Film London Jarman Award Touring Programme 2022

Tuesday 18 October, 12 midday – 12 midnight

Alongside the live screening of False Wife (2022) by shortlisted Film London Derek Jarman award nominee Jamie Crewe, an online screening of works by all six of the 2022 Derek Jarman award shortlist will be freely available to view here on our website.

They will be viewable via a link sent to your email, from 12 midday to 12 midnight on 18 October 2022. Book your free place here and we will email you in advance of the screenings.

You can also book for the screening of False Wife (2022) by Jamie Crewe and Q&A in between Crewe and Void Director Mary Cremin here.

Further information:

The Film London Jarman Award 2022

Discover the incredible diversity within the world of artists’ filmmaking in the UK, with a presentation of the work of the shortlist of this year’s Film London Jarman Award. Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change.

The artists shortlisted this year are: Grace Ndiritu, Onyeka Igwe, Alberta Whittle, Rosa-Johan Uddoh, Morgan Quaintance, Jamie Crewe. The programme will also feature a Q&A with Jamie Crewe at the gallery (book via link above).

Inspired by visionary British filmmaker Derek Jarman, the Award recognises and supports artists working with the moving image. The shortlisted artists illustrate the spirit of inventiveness within moving image, highlighting the breadth of creativity and craftsmanship the medium has to offer, as well as its powerful ability to engage and provoke audiences. The Award comes with a £10,000 prize.

The winner of the Film London Jarman Award will be announced on the 22 November at the Barbican Centre. The award is presented in partnership with the Whitechapel Gallery.

The tour runs from 23 September to 12 November, in partnership with seven arts venues across the UK.

Jamie Crewe Biography

Jamie is a graduate of Sheffield Hallam University and Glasgow School of Art. They have had a number of solo exhibitions, including at Gasworks (London), Tramway (Glasgow), and Grand Union (Birmingham). Their work has also been presented in group exhibitions such as Glasgow International Festival Director’s Programme and I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts (London). Jamie was the recipient of the tenth Margaret Tait Award, Scotland’s most prestigious moving image prize for artists, and the resultant work, Ashley, was premiered at Glasgow Film Festival in March 2020.

Films in the Film London Jarman Award Touring Programme 2022:

Grace Ndiritu, Black Beauty (2021), 29 mins

Onyeka Igwe, a so-called archive (2020), 20 mins

Alberta Whittle, Lagareh – The Last Born (2022), 32 mins

Rosa-Johan Uddoh, Black Poirot (2018-2021), 21 mins

Morgan Quaintance, Surviving You, Always (2020), 18 mins

Jamie Crewe, False Wife (2022), 15 mins

Acknowledgements

Image credit: Jamie Crewe – False Wife (2022) [still 08]

This event is presented as part of Void’s Public Programme of events for current exhibition Being in a Place: A Portrait of Margaret Tait by Luke Fowler. The exhibition is presented in collaboration with the Margaret Tait Estate, The Modern Institute, Orkney Library & Archive, LUX, LUX Scotland, Pier Arts Centre, and Sarah Neely.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

False Wife – Film London Derek Jarman Award Touring Programme 2022

Tuesday 18 October, 7pm

Join us for the live screening of False Wife (2022) by shortlisted Film London Derek Jarman award nominee Jamie Crewe, and a subsequent Q&A between the artist and Void Director Mary Cremin.

Book for the Q&A in Void via the link here.

Alongside this in-person screening and Q&A, an online screening of works by all six of the 2022 Film London Derek Jarman award shortlist will be freely available to view via a link sent to your email, from 12 midday to 12 midnight on 18 October 2022.

Book for the online screening via the link here.

Jamie Crewe, False Wife (2022)

False Wife (2022) is a work that leads its visitors through an ordeal of transformation. A poppers training video is typically a user-made compilation of pornographic clips, uploaded to adult video hosting sites. These clips are paired with text, hypnotic music, voiceovers, and instructions for action. Viewers are told to masturbate and sniff poppers, to let imagery and sensation meld, and reach a gooning ecstatic fervour.

