#11 Richard Tuohy & Cherry Kino

Rogue Studios Project Space, 15 June 2014, 6.30pm free

A double programme of 16mm & 8mm film work. Richard Tuohy and Cherry Kino’s films are firmly situated in the handcrafted film tradition.

Martha Jurksaitis is an analogue artist filmmaker whose early years were spent looking through kaleidoscopes, exploring gardens, and watching films. She founded Cherry Kino film lab in Leeds, and works with Super 8 and 16mm film  which she hand-processes using a variety of alchemical techniques. Martha travels to different lands in pursuit of different kinds of light and shows her work internationally at a variety of festivals and galleries.  She still loves kaleidoscopes. All Richard Tuohy’s works are hand-processed from camera neg, optical sound neg, intermediates and opticals to final prints:

“This is done in part out of necessity, but also, and more interestingly, out of a sense of opportunity; while the closure of commercial film labs has meant that it has become increasingly difficult to access traditional laboratory services, it has also created an opportunity for artists to get their hands on this now largely redundant equipment, providing access for experimentation and exploration of a new set of creative possibilities. These works speak of that new opportunity!”

Richard’s work to be screened:

Blue Line Chicago – 
2014, 10′, 16mm. 
Architectural distortions of the second city;  Tree Lines
 – 2009, 8′, 16mm
. High country, high contrast. A collision of lines and patterns from the wood of burnt trees; Seoul Electric – 
2012, 7′, 16mm. 
A North Asian metropolis. Electricity wires draped like thick webs adorn the street scape. Explosive sparks of colour electrify the frame. Filmed in Seoul in black and white. Colourised during processing using coloured torch light; Ginza Strip
 – 2014, 9′, 16mm. 
The Ginza of fable and memory. This is the first film I have finished using the ‘chromaflex’ technique that we developed. This is a very much hands on colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white; Dot Matrix
 – 2013, 16′, 2 x 16mm
. A dual 16mm film involving two almost completely overlapping projected images. The ‘dots’ were produced by photogramming sheets of dotty paper (used for manga illustrations) directly onto raw 16mm film stock, then contact printed with ‘flicker’ (alternating black frames) creating strobing ‘interruptions’ to the dots. The drama of the film emerges in the overlap of the two projected images of dots. The product they make is greater than the parts. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector.

One Minute Volume 7

One Minute Vol 7 poster

Rogue Studios Project Space, 2 May 2014

Film Material Soup is pleased to present a Manchester screening of the latest edition of one minute shorts curated by Kerry Baldry. Featuring work by Alex Pearl, John Smith, Kelvin Brown, Chris Paul Daniels, Rose Butler, and approximately 37 other artists.

#10 Spring Soup

Rogue Studios, 12 March 2014

We got together for a long overdue day, of soup and place-oriented work-in-progress. Chris Paul Daniels presented his R&D residency at Newbridge Projects in Newcastle, which blended concerns about Northern-ness and methods he previously explored in Nairobi, such as ethnographic interviews. Chris showed stop-frame takes of Newcastle’s architecture overlaid with voices, to indicate the difficulty of defining regional identity. Matt Bamber talked about his film research in the hidden spaces of Northern historic buildings such as Chethams’s Library, Bolton Museum’s industrial collection and Wythenshaw Hall. He shoots long, immersive takes through their windows, capturing inner and outer worlds of stasis and sudden movement, such as the differing views from John and Elizabeth’s writing rooms at Gaskell House onto the Ardwick streets. There’s a lovely connection between projections of windows and the film projector as window, harking back to the Markerian photo essay, and further to Lumieres cine-postcards and the cinema of attractions. Mary Stark discussed her recent residency at the former La Escocesa textile factory in Barcelona, along with Hannah Leighton Boyce. She set up a makeshift darkroom in the bathroom and kitchen with household utensils to bleach film, splice fabrics, and contact-print lace and ribbon sourced from Encants flea market. In crafting sculptural, sonic sketches with one-foot pieces of 16mm, Mary’s process celebrates making ‘feminine noise’ in a male-dominated history of film. Mary also showed The Last Yarn exhibited in Salts Mill near Bradford, made in collaboration with Hannah LB.

#9 Newbridge Project

12 New Bridge St West, Newcastle upon Tyne, NE1 8AW, 5-7.30pm, Saturday 15 February

Join us for a free screening of recent works by members of Film Material Soup.  In tandem with Chris Paul Daniels’ residency at the Newbridge Project (Connect/Exchange programme supported by Northern Film + Media).  This screening has been programmed by Daniels in relation to ideas of presence, location and identity.

#8 Rogue Project Space

An event by Film Material Soup, to celebrate the current Rogue PS exhibition Frogfullness by Savinder Bual, curated by Ahmed & Carpenter. Expect live 16mm and laser interventions by Jo Byrne/OKO and Dave Lynch from Leeds. Plus new projector and digital performances from Mary Stark and Sam Meech. Also a screening of recent work on video, 16mm and Super 8 by Jenny Baines, Birkbeck & Duffy, Jacob Cartwright, Jenna Collins, Callum Cooper, Chris Paul Daniels, Dave Griffiths, Ben Gwilliam and Nick Jordan. Cosmetics, soup, mulled wine, fish heads, flying and failing, from some of the UK’s most excellent artists.

