Women on Aeroplanes
2018/19
The Showroom
curation
Women on Aeroplanes
Women on Aeroplanes presents new work by artists Lungiswa Gqunta, Pamela Phatsimo Sunstrum and Emma Wolukau-Wanambwa, observing the largely unrecognised role of women in struggles for liberation, their participation in transatlantic networks, and their key voices in revolutionary socio-political movements that helped to achieve post- colonial nation-states in Africa.
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Women on Aeroplanes presents new work by artists Lungiswa Gqunta, Pamela Phatsimo Sunstrum and Emma Wolukau-Wanambwa, observing the largely unrecognised role of women in struggles for liberation, their participation in transatlantic networks, and their key voices in revolutionary socio-political movements that helped to achieve post- colonial nation-states in Africa.
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Mani Kaul: Essay Film Festival
2018
Birkbeck Cinema and ICA
curation
Mani Kaul: Essay Film Festival
Rarely seen in Britain, the films of Mani Kaul represent an important achievement in Indian cinema.
Mani Kaul is undoubtedly the Indian filmmaker who, along with Kumar Shahani, has succeeded in radically overhauling the relationship of image to form, of speech to narrative, with the objective of creating a 'purely cinematic object' that is above all visual and formal.
This series of films (1969-1984) devotes attention to a key figure of the 'New Indian Cinema' or the Indian New Wave.
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Rarely seen in Britain, the films of Mani Kaul represent an important achievement in Indian cinema.
Mani Kaul is undoubtedly the Indian filmmaker who, along with Kumar Shahani, has succeeded in radically overhauling the relationship of image to form, of speech to narrative, with the objective of creating a 'purely cinematic object' that is above all visual and formal.
This series of films (1969-1984) devotes attention to a key figure of the 'New Indian Cinema' or the Indian New Wave.
More
Fukushima and Visual Inquiry
2017
Arts Catalyst
curated programme
Fukushima and Visual Inquiry
A special screening of 4 Buildings Facing The Sea, 2012, Machine to Machine, 2013, and Fovea Centralis, 2014, by video artist Philippe Rouy, whose work offers a profound examination of the Fukushima disaster and of the subsequent inquiry that has accompanied the aftermath.
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A special screening of 4 Buildings Facing The Sea, 2012, Machine to Machine, 2013, and Fovea Centralis, 2014, by video artist Philippe Rouy, whose work offers a profound examination of the Fukushima disaster and of the subsequent inquiry that has accompanied the aftermath.
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Artists' responses to the Fukushima Disaster
2017
Arts Catalyst
curated programme
Artists' responses to the Fukushima Disaster
The Otolith Collective and the curatorial collective Don't Follow The Wind curate an evening of screenings of artists' films responding to the Fukushima disaster as part of Real Lives Half Lives: Fukushima at Arts Catalyst,
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The Otolith Collective and the curatorial collective Don't Follow The Wind curate an evening of screenings of artists' films responding to the Fukushima disaster as part of Real Lives Half Lives: Fukushima at Arts Catalyst,
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Climates of Fiction: Cinemas from the Capitalocene
2017
The Institute of Light
curated programme
Climates of Fiction: Cinemas from the Capitalocene
In the geological age of corporate extractivism that many activists now call the Capitalocene rather than the depoliticized name of the Anthropocene, environmental destruction diffuses across localities in differential impacts that confuse human-centered senses of scale and causality.
Climates of Fiction: Cinemas from the Capitalocene assembles works by filmmakers and artists that explore the encounters and entanglements between the Earth, the planet and the world.
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In the geological age of corporate extractivism that many activists now call the Capitalocene rather than the depoliticized name of the Anthropocene, environmental destruction diffuses across localities in differential impacts that confuse human-centered senses of scale and causality.
Climates of Fiction: Cinemas from the Capitalocene assembles works by filmmakers and artists that explore the encounters and entanglements between the Earth, the planet and the world.
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Pan African Space Station
2016
OBA Central Library, Amsterdam
curated programme
Pan African Space Station
Pan African Space Station (PASS)
OBA Central Library, Amsterdam
Sunday 11 to Thusrday 15 December
2.00pm - 8.00pm
Or listen here
The Pan African Space Station, will land in and transmit from the OBA Central Library in Amsterdam.
Launched in 2008 by Chimurenga, the Pan African Space Station (PASS) is a periodic, pop-up live studio; a performance and exhibition space; a research platform and living archive, and an internet based radio station.
PASS will present a live broadcasting programme of music, interviews and events with Chimurenga collaborators in Amsterdam including musicians, journalists, writers, curators and filmmakers.
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Pan African Space Station (PASS)
OBA Central Library, Amsterdam
Sunday 11 to Thusrday 15 December
2.00pm - 8.00pm
Or listen here
The Pan African Space Station, will land in and transmit from the OBA Central Library in Amsterdam.
Launched in 2008 by Chimurenga, the Pan African Space Station (PASS) is a periodic, pop-up live studio; a performance and exhibition space; a research platform and living archive, and an internet based radio station.
PASS will present a live broadcasting programme of music, interviews and events with Chimurenga collaborators in Amsterdam including musicians, journalists, writers, curators and filmmakers.