False Wife is a poppers training video, but its material is obscure. Its narrative is drawn from a variety of folk tales in which transformation occurs, and relationships happen. Its footage is scavenged from sources that reflect these themes, reduced to slivers of significant imagery, rubbed together. These originating sources are warped or inflamed to say ambiguous things: to discuss desire, shame, transgression, and the longing for change, and the various ways we want — and don’t want — to face them.

The Film London Jarman Award 2022

Discover the incredible diversity within the world of artists’ filmmaking in the UK, with a presentation of the work of the shortlist of this year’s Film London Jarman Award. Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change.

The artists shortlisted this year are: Grace Ndiritu, Onyeka Igwe, Alberta Whittle, Rosa-Johan Uddoh, Morgan Quaintance, Jamie Crewe. The programme will also feature a Q&A with Jamie Crewe at the gallery (book via link above).

Inspired by visionary British filmmaker Derek Jarman, the Award recognises and supports artists working with the moving image. The shortlisted artists illustrate the spirit of inventiveness within moving image, highlighting the breadth of creativity and craftsmanship the medium has to offer, as well as its powerful ability to engage and provoke audiences. The Award comes with a £10,000 prize.

The winner of the Film London Jarman Award will be announced on the 22 November at the Barbican Centre. The award is presented in partnership with the Whitechapel Gallery.

The tour runs from 23 September to 12 November, in partnership with seven arts venues across the UK.

Jamie Crewe Biography

Jamie is a graduate of Sheffield Hallam University and Glasgow School of Art. They have had a number of solo exhibitions, including at Gasworks (London), Tramway (Glasgow), and Grand Union (Birmingham). Their work has also been presented in group exhibitions such as Glasgow International Festival Director’s Programme and I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts (London). Jamie was the recipient of the tenth Margaret Tait Award, Scotland’s most prestigious moving image prize for artists, and the resultant work, Ashley, was premiered at Glasgow Film Festival in March 2020.

Films in the Jarman Award Touring Programme 2022:

Grace Ndiritu, Black Beauty (2021), 29 mins
Onyeka Igwe, a so-called archive (2020), 20 mins
Alberta Whittle, Lagareh – The Last Born (2022), 32 mins
Rosa-Johan Uddoh, Black Poirot (2018-2021), 21 mins
Morgan Quaintance, Surviving You, Always (2020), 18 mins
Jamie Crewe, False Wife (2022), 15 mins

Acknowledgements

Image credit: Jamie Crewe – False Wife (2022) [still 01]

This event is presented as part of Void’s Public Programme of events for current exhibition Being in a Place: A Portrait of Margaret Tait by Luke Fowler. The exhibition is presented in collaboration with the Margaret Tait Estate, The Modern Institute, Orkney Library & Archive, LUX, LUX Scotland, Pier Arts Centre, and Sarah Neely.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

Saturday 8 October, 2pm

Book via the link here.

Join us on Saturday 8 October at 2pm at Void as artist Peter Todd talks about the work of Luke Fowler and Margaret Tait – with both of whom he has worked. He explores ideas around works which use poetic form. What happens when a film has a poetic rhythm, chapters, or verses? What happens when written words are used with images, and sounds?

Through a unique selection of films for Void Gallery, in dialogue with Luke Fowler’s show, Todd will reflect on how film makers have approached these questions; with works by Luke Fowler (an early work), Renate Sami, Margaret Tait, and Todd’s own film For You.

The event title uses a quote from a passage by poet and film maker Margaret Tait which reflects her search for a way of working ‘The contradictory or paradoxical thing is that in documentary the real things depicted are liable to lose their reality by being photographed and presented in that “documentary” way, and there’s no poetry in that. In poetry, something else happens. Hard to say what it is. Presence, let’s say, soul or spirit, an empathy with whatever it is that’s dwelt upon, feeling for it – to the point of identification.’

