THE ARTISTS CINEMA

FRIEZE ART FAIR

REGENT’S PARK, LONDON
21-24 OCTOBER 2005

Donald Urquhart, L'Entr'acte, 2005 Mark Leckey with Jack Too Jack, The March of the Big White Barbarians, 2005 Photo: Marta Kuzma Catherine Sullivan, D-Pattern, 2004

The Artists Cinema is a major initiative
by Frieze Projects and LUX, to focus on
the increasing importance of cinema as
a mode of exhibition for contemporary
artists. A bespoke auditorium is
situated inside the Frieze Art Fair for
the presentation of artists’ film and
video works. The programme premieres
both Frieze Projects and LUX/SPACEX
21-24 OCTOBER 2005 ‘A Movie’ commissions. Daily screenings
of these commissions are accompanied
FRIEZE ART FAIR, REGENT’S PARK, LONDON
by a diverse series of programmes
presented by eight invited international
curators over the four days of the fair.
THE ARTISTS CINEMA The curated programmes survey
contemporary work in relation to
historical legacies, our current political
climate, or prevailing formal and
aesthetic concerns.
Access to The Artists Cinema is included in the Frieze Art Fair
admission ticket. Seats are limited so please arrive early to
avoid disappointment. There will be no admission to the
auditorium after each programme has started and the
organisers reserve the right to make programme changes.
The Artists Cinema is clearly indicated on the Frieze Art Fair
map and is located in the top right hand corner. Please bear
in mind it may take at least 10 minutes to walk to the
cinema from the fair's entrance point.
Frieze Art Fair, Regent's Park, London
21-24 October 2005
Friday 21 October to Sunday 23 October, 11am – 7pm
Monday 24 October, 11am – 5pm
Book before 7 October for discounts and fast track
entry (booking fee)
Box Office: See Tickets +44 (0)870 890 0514
Online bookings www.seetickets.com
Day Pass £10 in advance / £15 on the door
Concessions £8 in advance / £10 on the door
Four Day Pass £20 in advance / £30 on the door
www.friezeartfair.com
Poster image: Roger Hiorns, Fleet St, 2005 and Jimmy Robert, L'éducation
sentimentale, 2005
FRIEZE PROJECTS FILM COMMISSIONS
Daily 12.45pm & 4.30pm
Three British sculptors who have never previously worked
with the moving image have been commissioned to make
short films, offering them the opportunity to develop their
practice in an important new direction.
Roger Hiorns’ film BENIGN (2005) focuses on the simple
narrative potential of this time-based medium. Crafted to a
modest degree and as self-sufficient as possible, the piece is
minimally shot and features a play written by Hiorns,
performed by an actor as a monologue delivered directly to
the camera.
Donald Urquhart’s film L’Entr’acte (2005) is shot on black
and white, high definition video. It features an original
screenplay and sets created by Urquhart, plus a cast and
crew assembled from a glamorous assortment of friends and
associates, set to melodramatic effect.
Cathy Wilkes combines sculpture, painting and writing to
create detailed and immersive installations. Here she explores
recurring themes of atmosphere, presence, loss, fabrication,
bodily politics, art-historical posturing and economic analysis,
all displayed and discarded with a tough precision that resists
easy interpretation.
A MOVIE
Film commissions from LUX and SPACEX
Daily 4.00pm
‘A Movie’ is a new project set up by South West Screen and
Film London commissioning artists’ film works to intervene
into the tradtional cinema experience. ‘A Movie’ seeks to
commission works that consciously respond to, comment on,
interrupt or reflect the cinematic context. Over the next six
months these films will be individually shown in cinemas
across the UK as a dispersed national exhibition. Each is
approximately 5 minutes long and they are shown here
together for the first time:
Mark Leckey with Jack Too Jack, The March of the Big
White Barbarians
Daria Martin, Man and Mask
Jimmy Robert, L'éducation sentimentale
Imogen Stidworthy, Tian Tan Park, Beijing
Mika Taanila, Optical Sound
STATE OF ACCEPTANCE
Curated by Marta Kuzma
Friday 11.30am
Sunday 2.45pm
In All The President’s Men (1976), Deep Throat clandestinely
reveals the Watergate scandal to Washington Post
journalists, Bob Woodward and Carl Bernstein, by
whispering – ‘It leads everywhere. Get out your notebook.
There’s more.’ Capital cities as political hubs are a bit like
that – everywhere but nowhere specific. ‘State of
Acceptance’ explores how the notion of a ‘capital’ evolves as
an abstract collective symbol, constructed by the media, a
paradoxical political space described by language and signs,
myths and symbols, that equate its quotidian meaning.
Operating as an all-pervasive constellation that translates
ideology and its effects in terms of urban images, fragments,
recollections and sentiments, capital develops allegorically –
a politically organised, rapid and mobile evolution of
immobile principles and homage to inoperative values. MK
CAPITAL, Sarah Morris, US 2000, S16 mm on DVD, 18’18”
RHETORIC SHIFT (DONALD H. RUMSFELD), Sean Snyder,
US 2004, 2-screen DVD, 15’
LITTLE FLAGS, Jem Cohen, US 2000, video, 6’30”
THE ETERNAL FRAME, T.R. Uthco and Ant Farm, US 1975,
video, 23’50”
PARADES AND CHANGES
Curated by Catherine Wood
Friday 1.30pm
Saturday 11.30am
Three different approaches to the formal staging of relations
between performers find common ground in these
choreographic structures arranged via mathematical or
numerical systems. Oskar Schlemmer's Triadic Ballet was the
grand synthesis of the Bauhaus artists’ attempt to situate the
body within the gesamtkunstwerke, reshaping the human
figure into the abstract space of the stage through sculptural
costumes and poses. Merce Cunningham's comical dance for
camera, Deli Commedia was, characteristically,
choreographed by chance procedures absorbed from John
Cage. Cunningham rejected centralised perspective and
narrative in his work, but here the piano accompaniment
makes the performers' gestures resemble a silent film.
Catherine Sullivan's D-Pattern is compiled from multiple
shots of a theatre work based on a confrontational Fluxus
event of 1964. Sullivan worked with performers individually
to develop repertoires of theatrical gestures and movement
phrases that were then 'collapsed' into a single performance,
being repeatedly performed according to a numerical
sequence, d-pattern.
Each of these bodies choreographies makes visible the extent
to which performing inevitably exceed pure systematisation
through burlesque, comedy and absurdity. CW