More
Co-op Dialogues: 1966-2016 with Jean Matthee
2016
Tate Britain
curation
Co-op Dialogues: 1966-2016 with Jean Matthee
2016 marks the 50th anniversary of the founding of the London Film-makers' Co-op, the artist-run organisation that pioneered the production, distribution, and exhibition of artists' moving image in the United Kingdom, and which remains vibrant today. To commemorate the legacy of the Co-op, Tate Britain and LUX have programmed a monthly series of screenings and conversations that revisit its significance and its future.
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2016 marks the 50th anniversary of the founding of the London Film-makers' Co-op, the artist-run organisation that pioneered the production, distribution, and exhibition of artists' moving image in the United Kingdom, and which remains vibrant today. To commemorate the legacy of the Co-op, Tate Britain and LUX have programmed a monthly series of screenings and conversations that revisit its significance and its future.
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Readings by Mouth
2016
The Empire Remains Shop
curated exhibition
Readings by Mouth
Screening of Uski Roti (1969) by director Mani Kaul followed by Indian cuisine and a conversation with Anjalika Sagar, Kodwo Eshun and Sumesh Sharma.
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Screening of Uski Roti (1969) by director Mani Kaul followed by Indian cuisine and a conversation with Anjalika Sagar, Kodwo Eshun and Sumesh Sharma.
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Genres of the Human
2016
The Showroom
curated programme
Genres of the Human
Kodwo Eshun in conversation with Louis Chude-Sokei and Appau Junior Boakye-Yiadom
In his widely acclaimed books, lectures, essays and articles, writer and literary theorist Louis Chude-Sokei has embarked upon a far reaching excavation of the histories of black encounters with technology.
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Kodwo Eshun in conversation with Louis Chude-Sokei and Appau Junior Boakye-Yiadom
In his widely acclaimed books, lectures, essays and articles, writer and literary theorist Louis Chude-Sokei has embarked upon a far reaching excavation of the histories of black encounters with technology.
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An Endless Suddenness: Thinking with music that resists resistance
2016
Open School East
curated programme
An Endless Suddenness: Thinking with music that resists resistance
A public workshop and listening session with theorist and poet Fred Moten and The Otolith Collective presented with Open School East.
Recent debates conducted in the UK between journalists and musicians on the state of black British music articulate an inchoate anxiety over its supposed eclipse of protest and its presumed burial of any politics of resistance. These laments have provoked counter-responses that refute the grounds of the former by nominating tracks such as Shutdown or Street Politician by grime MCs such as Skepta and Novelist which exemplify and amplify the affective tone of political antagonism in Britain today. In the US, and at the same time, critics and fans have argued over whether recordings such as Kendrick Lamar's To Pimp a Butterfly or D' Angelo's Black Messiah succeed in intensifying and dramatizing the general disturbance of the #BlackLivesMatter movement as it has instituted itself from 2014 onwards.
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A public workshop and listening session with theorist and poet Fred Moten and The Otolith Collective presented with Open School East.
Recent debates conducted in the UK between journalists and musicians on the state of black British music articulate an inchoate anxiety over its supposed eclipse of protest and its presumed burial of any politics of resistance. These laments have provoked counter-responses that refute the grounds of the former by nominating tracks such as Shutdown or Street Politician by grime MCs such as Skepta and Novelist which exemplify and amplify the affective tone of political antagonism in Britain today. In the US, and at the same time, critics and fans have argued over whether recordings such as Kendrick Lamar's To Pimp a Butterfly or D' Angelo's Black Messiah succeed in intensifying and dramatizing the general disturbance of the #BlackLivesMatter movement as it has instituted itself from 2014 onwards.
More
Continental Afrofutures Lecture Series. Lecture 2. The Final Scene of Hyenas: A Fable of Fatal Incorporation
2016
The Showroom
curated programme
Continental Afrofutures Lecture Series. Lecture 2. The Final Scene of Hyenas: A Fable of Fatal Incorporation
The Otolith Collective and The Showroom present The Final Scene of Hyenas: A Fable of Fatal Incorporation, the second lecture in the Continental Afrofutures Lecture Series.
Hyenas tends to be characterised as a 'biting satire of today's Africa' that has betrayed the hopes of independence for the false promises of Western materialism. A reading such as this interprets Hyenas as an Afropessimist fabulation of the formation of the neocolony in which the victory of materialism over self-determination is staged as the subsumption of Pan-Africanist morality by the modernity of the International Monetary Fund.
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The Otolith Collective and The Showroom present The Final Scene of Hyenas: A Fable of Fatal Incorporation, the second lecture in the Continental Afrofutures Lecture Series.
Hyenas tends to be characterised as a 'biting satire of today's Africa' that has betrayed the hopes of independence for the false promises of Western materialism. A reading such as this interprets Hyenas as an Afropessimist fabulation of the formation of the neocolony in which the victory of materialism over self-determination is staged as the subsumption of Pan-Africanist morality by the modernity of the International Monetary Fund.
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Continental Afrofutures Lecture Series. Lecture 1: Laingian Science Fiction
2016
The Showroom
curated programme
Continental Afrofutures Lecture Series. Lecture 1: Laingian Science Fiction
The Otolith Collective and The Showroom present Laingian Science Fiction, the first lecture in the Continental Afrofutures Lecture Series.
