Previously at the ICA - Events
4 Mar 2016
This evening programme of experiments in sound, film and performance accompanies the current exhibition at CHELSEA space, The sun went in, the fire went out: landscapes in film, performance and text, curated by Karen Di Franco and Elisa Kay.
Exploring these ideas of land, site, duration and re-presentation, the exhibition comprises works by three artists—Annabel Nicolson, Carlyle Reedy and Marie Yates —who were vital in the development of key movements within the avant-garde in London from the 1960/70s.
Field Work relates to the concepts of this exhibition by tuning in to the ephemera, phenomena and encounters of site. Acoustical diversions and gravitations are amplified in Annabel Nicolson’s expanded film performance, Piano Film, tested in Holly Antrum’s open form film work, processed by Lucy Parker and traced in Jenny Okun’s journeys through a landscape. Their work will be in dialogue with other films, performances and voices.
Holly Antrum and Lucy Parker are creating new works specifically for this event, in response to the 16mm films by Annabel Nicolson and Jenny Okun.
This event has been programmed by Lucy Reynolds in association with CHELSEA space and supported by Camberwell, Chelsea and Wimbledon (CCW) Graduate School partnership with the ICA.
Holly Antrum works primarily with 16mm filmmaking, as well as installation, print and work on paper. Recent exhibitions and screenings include Women’s Filmmaking in Contemporary Britain, BIMI – Birkbeck, London, The London Open, Whitechapel Gallery, Flatness: Index, Microscope Gallery, Brooklyn (all 2015), A Diffuse Citizen, Grand Union, Birmingham (solo, 2014). During April 2016 Catalogue (2012-14) - her film with artist Jennifer Pike (b. 1919) - will be installed at Edinburgh Sculpture Workshop as well as screened for one week with Carroll/Fletcher OnScreen (carrollfletcheronscreen.com). She is a current artist-in-residence at the ACME Fire Station, London (2015-2020).
Lucy Parker is an artist filmmaker and lecturer in BA Film Making and MA Experimental Film, Kingston University. Screenings and exhibitions include Blacklist, Rhubaba Gallery Edinburgh (2015) and Past Caring, Gallery II Bradford University (2015). She has been artist-in-residence at Rhubaba Gallery, Edinburgh (2015); The Barbican (2012); and Kaus Australis, Rotterdam. Her work has been featured in Sequence journal (published by No-Where, 2011) and the publication Common Ground (interview with Adam Pugh, 2009).
Lucy Reynolds has lectured and published extensively, most particularly focused on questions of the moving image, feminism, political space and collective practice. Her most recent published articles include: 'Controlling Agent: Artist and Spectator in the Film Actions of Gill Eatherley and Annabel Nicolson,' François Bovier, Adeena Mey (eds.), Cinéma Exposé/Exhibited Cinema, Lausanne, Dijon, ECAL/Les presses du réel, 2015. Curatorial projects include Winter Garden, January 2015, a curated exhibition of performance, installations, writings and screenings at Flat Time House, London.
Annabel Nicolson is an artist film-maker and performer. From 1969-70 she ran the gallery at the New Arts Lab, London and was cinema programmer at the London Film Maker's Coop in 1974, 1976-77 and 1992/3. She was a founder member of Circles - Women's Film in Distribution (Circles merged with Cinema of Women in 1991 to become Cinenova); editorial contributor for Musics magazine (1976-79); and co-editor and publisher of Readings magazine (1977). Her film works and performances have been seen at museums and galleries including Acme Gallery, Hayward Gallery and the London Musicians Collective, London, Stedelijk Museum, Amsterdam, Walker Art Gallery, Liverpool; and in film retrospectives and festivals internationally. Her solo exhibitions include Norwich School of Art Gallery (1981) and Chelsea College of Art Gallery (1988). Recent group shows include Film in Space, Camden Arts Centre (2013) and Filmaktion, Tate Modern (2012). Her work is in the collection of the Belgian National Film Archive, British Film Institute, Canterbury University, Women Artists' Slide Library, her artist’s book Escaping Notice is the collection of Victoria and Albert Museum. She has taught at various art colleges including devising the Women in Art Course at Chelsea College of Arts (1987-88).
Jenny Okun is a contemporary of Annabel Nicolson and was a member of the London Film-makers Co-op during the 1970s. She studied painting, photography, and filmmaking at Wimbledon School of Art, Chelsea School of Art (Painting) and Slade School of Art (Post-grad in Experimental Media). Okun has worked in photography as well as film, attempting in both ‘to integrate the structural aspects of an event or landscape with the structural aspects of the medium’. Since the mid-1980s, she has worked exclusively with photography, making large scale ‘architechtonic’ images. Her earlier work on film was included in Shoot Shoot Shoot, the LUX programme celebrating the first ten years of the London Filmmakers’ Co-op and British Avant Garde film 1966-76. She lives between London and Los Angeles.