We would like to thank all of the contributing artists and galleries and in particular,
Trevor Carlson; Isabelle Daire, Centre-Pompidou; Tom Heman, Metro Pictures;
Beatrice de Pastre, Cinémathèque Robert-Lynen de la Ville de Paris; November
Paynter, Assistant Curator, Platform, Istanbul; C. Raman Schlemmer; Catherine
Sullivan; Stacy Sumpman and David Vaughan at Merce Cunningham Company.
The Artists Cinema is a Frieze Projects/LUX collaboration and is co-ordinated by
Ian White. Programme highlights will tour to Baltic, Gateshead; FACT, Liverpool and
Arnolfini, Bristol in Spring 2006.
The Artists Cinema is supported by Frieze Art Fair, Arts Council of England and the
Culture 2000 programme of the European Union.
FRIEZE PROJECTS COMMISSIONS
Running time: approximately 30’
Frieze Projects is a high-profile commissioning opportunity
for artists realised annually at Frieze Art Fair. The programme
has expanded this year to encompass for the first time
film and video commissions and the presentation of The
Artists Cinema.
Frieze Projects is curated by Polly Staple and commissioned
under the auspices of Frieze Foundation which is generously
supported by the Arts Council of England and the Culture
2000 programme of the European Union. Frieze Projects are
presented in association with Cartier.
Running time: approximately 25’
DAS TRIADISCHE BALLET, Oskar Schlemmer, 1968 16mm
on DVD, 33’30” (Courtesy: The Oskar Schlemmer Theatre Estate)
‘A Movie’ is a South West Screen and Film London project,
in partnership with SPACEX, LUX and the Independent DELI COMMEDIA, Elliot Caplan and Merce Cunningham,
Cinema Office. Funding has been provided by Arts Council US 1985, 16mm, 18’
England, National Touring Programe and Esmée Fairbairn D-PATTERN, Catherine Sullivan, US 2004, 2-screen DVD, 8’
Foundation.
Running time: 64’ Running time: 60’