Peter Todd Biography

Peter Todd is an artist who works predominantly with film both as a maker and curator, in collaboration with other artists and filmmakers. His work which is part of an everyday practice, a way of living, has been shown in galleries, cinemas, at festivals, and in alternative spaces. The films record the experience of place, daily life, qualities of light, and time, and have explored the possibilities offered by poetic forms. And the films are often essentially self made (using 16mm film) and he has developed dialogues with other film makers and artists around the possibilities of seeing, exhibiting, documenting, and experiencing works. His film Room Window Sea Sky filmed on a single 100 foot roll of 16mm film and edited in camera was selected for the competition of the L’Âge d’Or Festival, Brussels, and his films have been shown at festivals including Rotterdam, London, Edinburgh, Images Toronto and IndieLisboa. Individual screenings include LUX cinema London, Filmsamstag/Kino Arsenal, Berlin, and the Star and Shadow, Newcastle. He was commissioned by Tate to make the film For Luke of Luke Fowler for the Turner prize show 2012. Curated projects often using both contemporary and archive films include the evolving touring programmes Film Poems (1-4), exploring relationships between the moving image and poetry for which he is seen as a central figure, and Garden Pieces (1-3). Known for his dialogue with, and for curating the work over two decades of, Orcadian film maker and poet Margaret Tait (1918-1999), this work includes retrospectives of her work for the Edinburgh Film Festival in 2004 and BFI London in 2018, and an international touring programme of her work for LUX. Further curating includes a touring programme of work by the New Zealand artist and poet Joanna Margaret Paul Through a Different Lens / Film Work by Joanna Margaret Paul and the two part programme of films Place of Work for the Whitechapel Gallery London. Todd first exhibited with Luke Fowler in 2008 at the Rotterdam Film Festival and later that year they worked together with Keith Rowe on the live film and sound work The Room at Tate Modern, London. He has presented work at MoMA New York, BAFICI Buenos Aires, MIFF Mumbai, and Kino Arsenal Berlin amongst others and his films are in distribution with LUX, London and Light Cone, Paris.

Acknowledgements

Image by: Sara Leigh Lewis

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

A talk + film programme presented by Sarah Neely

Presented as part of the Public Programme of events for Void Engage

As part of Luke Fowler’s solo exhibition Being in a Place: A Portrait of Margaret Tait

Like the film poem, the genre of the film portrait was a key focus of experimentation for Margaret Tait. Tait’s film portraits include depictions of fellow students (Three Portrait Sketches, 1951), her mother, (A Portrait of Ga, 1952), friend and poet, Hugh MacDiarmid (Hugh MacDiarmid: A Portrait, 1964), and her neighbour and local crofter, Mary Graham Sinclair (Land Makar, 1981).

Taking into account Tait’s semi-autobiographical work, Personae (published by LUX in 2020), the talk will explore the nature of portraiture – its possibilities, as well as its limitations. The complexities of Tait’s own approach to portraiture will be considered alongside the work of other filmmakers, and in relation to Luke Fowler’s new film about Margaret Tait, Being in a Place: A Portrait of Margaret Tait.

The talk will be followed by a short programme of film portraits by Margaret Tait, Luke Fowler and two other filmmakers connected to Margaret Tait – Peter Todd and Ute Aurand.

Sarah Neely Biography

Sarah Neely is Professor in Film and Visual Culture at the University of Glasgow. Her current research focuses on the areas of film history, memory and artists’ moving image. Recent publications include Between Categories: The Films of Margaret Tait – Portraits, Poetry, Sound and Place (Peter Lang, 2016) and, as editor, Personae (LUX, 2021) a non-fiction work by Margaret Tait. She is currently writing a book on memory, archives and creativity. In 2018, Neely was director of Margaret Tait 100, a year-long programme of events celebrating the centenary of the Orcadian filmmaker and poet.

Acknowledgements

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

Presented as part of Void’s Public Programme for current exhibition Above Us the Milky Way (25.06-27.08.22) featuring the work by artists Orna Kazimi, Kubra Khademi, Mario García Torres and Erkan Özgen.