It is often pointed out that the Africanity in Afrofuturism takes no account of the invention or the production of African futures. That the Afrofuturisms formulated during the 1990s and resurgent in the 21st Century, were and are elaborated as Afrodiasporic projects by practitioners in the UK and the USA. The constraints of Afrofuturism, then and now, therefore obliges continental practitioners to either adapt the term to take account of the specificity of African futures or to invent a new concept capable of grasping the range of contemporary practices across the continent that seek to invent the future.
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The Otolith Collective and The Showroom present Laingian Science Fiction, the first lecture in the Continental Afrofutures Lecture Series.
It is often pointed out that the Africanity in Afrofuturism takes no account of the invention or the production of African futures. That the Afrofuturisms formulated during the 1990s and resurgent in the 21st Century, were and are elaborated as Afrodiasporic projects by practitioners in the UK and the USA. The constraints of Afrofuturism, then and now, therefore obliges continental practitioners to either adapt the term to take account of the specificity of African futures or to invent a new concept capable of grasping the range of contemporary practices across the continent that seek to invent the future.
More
The Pop Group, For How Much Longer Do We Tolerate Mass Murder?
2016
Rough Trade East
curated programme
The Pop Group, For How Much Longer Do We Tolerate Mass Murder?
Kodwo Eshun and Mark Fisher in conversation with The Pop Group in-store at Rough Trade East for this very special Q&A event and signing.
The Pop Group's 'For How Much Longer Do We Tolerate Mass Murder?' was one of the most challenging records of the post-punk era. The album and its reception reflected the fraught debates about the relationship between music and politics which convulsed post-punk, and which continue to haunt us now.
More
Kodwo Eshun and Mark Fisher in conversation with The Pop Group in-store at Rough Trade East for this very special Q&A event and signing.
The Pop Group's 'For How Much Longer Do We Tolerate Mass Murder?' was one of the most challenging records of the post-punk era. The album and its reception reflected the fraught debates about the relationship between music and politics which convulsed post-punk, and which continue to haunt us now.
More
The old is dying and the new cannot be born: states, strategies, socialisms
2015
School of Oriental & African Studies, London
curated programme
The old is dying and the new cannot be born: states, strategies, socialisms
12th Annual Historical Materialism Conference
As austerity tightens its grip around the throats of the peoples of Europe, but also rears its ugly head in Brazil and elsewhere, we are forced to recognize that it is not the mere by product of the economic crisis but a political project in its own right, one whose aim is to deepen and consolidate the most uncompromising forms of neoliberal capitalism.
It cannot be said that this project has hitherto been met with passivity, even if social movements of resistance have been mostly far from strong enough to halt its advance. Yet something is perhaps beginning to change, namely the emergence of counter-austerity projects that have pitched themselves at a political - even electoral or governmental -level.
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12th Annual Historical Materialism Conference
As austerity tightens its grip around the throats of the peoples of Europe, but also rears its ugly head in Brazil and elsewhere, we are forced to recognize that it is not the mere by product of the economic crisis but a political project in its own right, one whose aim is to deepen and consolidate the most uncompromising forms of neoliberal capitalism.
It cannot be said that this project has hitherto been met with passivity, even if social movements of resistance have been mostly far from strong enough to halt its advance. Yet something is perhaps beginning to change, namely the emergence of counter-austerity projects that have pitched themselves at a political - even electoral or governmental -level.
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Artists' Moving Image Practice in Britain: From 1990 to today
2015
Whitechapel Gallery
curated programme
Artists' Moving Image Practice in Britain: From 1990 to today
Artists' moving image practice is activated by the context of the gallery, by temporary architectural environments, the cinema and the internet, and by social and political performance. Over the last few decades, this kind of artistic practice - which has its roots in film, performance and installation art - has become a phenomenon in its own right.
British artists and institutions have played a pioneering role in this history. From the filmmaking co-ops of the 1970s to recent exercises in digital manipulation, UK-based artists have been at the forefront of artistic experimentation, distribution, and exhibition.
More
Artists' moving image practice is activated by the context of the gallery, by temporary architectural environments, the cinema and the internet, and by social and political performance. Over the last few decades, this kind of artistic practice - which has its roots in film, performance and installation art - has become a phenomenon in its own right.
British artists and institutions have played a pioneering role in this history. From the filmmaking co-ops of the 1970s to recent exercises in digital manipulation, UK-based artists have been at the forefront of artistic experimentation, distribution, and exhibition.
More
African Futures
2015
Goethe-Institut Johannesburg
curated programme
African Futures
What does the African future look like? How do artists and academics imagine this future? What forms and narratives of science fiction have African artists developed? What connections to Afrofuturism can be found in Africa today? These are just some of the questions "African Futures - Science Fiction in Africa" addresses within the scope of its key topic "Creating the Future - The Cultural Perspective".
Envisaging a future and presenting this impulse was often considered to be a symbol of liberty. While Afrofuturism originated primarily in the diaspora in the USA, and is associated with artists such as Sun Ra, George Clinton and Octavia Butler, "African Futures" is dedicated to the current artistic exploration of Africa's future on the continent itself and internationally.
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What does the African future look like? How do artists and academics imagine this future? What forms and narratives of science fiction have African artists developed? What connections to Afrofuturism can be found in Africa today? These are just some of the questions "African Futures - Science Fiction in Africa" addresses within the scope of its key topic "Creating the Future - The Cultural Perspective".