FRIEZE PROJECTS COMMISSIONS

Curated by Philippe-Alain Michaud
Running time: approximately 30’

Running time: approximately 60’

Running time: approximately 25’

Running time: approximately 30’

LUX/SPACEX COMMISSIONS
Curated by Cerith Wyn Evans
MONDAY

Bernadette Corporation
PEDESTRIAN CINEMA

METAMORPHOSIS
Running time: 84’

Running time: 56’

A MOVIE
STILL

Anna Thew, Broken Pieces for the Cooperative/LMFC Demolition, 1986 Ulla von Brandenburg, Reiter, 2004 Berndadette Corporation, Cinema of the Damned, 2004 Akram Zaatari, Saida. June 6, 1982, 2004 Tunga and Erick Rocha, Quimeira, 2002 Domique Gonzalez-Forester, Atomic Park. 2003

LAND OF HOPE AND GLORY STILL PEDESTRIAN CINEMA: SCREEN TEST SCHADENFREUDE METAMORPHOSIS SOMEWHERE BEYOND THE SEA
Curated by Chrissie Iles Curated by Cerith Wyn Evans Bernadette Corporation Curated by Tirdad Zolghadr Curated by Philippe-Alain Michaud Curated by Berta Sichel
FRIEZE PROJECTS COMMISSIONS

FRIEZE PROJECTS COMMISSIONS

SOMEWHERE BEYOND THE SEA

Curated by Philippe-Alain Michaud

Assistant curator: Céline Brouvez

Running time: approximately 30’

Running time: approximately 25’

Running time: approximately 30’

LUX/SPACEX COMMISSIONS

Friday 2.45pm Friday 5.15pm Saturday 2.45pm Saturday 5.15pm Guest speaker: Hito Steyerl Sunday 1.30pm
Curated by Tirdad Zolghadr

Saturday 1.30pm Monday 11.30am Monday 1.30pm Sunday 11.30am Monday 2.45pm Sunday 5.15pm
Curated by Marta Kuzma
STATE OF ACCEPTANCE
SUNDAY

Curated by Berta Sichel

‘Land of Hope and Glory’ presents a glimpse back to the Placing the contemporary films of Ulla von Brandenburg with Pedestrian Cinema is an ongoing project by Bernadette These days, projects reflecting on violence and military The fantastic cinema interprets metamorphosis as a fable, ‘If space is infinitely large, place is indefinitely many.’
METAMORPHOSIS
SCHADENFREUDE

Running time: 63’

Running time: 56’

Running time: 64’

Running time: 91’

crumbling edifice of Thatcher’s Britain through the eyes of
some of its key filmmakers and musicians. Re-visited at
another moment of crisis to our current one, these works
A MOVIE
THE ARTISTS CINEMA
two trans-generational instances of similar yet different work Corporation based at Kunstwerke, Berlin, begun in June expansionism constitute a dilemma typical of political art as the experimental cinema interprets it as a form, the scientific Edward Casey Smooth Space and Rough-Edged Places
by Kurt Kren and Andy Warhol, this programme reclaims the 2005. A year-long underground film studio, it proposes a a whole. It seems one has to choose between sentimental one as a fact. But in any case, the theme of metamorphosis
‘Somewhere Beyond the Sea’ directly addresses a set of
auditorium as a radical and increasingly queer space of rolling programme of video production and exhibition that counter-propaganda, or a retreat into insular navel-gazing. has been employed in film as a way to explore the power of