This event is free but booking is essential.

~~~

Screening of clips from one of the oldest archival films Eshk Wa Dosti (love and friendship), 1946, followed by a discussion with AVAH collective, filmmaker Parwana Haydar and Void Director Mary Cremin.

An Afghan-Indian co-production, Eshk Wa Dosti (love and friendship) was shot in Lahore (still part of British India at the time). It is a sweet musical about a poet and an independent woman. Two clips from the film will be shown as the digitised by a project the full film print used for the tape is in very bad condition.

~~~

The title of the exhibition is taken from a novel by Fowzin Karimi that explores the complexities and the impact of war through memories, loss and notions of home.

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

The effect of war on women is prevalent in parts of the Middle East especially in the past year, most significant is the transformation of Afghan society in terms of girls’ access to education and women losing basic human rights and limits to their freedom. Women and girls suffer disproportionately during and after war, as existing inequalities are magnified and social networks break down, making them more vulnerable to sexual violence and exploitation.

Displacement due to war and conflict has significant implications on people’s sense of place and culture. This dislocation is passed through generations. Postwar, returning generations reach a location that only exists in their imaginations and through the stories of their parents or ancestors what remains is often just a memory and a decimated landscape. This question of how do we change this trajectory, imagining a new way forward that attunes to a more equitable way of being and breaking the repetition of the cycle of history is something that we need to address and is as urgent now as it has been throughout the history of war and conflict.

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

Acknowledgements

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

On Thursday 11 August from 7-10pm Void will screen the film Osama (2003) by Siddiq Barmak.

Presented as part of Void’s Public Programme for current exhibition Above Us the Milky Way (25.06-27.08.22) featuring the work by artists Orna Kazimi, Kubra Khademi, Mario García Torres and Erkan Özgen.

The films have been co-curated by AVAH collective and filmmaker Parwana Haydar. The films chosen represent three different entry points into Afghan Visual Culture that affect our conversation on collective memory and consciousness as art workers that have biographical ties with Afghanistan.

This event is free but booking is essential.

Synopsis

A 12-year-old girl, her mother, and a boy (spandi) have survived the repressed demonstrations launched by Afghan women at the beginning of the Taliban regime. The girl and her mother work in a hospital and soon become aware that the Taliban have dismissed all the people working there and have closed the gate.

The Taliban make sure that no women can get out of their houses without a legal companion (without any member of their family). If they do so they will be punished.

To support the family, the girl’s mother, who has lost her job, decides together with the girl’s grandmother to change the appearance of the girl in order to look like a boy. This decision terrifies the girl. She is afraid of what will happen in the Taliban finds out that she is a girl.

To get a job, the mother and the girl go to the milkman who was an old friend of the girl’s slain father.

The next adventures begin from here…

The religious police of the Taliban force the people to go to the mosque for noon prayer. The girl who is still not familiar with these regulations makes mistakes during prayer session, which then causes a Taliban to become suspicious.

On the next day all the boys, including the girl (looking like a boy) are taken to the religious school called Madrassa, which is also the centre for military training by the Taliban. After some adventures the Taliban discovers the real face of the girl. The girl is put in jail. The Taliban’s judicial court, which advocates stoning and execution, force the girl to marry an old Mullah. After they are married the girl discovers that she is the Mullah’s fourth wife…

Directing, Editing, Script: Siddiq Barmak

Siddiq Barmak – Biography

Siddiq Barmak was born in Afghanistan in 1962. He earned an MA in cinema from the VGIK institute in Moscow. His debut feature, Osama (2003), was awarded at many prestige Festivals like Cannes, Busan, London and was named as best foreign-language film at the Golden Globe Awards (2004). His second film, Opium War (2008), was named Best Film at the Rome Film Festival, Batumi IFF 2012 and many other film festivals around the world.

Filmography:

The Wall, short movie, (1984)

The Circle, short movie, (1985)

Stranger, short movie, (1987)

Osama, feature movie 84 min ( 2003)

Opium War, feature movie 91 min, (2008)

Documentary films:

The disaster of withering, (1988)

Narration of Victory, (1991)

Invasion File, (1997)

As a producer:

Sacrifice (2002)

Earth and Ashes (feature film , France , Afghanistan 2004) Delight, short film 2009

An Apple from Paradise, feature film, ( 2009)

The Neighbour, feature film, (2010)

Above Us the Milky Way

The title of the exhibition is taken from a novel by Fowzin Karimi that explores the complexities and the impact of war through memories, loss and notions of home.