Envisaging a future and presenting this impulse was often considered to be a symbol of liberty. While Afrofuturism originated primarily in the diaspora in the USA, and is associated with artists such as Sun Ra, George Clinton and Octavia Butler, "African Futures" is dedicated to the current artistic exploration of Africa's future on the continent itself and internationally.
More
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice
2015
Tensta konsthall, Sweden
curated programme
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.The symposium forms the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
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The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.The symposium forms the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
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The Chimurenga Library
2015
The Showroom
curated exhibition
The Chimurenga Library
The Showroom and The Otolith Collective present the Cape Town-based outfit Chimurenga. For this their first UK presentation, Chimurenga will infiltrate The Showroom's building in the form of The Chimurenga Library, inserting themselves into the existing frameworks, functions and structures of the space without displacing its everyday activities.
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The Showroom and The Otolith Collective present the Cape Town-based outfit Chimurenga. For this their first UK presentation, Chimurenga will infiltrate The Showroom's building in the form of The Chimurenga Library, inserting themselves into the existing frameworks, functions and structures of the space without displacing its everyday activities.
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Pan African Space Station
2015
The Showroom
curated programme
Pan African Space Station
Pan African Space Station (PASS)
Broadcasting live from
The Showroom
63 Penfold Street
London
NW8 8PQ
Wednesday 7 to Sunday 11 October
2.00pm - 8.00pm
Or listen here
During its first week the exhibition The Chimurenga Library will play host to the Pan African Space Station (PASS), Chimurenga's online music radio station and pop-up studio.
PASS will present a live broadcasting programme of music, interviews and events with Chimurenga collaborators in London including musicians, journalists, writers, curators and filmmakers.
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Pan African Space Station (PASS)
Broadcasting live from
The Showroom
63 Penfold Street
London
NW8 8PQ
Wednesday 7 to Sunday 11 October
2.00pm - 8.00pm
Or listen here
During its first week the exhibition The Chimurenga Library will play host to the Pan African Space Station (PASS), Chimurenga's online music radio station and pop-up studio.
PASS will present a live broadcasting programme of music, interviews and events with Chimurenga collaborators in London including musicians, journalists, writers, curators and filmmakers.
More
L.A. Rebellion Seminar
2015
Tate Modern London
curation
L.A. Rebellion Seminar
Pioneering, provocative and visionary, the LA Rebellion films form a crucial body of work in post-war cinema. In the late 1960s a number of African and African American students entered UCLA School of Theatre, Film and Television, and from the first class through to the 1980s came to represent the first sustained undertaking to forge an alternative Black cinema practice in the United States.
Image credit: Barbara McCullough Water Ritual #1: An Urban Rite of Purification 1979, production still. Courtesy of UCLA Film & Television Archive
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Pioneering, provocative and visionary, the LA Rebellion films form a crucial body of work in post-war cinema. In the late 1960s a number of African and African American students entered UCLA School of Theatre, Film and Television, and from the first class through to the 1980s came to represent the first sustained undertaking to forge an alternative Black cinema practice in the United States.
Image credit: Barbara McCullough Water Ritual #1: An Urban Rite of Purification 1979, production still. Courtesy of UCLA Film & Television Archive
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Public Assets: small-scale arts orgainsations and the production of value
2015
Central Saint Martins
curation
Public Assets: small-scale arts orgainsations and the production of value
Organised by Common Practice, London
Building on previous work on value and sustainability in the UK's small scale arts sector, Common Practice has organised a one-day conference to discuss the ways in which small-scale arts organisations produce artistic value beyond measurability and quantification.
Speakers include:Kodwo Eshun, Jesús Carrillo, Charlotte Higgins, Maria Lind, Andrea Phillips and Lise Soskolne (W.A.G.E.)
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Organised by Common Practice, London
Building on previous work on value and sustainability in the UK's small scale arts sector, Common Practice has organised a one-day conference to discuss the ways in which small-scale arts organisations produce artistic value beyond measurability and quantification.
Speakers include:Kodwo Eshun, Jesús Carrillo, Charlotte Higgins, Maria Lind, Andrea Phillips and Lise Soskolne (W.A.G.E.)
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it took forever getting ready to exist: UIQ (the unmaking-of)
2015
The Showroom
curated exhibition
it took forever getting ready to exist: UIQ (the unmaking-of)
Thomson and Maglioni's new exhibition seeks to 'produce' Felix Guattari's unmade sci-fi film Un Amour d'UIQ (A Love of UIQ) as a collective experience, without filming a single shot.
The exhibition centres on a spatialised, polyphonic soundwork containing edited fragments from a number of 'seeances' taking place in different countries in which the participants become receivers and transmitters of UIQ (the Infra-Quark Universe), 'contaminating' each other with their visions of Guattari's screenplay.
The soundwork will be accompanied by a quantum archive of documents, photos and videos - spanning themes of Autonomia, free radio, the schizo-analytical and sci-fi - as well as other works that Thomson and Maglioni have produced around the unmade film.
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Thomson and Maglioni's new exhibition seeks to 'produce' Felix Guattari's unmade sci-fi film Un Amour d'UIQ (A Love of UIQ) as a collective experience, without filming a single shot.