#7: New Work

FMS#6 new workRogue Open Studios, 27 September 2013

1 Election/CoverageChris Paul Daniels, 2013, HD video, 1 min; poster trails of the 2013 presidential election in Nairobi accelerate to a Zoetrope-like effect; Alarming Times, Chris Paul Daniels, 2012, HD video, 1 min; a 60-second warning from the minor, miner bird, recalling the optical effect of the Thaumatrope.

2 Between Two DesertsJoe Duffy, 2013, Lightbox, slide viewers; a newly forming urban space, it’s fabric and infrastructure a landscape being defined.

3 I (still) know what you did last summerChris Paul Daniels, 2010, 16mm film transfer, 3 mins; a recording within a recording documents the activities of a micro-environment

4 The Artists in ResidenceDave Griffiths & Joe Duffy, 2013, video, 2 mins

5 Tape Measure FilmMary Stark, 2013, 16mm b&w film loop

6 The Return of Willy PeteDave Griffiths, 2013, Sellotape 35mm loop, slide projector

7 Knitted Horse in MotionSam Meech, 2013, video loop & wool; translating Muybridge’s original image sequence into a 24-stitch punchcard knit design.

#6 Rogue Project Space

imageA summer soup gathering to hear Chris Paul Daniels talk about his film Premier/Divisions, and other projects made during his Nairobi residency, coinciding with the Kenyan elections. Chris is currently exhibiting in the Rogue Project Space. Dave Griffiths presented his E6 and vinyl window installation Extinction Event, made for Phoenix Square, and his residency with NASA’s Swift satellite telescope based at Leicester University. James Snazell showed some recent digital animations. Sarah Hill spoke about the Video Jam collective and events, and showed some of her recent videos.

FMS v Misdirect Movies

The Royal Standard, Liverpool, 30 March 2013, free

Film Material Soup screenings and performance in response to Misdirect Movies, curated by Andrew Bracey & John Rimmer

According to Google maps the exact distance between The Royal Standard and Rogue Artists’ Studios in Manchester is 35 miles or 56,327 metres. In response to this distance, Chris Paul Daniels will run a three hour workshop relating to his ongoing collaborative project Unravel, which is accumulating one frame of hand drawn 16mm film for every metre in the distance between Lands End and Jon O’Groats. Participants will have the chance to manipulate the 16mm film in relation to this exact distance – taking each frame of the film, in this instance, as if it equals 5 metres.

Clara Casian, Shadow Casting is an attempt to catalogue the social and physical identity of specific studio spaces in Liverpool and Manchester. Using primitive methods of route finding and navigation, by tracing shadows with white chalk – the principles of celestial navigation; sun and light, are highlighted as primal indicators for direction and time measurement.

Ben Gwilliam, Soundtrack for tape pull. A performance to camera where the construction of a soundtrack is informed by the
process of recording; the medium itself directly informs the sounds, the tape and microphone are both the sound-object. Beyond a reference to how mechanism is often a silent component in sound recording, it becomes about the landscape of the gallery being a dimensional page upon which this recording is a drawing of it.

Mary Stark, A New Hope/The Empire Strikes Back. An installation of interwoven narrative cinema utilising found footage super-8 films of the first (fourth) and second (fifth) motion pictures in the Star Wars franchise.

Film/Material/Soup, a screening of film and video work addressing materiality in terms of medium specificity, physicality, notions of distance and (mis)direction.

 

#4 Rogue Project Space

#5 was a making day up in Rogue Project Space. We screened super 8 by Derek Horton and Cheryl Garner, mounted slides and did some test shooting. Mary Stark and Jenny Baines screened a nice found 16mm print about textile dyeing.  And homemade summer soup for lunch.

#3 Rogue Studio

#3 was a busy session. Sam Meech showed found-footage experiments with a key scene from Cinema Paradisowhere the protagonist becomes emotional at a screening of spliced and scratched film clips. Sam deliberately re-compressed these clips with the wrong codec so that they glitched and stuttered – exploring outmoded technology in digital and analogue viewing. We saw highlights of Chris Paul Daniels video & super 8 visuals in Groningen which mixed Scandinavian landscapes & Nordic painting to a live improvised soundtrack. Chris also screened a black metal-soundtracked super 8 delight shot in Iceland & Sweden. A very well-travelled fellow. Jo Byrne visited from OKO in Leeds to show her performative film Screen Kiss and Cleanse, Tone, Moisturise, Conceal that combines the repetitive ritual of cosmetics with hands-on fetishisation of celluloid media. We also saw documentation of The Plaza Principle, an expanded film installation at an abandoned TKMaxx, plus a project for PSL using found footage of Leeds’ 1978 Olympic bid. Mary Stark showed pics of her December trip to Mono No Aware in Brooklyn, featuring amazing sculptural and expanded filmworks. Mary also previewed her dark-room tests of B&W neg strips, which apply the language and tools of tailoring to hand-made film practice.

Lunch was a warming slow-roast squash, garlic and sweet potato soup. In the afternoon Ben Gwilliam screened a 16mm photogram negative from his recent Blankspace show. Intended as a sound-producing drawing, the visuals bled into the optical track to reflect the acoustic environment and characteristics of the exhibition site. We were also treated to Oxide, produced during his at no.w.here residency, where Ben experimented with iron rust on film stock as a method of “growing sound on film”.  Emma Hardaker screened her hand-processed super 8 expressing her relationship with her own blood condition, featuring some aleatory solarisation effects. Amy Lawrence presented experiments with splicing and respooling VHS tape. Also at the day were Dave Griffiths, Joe Duffy, Veronica Ibarra and Clara Casian.

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