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

The effect of war on women is prevalent in parts of the Middle East especially in the past year, most significant is the transformation of Afghan society in terms of girls’ access to education and women losing basic human rights and limits to their freedom. Women and girls suffer disproportionately during and after war, as existing inequalities are magnified and social networks break down, making them more vulnerable to sexual violence and exploitation.

Displacement due to war and conflict has significant implications on people’s sense of place and culture. This dislocation is passed through generations. Postwar, returning generations reach a location that only exists in their imaginations and through the stories of their parents or ancestors what remains is often just a memory and a decimated landscape. This question of how do we change this trajectory, imagining a new way forward that attunes to a more equitable way of being and breaking the repetition of the cycle of history is something that we need to address and is as urgent now as it has been throughout the history of war and conflict.

AVAH Collective

AVAH Collective is an independent and global research collective and multimedia platform with contributing artists, art historians, curators, art world professionals, writers, and creatives covering Afghan Visual Culture, inclusive of its diaspora and minorities. AVAH contributors engage critically with Afghanistan-related and Afghan-diasporic themes at the nexus of mainly visual culture and contemporary art. The collective came together upon recognising a lack of obtainable information and long term initiatives concerning the historical and contemporary practices originating in or relating to Afghanistan.

Parwana Haydar

Parwana Haydar is an early career filmmaker who centers memory, family and collectivity in her practice. Her interest in how political organising merges with art started when she organised in Kin Collective – a film collective for racialised creatives. She is now Activities and Events co-president in the Student Union at SOAS and a student in Other Cinema film school.

Acknowledgements

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

as a child we sometimes traveled to newcastle-upon-tyne where one of our favourite things was running around making as much noise as possible in a gallery and then standing still so that by the time the art-guards caught us we’d be seriously staring at art before bursting into laughter once they’d gone off on their rounds once more. the thing we most liked to laugh at (still do) is the merz wall by kurt schwitters in the hatton gallery, newcastle-upon-tyne. as kid all we knew is there’s a barn wall in a gallery. a barn wall with curves in it. a barn wall removed from a barn on the other side of england and driven clear across england just to be put in a gallery. still makes us giggle. art should be about making folx laugh … among other things … then we found out more about kurt. everything was art to him – fairytale, typing, porridge, collage, radio, barn walls – just some of his ways of processing none-sense of the world, two world wars included, and also his various disabilities – epilepsy, depression, anxiety, ocd (some of these are more modern terms and sometimes contested) – towards the end of his life a fatal heart condition. yet he was itchy, restless, making sense in ways that no-one else dared. sure folx collaged, installationed, typed, built from found things – but he did all this more widely than others and for way longer too. bbc pulled plug on him broadcasting his ur-sonate, nazis called him a degenerate forcing him to flee twice. the second time to britain – who interned him for 17 month hastening his death. but he made porridge sculptures inside to keep his mind free (it stank the place out). he finally found freedom in the lake district and traded conventional art for food while working on his final merz (what he called his work – after a torn scrap from a banking flier) … dying as his immigration papers were en-route. were not academic, just human, but we love his big-kid, playful, subversion, art to make sense of a non-sensical world.

this is why were coming to Derry. to be playfully subversive in the city where James King a playfully subversive artist we admire much, lives. James and collaboro-angels will be playing in / around the space on 2nd july while we are there too for waiwav – we are invisible, we are visible – thanx to dash and the ampersand award. were bringing some pre-existing work relating to kurt / dada / and playful protest. more of this work will be online – e.g. our film ur’s for kurt, finalist in the 100 years of dada award at the ica in london in 2016. as well as a new spoken-text-collage replying to kurt schwitters poem what is madness made for this occasion.