The exhibition centres on a spatialised, polyphonic soundwork containing edited fragments from a number of 'seeances' taking place in different countries in which the participants become receivers and transmitters of UIQ (the Infra-Quark Universe), 'contaminating' each other with their visions of Guattari's screenplay.
The soundwork will be accompanied by a quantum archive of documents, photos and videos - spanning themes of Autonomia, free radio, the schizo-analytical and sci-fi - as well as other works that Thomson and Maglioni have produced around the unmade film.
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UIQ in LOVE_A Love of UIQ : Between Translation and Transduction
2014
no.w.here, London.
curated programme
UIQ in LOVE_A Love of UIQ : Between Translation and Transduction
An opportunity to join filmmakers and artists Graeme Thomson and Silvia Maglioni for a two-day workshop, Saturday 22 and Sunday 23 November 2014, 2-7pm, working with the screenplay of Félix Guattari's unmade sci-fi film Un Amour d'UIQ, to 'produce' the film so that it exists as a collective experience without filming a single shot. The workshops will be sound-recorded and fragments will feed into a soundwork to be presented in an exhibition co-curated with The Otolith Collective at The Showroom early next year.
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An opportunity to join filmmakers and artists Graeme Thomson and Silvia Maglioni for a two-day workshop, Saturday 22 and Sunday 23 November 2014, 2-7pm, working with the screenplay of Félix Guattari's unmade sci-fi film Un Amour d'UIQ, to 'produce' the film so that it exists as a collective experience without filming a single shot. The workshops will be sound-recorded and fragments will feed into a soundwork to be presented in an exhibition co-curated with The Otolith Collective at The Showroom early next year.
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A Cinema of Songs and People : The Films of Anand Patwardhan
2013
Tate Modern London
curated programme
A Cinema of Songs and People : The Films of Anand Patwardhan
Rarely viewed in Britain, the films of Anand Patwardhan represent one of the most important achievements in documentary cinema.
This season brings contemporary audiences into contact with an astonishing body of work whose profound commitment to radical change offers an experience like few others in contemporary cinema. This comprehensive retrospective, the first to be devoted to the major works of Patwardhan in London, devotes long overdue attention to a giant of cinema whose films inaugurated the independent documentary moment in India in the mid-1970s.
Curated and written
by
Kodwo Eshun and Anjalika Sagar
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Rarely viewed in Britain, the films of Anand Patwardhan represent one of the most important achievements in documentary cinema.
This season brings contemporary audiences into contact with an astonishing body of work whose profound commitment to radical change offers an experience like few others in contemporary cinema. This comprehensive retrospective, the first to be devoted to the major works of Patwardhan in London, devotes long overdue attention to a giant of cinema whose films inaugurated the independent documentary moment in India in the mid-1970s.
Curated and written
by
Kodwo Eshun and Anjalika Sagar
More
The Journey, Peter Watkins
2013
Tate Modern London
curated programme
The Journey, Peter Watkins
The Otolith Collective and Tate Film presented Peter Watkins's The Journey (1987). Introduced by The Otolith Collective, with audience discussion at the end of each day.
Not screened in London since 2003, this special 3 night screening event, organised by The Otolith Collective and Tate Film, offers contemporary audiences the unique opportunity to see The Journey (1987), Peter Watkins's seldom seen 14 hour 30 minute masterpiece.
Working collaboratively with activist groups from Sweden, Canada, Australia, New Zealand, Soviet Union, Mexico, Japan, Scotland, Polynesia, Mozambique, Denmark, France, Norway, West Germany and USA and filmed between 1983 to 1985, The Journey is an astonishing experiment with documentary that expands its powers of polemic, reflexivity, reflection and passion.
Support groups debate the peace process, families discuss their fears of nuclear threat and the cost of world hunger, survivors recall the bombings of Hiroshima and Nagasaki while Watkins analyses the role played by mainstream media in normalising conflict. Peter Watkins's vision of a political cinema that emerges from and documents the collaborative process which it analyses, reaches its most elaborated form in The Journey which is structured in 19 intricately edited chapters. The result is an unprecedented cinematic constellation whose inspiration and importance has only increased since its release in 1987.
In the wake of the partial meltdown of the Fukushima Daiichi nuclear power plant on 11 March 2011, the critical relevance of The Journey can be neither doubted nor overlooked
More
The Otolith Collective and Tate Film presented Peter Watkins's The Journey (1987). Introduced by The Otolith Collective, with audience discussion at the end of each day.
Not screened in London since 2003, this special 3 night screening event, organised by The Otolith Collective and Tate Film, offers contemporary audiences the unique opportunity to see The Journey (1987), Peter Watkins's seldom seen 14 hour 30 minute masterpiece.
Working collaboratively with activist groups from Sweden, Canada, Australia, New Zealand, Soviet Union, Mexico, Japan, Scotland, Polynesia, Mozambique, Denmark, France, Norway, West Germany and USA and filmed between 1983 to 1985, The Journey is an astonishing experiment with documentary that expands its powers of polemic, reflexivity, reflection and passion.
Support groups debate the peace process, families discuss their fears of nuclear threat and the cost of world hunger, survivors recall the bombings of Hiroshima and Nagasaki while Watkins analyses the role played by mainstream media in normalising conflict. Peter Watkins's vision of a political cinema that emerges from and documents the collaborative process which it analyses, reaches its most elaborated form in The Journey which is structured in 19 intricately edited chapters. The result is an unprecedented cinematic constellation whose inspiration and importance has only increased since its release in 1987.