contemporary ideas about the difference between space and

offer critical perspectives on one of the most radical periods
in recent British history and by doing so reveal something of
our contemporary climate. Urban blight, the threat of
nuclear war, Section 28, the ‘end’ of the London Filmmakers
Cooperative, the end of Empire, and perhaps the last of
FRIEZE PROJECTS COMMISSIONS
contemplation. From von Brandenburg’s ‘still’ portraits, the
line between moving and not moving, action and inaction
pivots around Kren’s elegantly austere and lyrically beguiling
landmark films. Warhol’s exemplary trash-dramatisation of
the photographic image, The Life of Juanita Castro, literally
takes its cue from old Hollywood and its intent from the
immediacy of a digital age.
Does the screen still hold up as something to project on?
Does it still have the capacity to hold a fiction in a time
But the main issue here isn’t that of summoning enough
progressive content and selfless goodwill, or that of de-
spectacularizing, but of finding intelligent forms of
voyeurism, modes of visual production that face up to
strategies of entertainment or objectification without
images in motion, to record the changing appearance of
place as they have been reconfigured by the increasing ease
things. Painters and sculptors of the Renaissance and of the
of physical movement across the globe, and by the
classical age found in Ovid’s stories a wide iconographic
duplicating, border-defying functions of video, computer
repertory from which to draw the elements of a
and telecommunication technologies. Space is no longer
mythological history of nature. In cinema, metamorphosis

FRIEZE PROJECTS COMMISSIONS

absolute, being both mediated and produced by a new set

England. CI poses a cast of Factory luminaries (including Marie Menken where mobile technology, new-media piracy, Basra torture apologetic, self-reflexive mise-en-abîme - eluding the effect takes an additional meaning: it invites us to see figuration
Running time: approximately 30’

Running time: approximately 60’

Running time: approximately 60’

Running time: approximately 25’

Running time: approximately 30’

of relationships configured by travel. Place is no longer fixed

LAND OF HOPE AND GLORY

in the title role, the screenwriter Ronald Tavel, Ultra Violet photos, Reality TV and internet are eroding the differences of solidarity in favour of an analysis of the fascination for the not as an expression of permanence or stability, but as a
LUX/SPACEX COMMISSIONS

in the modernist sense of cartography. Place and/or space

Curated by Catherine Wood

Curated by Tirdad Zolghadr

and Mercedes Ospina) as a ‘family’ photograph in the between public and private images? The currency of images outlandish, be it touching, violent or both. The videos here constant flow of unsettled qualities. P-AM
PARADES AND CHANGES

BLUE MONDAY/WAR MACHINE, The Duvet Brothers, UK

SATURDAY

can be reproduced anywhere; subjectivity, narration and

instance of its own inevitably raucous if not absurd, making. is cheap today, as it seems everything and everyone has to engage with this ‘frisson of flinching’ in succinct,
Bernadette Corporation
Curated by Chrissie Iles

PEDESTRIAN CINEMA

1984, video, 10’ information co-exist, close together and far apart, side-by-
Fidel, his brother Raul and Che Guevara are all hysterically be photographed or filmed. The decision to embark on understated ways, producing suspense and anticipation by LE MIMÉTISME (MIMICRY), Unknown director, Fr 192?,
SCHADENFREUDE

ABSURD, John Maybury, UK 1989, video, 5’ side and, at the same time, dispersed. BS
Running time: 60’

Running time: 63’

played by women and as Tavel relentlessly directs each and something and call it cinema is also the desire to re-discover way of minimal difference in repetition, at times subtle, at
35mm, 4’, (Courtesy Cinémathèque Robert-Lynen de la ville
THE CHILD AND THE SAW, Daniel Landin and everyone on what to say and how to act the Cuban a fiction for contemporary bodies without history or times overbearing. The selection is all-male. For a program
Revolution is reconfigured as high camp and history is narrative. By keeping things pedestrian, the condition addressing voyeurism and violence, labelling a ‘male’ gaze as de Paris) WIND, Joan Jonas, US l968, 16mm on DVD, 5’32”
Richard Heslop, UK 1984, 23’
A MOVIE