however the main thing we are doing slowly, gently, playfully across the course of the afternoon on 2nd july is transforming kurts poem ; ‘what is madness’; written large across the education space walls on instant whiteboard into something new. we will mess with the poem using whiteboard markers so that it mutates (madness into add mess just for eg), regenerates, illustrates, invisibly-visible or visibly-invisible into a new temporary piece of wall-write-art for folx of Derry and beyond.

the final two lines of kurts poem what is madness? read,

‘… politics stand at the soft core of our time.
may that core soon soften further and may it leave our time free space for being free’

do come to Void gallery between midday and 4pm on 2nd july and see how we can all make free time for being free. love&rage, gobscure, june 22c.e.

WAIWAV at Void: gobscure from Void Gallery on Vimeo.

Tomorrow, 2 July, from 12-4pm, Void Gallery will join 29 museums and galleries across the UK to host We Are Invisible We Are Visible (WAIWAV), presented by DASH, the disabled-led visual arts organisation. 31 disabled artists will disrupt 30 museums and galleries across the country with surreal interventions in recognition of the 102nd anniversary of the first Dada International Exhibition. The project, which won the 2021 Ampersand Prize, is the most ambitious showcase of work by d/Deaf, Disabled and Neurodivergent artists to be presented in the UK.

The interventions cover a wide range including performative; time based; ephemeral; quirky; unusual; minimal; solo/duo/group; digital and much more. The project asks the question – What if the Dada movement had started in 2020 in lockdown? What would they have done? Is now a timely moment to resurrect the spirit and essence of Dada.

Void are delighted to welcome gobscure to the gallery from 12 noon until 4pm for a drop-in event – see below for an overview:

Dada is riot, dada wz right

kind gentle dynamic rebel.

slowly, gently, playfully across the course of the afternoon on 2nd july is transforming kurts poem ; ‘what is madness’; written large across the education space walls on instant whiteboard into something new. we will mess with the poem using whiteboard markers so that it mutates (madness into add mess just for eg), regenerates, illustrates, invisibly-visible or visibly-invisible into a new temporary piece of wall-write-art for folx of Derry and beyond.

everything was art / creativity / intervention for kurt schwitters as he repeatedly asked who was crazy – him or the systems he ridiculed repeatedly. we loved playing around his final artwork as bairn, were now artistic associates with Museum of Homelessness & Disability Arts Online (both lived experiences).

gobscure is a previous literary fellow at Scotland’s writing centre and Future’s Venture Foundation radical independent art fund supported artist.

A schedule for the day is as follows:

James King & collaborangels:

12.00pm -12.30pm Ann McKay and JK
12.45pm -1.15pm Caroline Murphy and JK
2.15pm -2.45 pm Eamonn O’Donnell and JK.
3.00pm – 3.30pm. Nina Quigley

In advance of gobscure’s performance here at Void Gallery, you can find a blog written by the artist here:

gobscure – blog post for WAIWAV

To coincide with BLACK MED SECCO, Void is delighted to welcome curator and writer Mattia Capelletti for an online talk, taking place on Tuesday 31 May, from 7pm (UK/Ireland time).

Register for free here.

Mattia has recently contributed the essay Having a voice, hearing voices to the book Black Med, which will be published in the coming weeks.

In this talk, the materiality and metaphoricity of the sea will emerge as activating a specific mode of thinking and listening. The talk will touch upon the role that the sensorial observation of the sea played in the development of the thought and practice of key philosophers, poets and musicians concerned with a radical immersion of the particular in the universal, the molecular and the cosmological. This line of thought engenders a specific politics of listening, which will be tied back to Black Med as a generative sonic flux.

Mattia Capelletti is a doctoral student in Sciences of Culture at the University of Palermo, writer and independent curator based in Torino. Interested in sound and the human voice, he has investigated its aesthetics and politics across theory and different disciplines. Along with artist Costanza Candeloro, he runs Idioletta, a project aimed at fostering “borderline” literary and oral practices. He co-edits Palm Wine, a website dedicated to post-global sound cultures with Simone Bertuzzi.