In the wake of the partial meltdown of the Fukushima Daiichi nuclear power plant on 11 March 2011, the critical relevance of The Journey can be neither doubted nor overlooked
More
In The National Interest
2013
The Institute of International Visual Arts
curated programme
In The National Interest
The Otolith Collective and Iniva are pleased to present
In The National Interest? 1986)
co-directed by Penny Stemple
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The Otolith Collective and Iniva are pleased to present
In The National Interest? 1986)
co-directed by Penny Stemple
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What Can Art Do
2013
The Japan Foundation
curated programme
What Can Art Do
Post 3.11 - What Can Art Do?
Documenting Tohoku
Talk with Hikaru Fujii and The Otolith Group
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Post 3.11 - What Can Art Do?
Documenting Tohoku
Talk with Hikaru Fujii and The Otolith Group
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Body Tremors: The Geopoetics of Prediction and Premonition
2013
REDCAT Los Angeles
curated programme
Body Tremors: The Geopoetics of Prediction and Premonition
In conjunction with the exhibition The Otolith Group: Medium Earth, REDCAT presents Body Tremors: The Geopoetics of Prediction and Premonition, a series of presentations and conversations exploring the agency of the seismic and the sensitive. The program will be accompanied by intermittent screenings of related audiovisual works.
With presentations by Kodwo Eshun, Dick Hebdige, Susan Elizabeth Hough, Charlotte King, Norman M. Klein, Aram Moshayedi, Anjalika Sagar, Rebecca Solnit, and Aurora Tang.
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In conjunction with the exhibition The Otolith Group: Medium Earth, REDCAT presents Body Tremors: The Geopoetics of Prediction and Premonition, a series of presentations and conversations exploring the agency of the seismic and the sensitive. The program will be accompanied by intermittent screenings of related audiovisual works.
With presentations by Kodwo Eshun, Dick Hebdige, Susan Elizabeth Hough, Charlotte King, Norman M. Klein, Aram Moshayedi, Anjalika Sagar, Rebecca Solnit, and Aurora Tang.
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Book Launch
2013
The Showroom London
curation
Book Launch
T.J. Demos in conversation with Kodwo Eshun to mark the launch of two new publications...
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T.J. Demos in conversation with Kodwo Eshun to mark the launch of two new publications...
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On Vanishing Land
2013
The Showroom, London.
curated exhibition
On Vanishing Land
On Vanishing Land: Mark Fisher and Justin Barton.
Curated by The Otolith Collective, commissioned and produced in collaboration with The Showroom.
The Otolith Collective and The Showroom present On Vanishing Land by British sound artists and theorists Mark Fisher and Justin Barton.
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On Vanishing Land: Mark Fisher and Justin Barton.
Curated by The Otolith Collective, commissioned and produced in collaboration with The Showroom.
The Otolith Collective and The Showroom present On Vanishing Land by British sound artists and theorists Mark Fisher and Justin Barton.
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Images Sometimes Tremble
2013 - present
The Showroom, London.
curated programme
Images Sometimes Tremble
Erik Moskowitz and Amanda Trager:
Cloud Cuckoo Land and Two Russians in the Free World
Presented by The Otolith Collective
1st February, The Showroom
19.00pm - 21.00pm
Free Entry
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Erik Moskowitz and Amanda Trager:
Cloud Cuckoo Land and Two Russians in the Free World
Presented by The Otolith Collective
1st February, The Showroom
19.00pm - 21.00pm
Free Entry
More
Jean Genet
2011
Nottingham Contemporary, Nottingham
curation
Jean Genet
Nottingham Contemporary presents a major group exhibition reflecting on the life and art of Jean Genet - one of the most celebrated French novelists and playwrights of the 20th century, and probably its most scandalous. He led several lives but remained a writer in revolt.
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Nottingham Contemporary presents a major group exhibition reflecting on the life and art of Jean Genet - one of the most celebrated French novelists and playwrights of the 20th century, and probably its most scandalous. He led several lives but remained a writer in revolt.
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A Sunken Trembling Recalled Dimly
2011
Globe Towers, Frankfurt
curation
A Sunken Trembling Recalled Dimly
In 2011 The Otolith Group were invited to programme a series of events organized by the Staedelschule for the Globe Towers in Frankfurt.
As a result The Otolith Group composed a program consisting of films, talks, audio-essays and a concert. Invited artists are Lise Autogena and Joshua Portway, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran and artist Justin Barton in collaboration with critic, theorist, blogger and author Mark Fisher.
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In 2011 The Otolith Group were invited to programme a series of events organized by the Staedelschule for the Globe Towers in Frankfurt.
As a result The Otolith Group composed a program consisting of films, talks, audio-essays and a concert. Invited artists are Lise Autogena and Joshua Portway, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran and artist Justin Barton in collaboration with critic, theorist, blogger and author Mark Fisher.
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Harun Farocki: Against What? Against Whom?
2009/10
London
curation
Harun Farocki: Against What? Against Whom?
Harun Farocki. Against What? Against Whom?