repeated a second time, as farce. IW/CWE producing these bodies in the first place is not forgotten or just that, is more productive perhaps than any token gesture FELIX GETS THE CAN, Otto Messmer & Pat Sullivan, US DÉSERTS, Bill Viola, US 1994, video, 26’
PEDAGOGUE, Stuart Marshall with Neil Bartlett, UK
airbrushed-over; rather it becomes part of a material that is of de-essentialization could be. 1924, 16mm, 9’ FOCUS TRISHIA, Burt Barr, US 2001, DVD, 5’41”
1988, video, 10’
REITER, Ulla von Brandenburg, Ger 2004, itself the testing-out of different gestures, roles, and words FELIX MAKES A MOVIE, Otto Messmer & Pat Sullivan,
The screening on Saturday is preceded by a commentary by THE BOYS FROM MARS, Phillipe Parreno, Fr 2003,
DRZAVA (THE STATE), Daniel Landin, UK 1984, 16mm on on screen. Antek Walczak
Super8 on DVD, 2’24” filmmaker and theorist Hito Steyerl, whose work engages US 1924, 16mm, 7’ 35mm, 11’
DVD, c.5’
MI-CAREME, Ulla von Brandenburg, Can 2005, with postcolonial critiques, feminist theory, and parallel visual MASK AND STILTDANCE (GBANDE, NORDLIBERIA),
FRIEZE PROJECTS COMMISSIONS

FRIEZE PROJECTS COMMISSIONS

ATOMIC PARK, Domique Gonzalez-Forester, Fr 2003,

BROKEN PIECES FOR THE COOPERATIVE/LMFC strategies in fine art and documentary film. TZ
Running time: approximately 30’

Running time: approximately 60’

Running time: approximately 25’

Running time: approximately 30’

Super16 on DVD, 2’24” P. Germann, Ger 1928, 16 mm, 3’30'' 35mm, 8’16”
LAND OF HOPE AND GLORY

LUX/SPACEX COMMISSIONS

DEMOLITION, Anna Thew, UK 1986, 16mm, 8’

Curated by Cerith Wyn Evans
Curated by Catherine Wood

3/60 BÄUM IM HERBST (TREES IN AUTUMN), Kurt Kren, NUNA (WEST AFRICA, UPPER VOLTA), MASK DANCES, KERNWASSER WUNDERLAND, Anouck de Clercq,
PARADES AND CHANGES
TIMETABLE

IN OUR HANDS, GREENHAM, Tina Keane, UK 1984, CUT IT OUT, Ahmed Ögüt, Tur 2004, DVD, 2’
Curated by Marta Kuzma
STATE OF ACCEPTANCE
FRIDAY

A 1960, 16mm, 5’ K. Dittmer, Ger 1956, 16mm, 9’ Joris Cool, Bel 2004, video, 14’
Curated by Chrissie Iles

video, 38’ AC 130 GUNSHIP, Christoph Büchel, Tur 2004, DVD, 9’

15/67 TV, Kurt Kren, A 1967, 16mm, 4’ LE VAMPIRE, Jean Painlevé, Fr 1939-1945, 35mm, 9’ ROTHKOVISION 2.0, Daniel Silvo, Sp 2003, DVD, 4’30”
SAIDA. JUNE 6, 1982, Akram Zaatari, 2004, DVD, 90” loop, c.4’
Running time: 64’

Running time: 60’

Running time: 84’

THE LIFE OF JUANITA CASTRO, Andy Warhol, US 1965, QUIMEIRA, Tunga and Erick Rocha, Bras 2002, 35mm, 14’ MAN.ROAD.RIVER, Marcellvs L., Braz 2004, DVD, 9’27”
OUR VILLAGE, Sener Özmen, Leb 2004, DVD, 7’
16mm, 70’ BATTERSEA STATION, Álvaro Negro, Sp 2003, DVD, 2’26”
INVERTED STAR, Miguel Calderon, Mex 2002, DVD, 4’
A MOVIE

NUUK, Thomas Köner, Ger 2005, DVD, 6’

AWAKENING (single channel version of installation),
STILL

Erik Van Lieshout, Neth 2005, DVD, 12’

SUCH A NICE BOY I GAVE BIRTH TO, Marcin Koszalka,
12.45pm
11.30am

Pol 1999, Beta, 25’

1.30pm

2.45pm

4.00pm

4.30pm

5.15pm

Running time: 91’

Running time: approximately 60’ Running time: 84’ Running time: approximately 60’ Running time: 63’ Running time: 56’