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Everything Else

When:

Tue 21 Jun 2016, 9:30am–4:00pm
Wed 22 Jun 2016, 9:30am–7:00pm
Thu 23 Jun 2016, 9:30am–7:00pm
Fri 24 Jun 2016, 9:30am–7:00pm
Sat 25 Jun 2016, 4:00am–7:00pm

Where: Nga Taonga Sound & Vision, National Library Building, 70 Molesworth Street, Thorndon, Wellington

Restrictions: All Ages

Ticket Information:

  • Admission: Free

A selection of current approaches to artist film, from six distinct local and international contemporary artists and collaborations.

The value of artist film to moving image culture is its point of difference from the mainstream. By virtue of a tendency toward pluralism, self-reflexivity, criticality and experimentation, artist film expands viewing experience beyond a prevailing moving image encounter.

"Everything Else" brings together recent work by six distinct contemporary artists and collaborations from the UK, Finland, USA and NZ. In each film, linear story telling and other cinematic conventions are toyed with and / or wielded for expressive effect, and the question of who is represented / excluded by a conventional cinematic narrative is considered.

The works include remixed found footage, performance documentation, animation, music video parody, and an enigmatic staged narrative, with references to gay subculture, feminism, popular media and institutional culture.

List of Works:
"#allmymovies"
LaBeouf, Rönkkö & Turner
USA/FIN/UK, 2015, 10 mins

Video documentation of a performance/live stream at Angelica Film Center, New York. From noon on 10th November 2015, the artists invited visitors to join Shia LaBeouf in person at the Angelica Film Center as he watched all his movies consecutively in reverse chronological order over the course of three days, 24 hours a day. At the same time, a live stream continuously broadcast the performance online. This video is edited footage of that performance.

"Goatguy and Bummy Pete"
John Walter
UK, 2014, 5 mins 3 secs

A computer animated head (Goatguy) and a puppet (Bummy Pete) shout a mangled form of Polari at each other in a convoluted slanging match that riffs on online exchanges during cruising, from which the screen name pseudonyms are taken. Polari is a cant used mostly by English gay men in the 1950's that drew on Italian, Yiddish, backslang, rhyming slang and the argot of sailors and fairground workers. The video was originally shown as part of "Turn My Oyster Up" (which means "make me smile" in Polari) at the 2014 Whitstable Biennale, UK.

"The Present Tense"
Edward Thomasson
UK, 2014, 17 mins 34 secs

The Present Tense looks at how everyday misunderstandings transform our public personas into stories that can be rewritten by one another and ourselves. Set on and around a building site, a cycle of demolition and construction provides a backdrop for the physical and emotional regeneration of the central characters. This exploration of togetherness and separation echoes a neoliberal prerogative to be who you are, in mind and body, with specific reference to how alternative or countercultural models of self-reflection and collectivity have been adopted in corporate and institutional environments.

"W.I.T.C.H." ("Women Inspired To Commit Herstory" and other tales…)'
Anna Bunting-Branch
UK, 2015, 7 mins 40 secs

"W.I.T.C.H." ("Women Inspired To Commit Herstory" and other tales…) draws on research into feminist science fiction stories, read through the political strategies and rhetoric of feminism’s so-called "second-wave" of the 1960s and 1970s. Employing techniques of painting and digital animation, W.I.T.C.H. takes feminist fan fiction as a model of engagement: appropriating imagery, characters and settings from different sources and re-mixing them to imagine new narrative possibilities.

"Yuss (golf)"
Daif King
NZ, 2009, 4 mins 44 secs

Examining from the top down the quintessential W.A.S.P past time. What could be more successful than someone achieving at golf? This is pinnacle of success. The ultimate you can do it.

"Do It Again"
Eleanor Sikorski
UK, 2015, 3 mins

As with all of Sikorski's music videos, Do it again, performs as a real anecdotal reflection as well as D.I.Y. attempt to imitate the poetic form of online pop culture. It is a conscious exposure of personal sexual experience and a questioning of whether pop culture can be an accessible platform for sex-positive feminism rather than a place of assumed female objectification.

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