19 November 2009 to 7 February 2010
Raven Row
The first UK exhibition of the two-screen and multi-screen works of revered German filmmaker Harun Farocki. The survey comprised nine video installations, from his first two-screen project Interface in 1995 to Immersion, 2009, about the use of virtual reality in the treatment of traumatised US soldiers following the occupation of Iraq.
The exhibition was curated by Alex Sainsbury. It was linked to 'Harun Farocki. 22 Films 1968-2009', a season of Farocki's single-screen films and events at Tate Modern, 13 November-6 December 2009, curated by Stuart Comer, Antje Ehmann and the Otolith Group.
A monograph Harun Farocki. Against What? Against Whom? has been commissioned by Raven Row. It is edited by Antje Ehmann and Kodwo Eshun, and published by Koenig Books.
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Harun Farocki. Against What? Against Whom?
19 November 2009 to 7 February 2010
Raven Row
The first UK exhibition of the two-screen and multi-screen works of revered German filmmaker Harun Farocki. The survey comprised nine video installations, from his first two-screen project Interface in 1995 to Immersion, 2009, about the use of virtual reality in the treatment of traumatised US soldiers following the occupation of Iraq.
The exhibition was curated by Alex Sainsbury. It was linked to 'Harun Farocki. 22 Films 1968-2009', a season of Farocki's single-screen films and events at Tate Modern, 13 November-6 December 2009, curated by Stuart Comer, Antje Ehmann and the Otolith Group.
A monograph Harun Farocki. Against What? Against Whom? has been commissioned by Raven Row. It is edited by Antje Ehmann and Kodwo Eshun, and published by Koenig Books.
More
Harun Farocki 22 Films 1968-2009
2009
Tate Modern, London
curation
Harun Farocki 22 Films 1968-2009
Harun Farocki. 22 Films 1968-2009
Friday 13 November - Sunday 6 December 2009
Curated by Stuart Comer, Antje Ehmann and The Otolith Group. With support from Goethe-Insitut, London
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Harun Farocki. 22 Films 1968-2009
Friday 13 November - Sunday 6 December 2009
Curated by Stuart Comer, Antje Ehmann and The Otolith Group. With support from Goethe-Insitut, London
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The Image in Question
2009
The Showroom, London
curation
The Image in Question
Saturday 17 October 2009
What modes of address are emerging in contemporary artistic practice that question the testimonial capacities of sound and image as witnesses to violence? Sequences from A Journey (Lamia Joreige, 2006), Nights and Days (Lamia Joreige, 2007) and Nervus Rerum (The Otolith Group, 2008) will serve as points of departure for a discussion on the potentials and incapacities of the moving image between Lamia Joreige, Ghalya Saadawi and The Otolith Group,
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Saturday 17 October 2009
What modes of address are emerging in contemporary artistic practice that question the testimonial capacities of sound and image as witnesses to violence? Sequences from A Journey (Lamia Joreige, 2006), Nights and Days (Lamia Joreige, 2007) and Nervus Rerum (The Otolith Group, 2008) will serve as points of departure for a discussion on the potentials and incapacities of the moving image between Lamia Joreige, Ghalya Saadawi and The Otolith Group,
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Harun Farocki: Three Early Films
2009
Cubitt, London
curation
Harun Farocki: Three Early Films
Harun Farocki: Three Early Films
Saturday 17 January - Sunday 22 February 2009
Curated by Bart van der Heide, Antje Ehmann and The Otolith Group.
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Harun Farocki: Three Early Films
Saturday 17 January - Sunday 22 February 2009
Curated by Bart van der Heide, Antje Ehmann and The Otolith Group.
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If I Were President: Taking Temperature by Image
2009
Sprüth Magers, London
curation
If I Were President: Taking Temperature by Image
Curated by The Otolith Group 'If I were President' coincides with Thomas Demand's exhibition at Sprüth Magers, conceived and executed during the 2008 US election campaign.
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Curated by The Otolith Group 'If I were President' coincides with Thomas Demand's exhibition at Sprüth Magers, conceived and executed during the 2008 US election campaign.
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Home Works IV
2008
Beirut, Lebanon
curation
Home Works IV
The Home Works Forum is a multidisciplinary project that brings together artists, writers and intellectuals to present their work. Organized by Ashkal Alwan, it takes place every eighteen months in exhibition and performance venues throughout Beirut, and presents lectures, panel discussions, screenings, debates and artistic interventions (by established and emerging artists).
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The Home Works Forum is a multidisciplinary project that brings together artists, writers and intellectuals to present their work. Organized by Ashkal Alwan, it takes place every eighteen months in exhibition and performance venues throughout Beirut, and presents lectures, panel discussions, screenings, debates and artistic interventions (by established and emerging artists).
More
The Ghosts of Songs
2007
Arnolfini, Bristol
curation
The Ghosts of Songs
Watching audiences watching Black Audio Film Collective's 1986 essay film Handsworth Songs during the first afternoon of Documenta 11, replaying the attention people bestowed upon the
work later that evening, a curatorial proposition slowly began to emerge; could one invite audiences into spatial scenarios that allowed for distinctive kinds of encounter with the entirety of Black Audio Film Collective's oeuvre?
