoot: Seminar Shoot Shoot Shoot
5 may 2002 21 may 2002 4 may 2002
6:30Pm 2Pm curAtor mark WeBBer
3Pm
A symposium and gathering which will re-examine the period luX BenJamin cook, mike SPerLinger, Jam tidy
tAte Modern tAte Modern tAte Modern proJect MAnAger Lucy reynoLdS
in which many British artists embarked on radical experiments
stArr stArr stArr proJect AssistAnts traviS miLeS, miLena michaLSki
with non-illusionist filmmaking and made important technicAl consultAnt david LeiSter
AuditoriuM AuditoriuM AuditoriuM
innovations in multi-screen and expanded cinema projection. proJection chLoë SteWart, greg PoPe
weBsite gregory kurceWicZ
design racheL reuPke
discussions will address the emergence of an underground
movement, its international significance, and the relations Advisory pAnel
between avant-garde film and mainstream cinema, david curtiS senior reseArch fellow, centrAl sAint MArtin’ s school of Art
reign of the vampire

Simon fieLd director, internAtionAl filM festivAl rotterdAM

experimental video, painting, sculpture, performance and
Malcolm le grice

leading light
chriSSie iLeS filM And video curAtor, whitney MuseuM of AMericAn Art

John smith
photography. michaeL o’ Pray reAder in filM, university of eAst london
a.L. reeS senior reseArch fellow, royAl college of Art
speakers include david curtis from the AhrB centre Arts council of englAnd gary thomaS
for British film and television studies, writer and curator British council PauL hoWSon, SatWant giLL
London underground Location: duration rosetta Brooks, film historian al rees and others. British filM institute heather SteWart
esMée fAirBurn foundAtion david LittLer
introduced By stephen dwoskin introduced By iAn BreAkwell
As equipment became available for little cost, avant-garde film film is a unique tool for the investigation of time and space. An artists’ panel featuring Peter gidal, anthony mccall, AhrB British Artists’ filM And video study collection david curtiS
flourished in mid-60s counter-culture. early screenings at Better the subjective time of the photographed image may be Lis rhodes and chris Welsby will be chaired by michael tAte Modern SoPhie hoWarth, andreW Brighton, WiLLiam raLLiSon, Jon LeWiS
Books and the Arts lab provided a vital focus for a new measured against the objective time of projection through the newman (principle lecturer in research, central saint new prints And filM restorAtion/preservAtion
movement that infused swinging london with a fresh use of time-lapse, editing and duration. Martin’ s school of Art). plus selected special screenings of nftvA/Bfi donor Access Shona Barratt
soho iMAges Len thornton, ray SLater
subversive edge. rarely seen films and footage. colour filM services terry maccaLLam
curAted By mark WeBBer
with AssistAnce froM gregory kurceWicZ And Ben cook Many of the filmmakers whose work is featured in the still iMAges By kind courtesy of the filMMAkers, Peter mudie And
Shoot Shoot Shoot is A luX proJect ahrB BritiSh artiStS’ fiLm and video Study coLLection
season will be present and encouraged to contribute to
funded By the Arts council of englAnd nAtionAl touring progrAMMe, Antony BAlch toWerS oPen fire 1963 B/w sound 16M John sMith Leading Light 1975 colour sound 11M the discussions. thAnks to All the filMMAkers And other people who lived through All this And shAred their
the British council, Bfi And the esMée fAirBurn foundAtion. JonAthAn lAngrAn gLouceSter road groove 1968 B/w silent 2M peter gidAl focuS 1971 B/w sound 7M MeMories And collections with us.
Jeff keen marvo movie 1967 colour sound 5M iAn BreAkwell & Mike leggett Sheet 1970 B/w sound 21M AdditionAl thAnks to Barry miLeS, JameS grauerhoLZ & WSB communicationS,
presented by tate Modern in collaboration with the school deke duSinBerre, Peter mudie, chriStoPhe Bichon & Loic diaZ-ronda (Lightcone),
John lAthAM SPeak 1962 colour sound 11M MAlcolM le grice Whitchurch doWn (duration) 1972 colour sound 8M
of Art at central saint Martins school of Art and design. karen mirZa, LiSa Le feuvre.
stephen dwoskin dirty 1965-67 B/w sound 10M chris welsBy fforeSt Bay ii 1973 colour silent 5M
stuArt pound cLocktime traiLer 1972 colour sound 7M williAM rABAn BroadWaLk 1972 colour sound 12M Shoot Shoot Shoot is A luX proJect www.lux.org.uk
siMon hArtog SouL in a White room 1968 colour sound 3.5M dAvid hAll PhaSed time2 1974 colour sound 15M this event will be webcast at: Shoot Shoot Shoot weBsite And online reseArch fAcility At www.lfmc.org
peter gidAl haLL 1968-69 B/w sound 10M www.tate.org.uk/modern/programmes/webcasting/
MAlcolM le grice reign of the vamPire 1970 B/w sound 11M for detAils of future AvAnt-gArde screenings in london eMAil info@secretcinema.co.uk