Kodwo Eshun & Anjalika Sagar, Preface, The Ghost of Songs: the Film Art of the Black Audio Film Collective 1982-1998, edited by Kodwo Eshun and Anjalika Sagar, FACT and Liverpool University Press, 2007, p. 13
More
Watching audiences watching Black Audio Film Collective's 1986 essay film Handsworth Songs during the first afternoon of Documenta 11, replaying the attention people bestowed upon the
work later that evening, a curatorial proposition slowly began to emerge; could one invite audiences into spatial scenarios that allowed for distinctive kinds of encounter with the entirety of Black Audio Film Collective's oeuvre?
Kodwo Eshun & Anjalika Sagar, Preface, The Ghost of Songs: the Film Art of the Black Audio Film Collective 1982-1998, edited by Kodwo Eshun and Anjalika Sagar, FACT and Liverpool University Press, 2007, p. 13
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The Ghosts of Songs
2007
FACT, Liverpool
curation
The Ghosts of Songs
Watching audiences watching Black Audio Film Collective's 1986 essay film Handsworth Songs during the first afternoon of Documenta 11, replaying the attention people bestowed upon the
work later that evening, a curatorial proposition slowly began to emerge; could one invite audiences into spatial scenarios that allowed for distinctive kinds of encounter with the entirety of Black Audio Film Collective's oeuvre?
Kodwo Eshun & Anjalika Sagar, Preface, The Ghost of Songs: the Film Art of the Black Audio Film Collective 1982-1998, edited by Kodwo Eshun and Anjalika Sagar, FACT and Liverpool University Press, 2007, p. 13
More
Watching audiences watching Black Audio Film Collective's 1986 essay film Handsworth Songs during the first afternoon of Documenta 11, replaying the attention people bestowed upon the
work later that evening, a curatorial proposition slowly began to emerge; could one invite audiences into spatial scenarios that allowed for distinctive kinds of encounter with the entirety of Black Audio Film Collective's oeuvre?
Kodwo Eshun & Anjalika Sagar, Preface, The Ghost of Songs: the Film Art of the Black Audio Film Collective 1982-1998, edited by Kodwo Eshun and Anjalika Sagar, FACT and Liverpool University Press, 2007, p. 13
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The Ghosts of Songs - A Retrospective on The Black Audio Film Collective 1982-1998
2007
FACT LIVERPOOL AND ARNOLFINI BRISTOL
curation
The Ghosts of Songs - A Retrospective on The Black Audio Film Collective 1982-1998
The Ghosts of Songs was the first major touring exhibition and monograph retrospective of the seminal media group, The Black Audio Film Collective. Conceived by The Otolith Group over four years, The exhibition to notable acclaim launched at FACT Liverpool on the 2nd of February 2007. It was open until April and toured then to Arnolfini Bristol from April to June 2007
The Exhibition was curated and produced by The Otolith Group in partnership with FACT and The Arnolfini Bristol.
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The Ghosts of Songs was the first major touring exhibition and monograph retrospective of the seminal media group, The Black Audio Film Collective. Conceived by The Otolith Group over four years, The exhibition to notable acclaim launched at FACT Liverpool on the 2nd of February 2007. It was open until April and toured then to Arnolfini Bristol from April to June 2007
The Exhibition was curated and produced by The Otolith Group in partnership with FACT and The Arnolfini Bristol.
More
Art Is What Makes Life More Interesting Than Art
2006
London
curation
Art Is What Makes Life More Interesting Than Art
The Artists Cinema is a Frieze Projects/LUX collaboration to construct, programme and run a cinema for artists' film and video within Frieze Art Fair. First realised at the fair in 2005, The Artists Cinema programme of film and video focuses primarily on recent international artists' film and video screened daily alongside an invited programme of film and video selected by specialist artists and curators. Each invited curator was asked to compile a programme that focused on contemporary film and video, its relationship to historical legacies or modern life.
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The Artists Cinema is a Frieze Projects/LUX collaboration to construct, programme and run a cinema for artists' film and video within Frieze Art Fair. First realised at the fair in 2005, The Artists Cinema programme of film and video focuses primarily on recent international artists' film and video screened daily alongside an invited programme of film and video selected by specialist artists and curators. Each invited curator was asked to compile a programme that focused on contemporary film and video, its relationship to historical legacies or modern life.
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How to Improve the World: 60 Years of British Art
2006
Hayward Gallery, London UK
curation
How to Improve the World: 60 Years of British Art
Our desire was to make a show in such a way that each work could be seen not just for the place it holds in some putative history of British Art, nor simply for the model it might offer of the way things used to be made. Above and beyond these aspects, the works would most significantly be participants in a series of conversations wholly relevant to the present moment.
Michael Archer, Overlapping Figures in How to Improve the World: 60 Years of British Art Arts Council Collection, edited by Michael Archer, Marjorie Allthorpe Guyton and Roger Malbert, Hayward Gallery, 2006, p.44
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Our desire was to make a show in such a way that each work could be seen not just for the place it holds in some putative history of British Art, nor simply for the model it might offer of the way things used to be made. Above and beyond these aspects, the works would most significantly be participants in a series of conversations wholly relevant to the present moment.
Michael Archer, Overlapping Figures in How to Improve the World: 60 Years of British Art Arts Council Collection, edited by Michael Archer, Marjorie Allthorpe Guyton and Roger Malbert, Hayward Gallery, 2006, p.44
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