April, 2015

Spike Island Film Open

Film Open 2015

Friday 1 May 2015, 5.15–6.15pmSaturday 2 May 2015, 5.15–6.15pmSunday 3 May 2015, 5.15–6.15pmMonday 4 May 2015, 5.15–6.15pm

We are delighted to announce the artists’ chosen for the Film Open 2015.

Liam Allan, Dan Auluk, Emma Charles, Karen Cunningham, Aideen Duran, Jemma Egan, Warren Garland,  Alexander Story Gordon, Lewis Den Hertog, Toby Huddleston, Stuart Layton,  Holly Mclean,  Matthew Parkin, Fred Pederson,  Susannah Stark,  Jack Saunders,  Jane Topping,  Charlie Tweed,  Grace Williams, Laura Yuile.

Steven Cairns, ICA Associate Curator of Artists’ Film and Moving Image and Film Open 2015 selector, said: ‘The programme features some of the best works by emerging artists from across the country. Not only does the Film Open offer an opportunity for artists, the screening programmes are a unique opportunity for audiences to discover new artists and amazing works’.

The Film Open 2015 is selected from an open call to members of the UK’s leading artist’s support networks. The programme launches at Spike Island on Friday 1 May 2015 and later travels on to Eastside Projects, Birmingham, Transmission, Glasgow, Castlefield Gallery, Manchester, S1 Artspace, Sheffield and the ICA, London.

Film Open Screenings will take place at 5.15pm on Friday 1, Saturday 2, Sunday 3 and Monday 4 May 2015, as part of Spike Island Open Studios 2015.

This is a two-part screening programme running on alternate evenings at Spike Island. Each screening is approximately 60 minutes in duration.

Book your place for the launch screening on Friday 1 May, 5.15pm here.

Ripples on the Pond – opens Thursday 30th April


Credit: January 1987, from 21 Spare Ribs (2012) Helen De Main, courtesy and © the artist

Invitation to Exhibition Opening

Ripples on the Pond
Gallery 4, GoMA, Royal Exchange Square, Glasgow.
Thursday 30 April, 5.30 -7.30pm

Exhibition continues until Spring 2016


The Gallery of Modern Art (GoMA) warmly invites you to opening of Ripples on the Pond, an exhibition which has at its core works from the Glasgow Museums’ Collection. It takes as the starting point recent acquisitions from the Glasgow Women’s Library 21 Revolutions series, relating them to other works in the collection and sparking questions about gender, themes and media choice in relation to women’s practice and visibility.

Ripples on the Pond is also curated as a conversation between the works in the collection on paper and moving image and the invitation to Modern Edinburgh Film School and LUX Scotland to programme artists screenings within and beyond the gallery space. Visitors to the exhibition are invited to be part of that conversation and the exhibition can be seen as an essay that is to be read, re-read, critiqued and rethought. The programme by Modern Edinburgh Film School can be seen as sister essay: responding to, commenting on, critiquing the holdings and re-imagining a collection through conversations with other works.

Themes of play, landscape, feminism, place and visibility emerge and through the exhibition and ongoing conversations we are learning more about the works in the collection and understanding the genealogy of practice, both locally and internationally, of women artists living and working in Glasgow.

Sam Ainsley, Claire Barclay, Georgina Beier, Vanessa Bell, Kate Davis, Helen de Main, Jacqueline Donachie, Joan Eardley, Karen Guthrie, Ilana Halperin, Barbara Hepworth, Louise Hopkins, Roni Horn, Emily Jacir, Bet Low, Patricia MacDonald, Mari Mahr, Shauna McMullan, Jacki Parry, Ciara Phillips, Nina Pope, Carol Rhodes, Zineb Sedira, Lucy Skaer, Jo Spence, Corin Sworn, Amanda Thomson, Jane Topping, Alison Watt

Moving Image programme in the projection space (confirmed to date)
Corin Sworn, Anne Colvin, Sarah Forrest, Anne-Marie Copestake

Modern Edinburgh Film School

Anne Colvin, Sarah Forrest, Anne-Marie Copestake, Rosalind Nashashibi, Allison Gibbs, Karen Cunningham, Mairi Lafferty, Annabel Nicolson, Lauren Gault, and Catherine Street

Ripples on the Pond has been developed with Affiliate: Thinking Collections (a University of Glasgow programme funded by Creative Scotland) and Modern Edinburgh Film School, along with LUX Scotland and Glasgow Women’s Library.

GoMA would like to thank Alex Hetherington, Tina Fiske, Isla Leaver-Yap, Helen de Main, Wendy Turner, Adele Patrick, Dr Sarah Neely and the artists.

Teeth at FILM OPEN 2015

Teeth, Screen Shot, 2014

Teeth, Screen Shot, 2014


Teeth (2:19 mins, 2014) has been selected for FILM OPEN. It’ll be screened in Spike Open (1-4 May 2105).  The programme will then travel on to Eastside Projects, Birmingham, Transmission, Glasgow, Castlefield Gallery, Manchester, S1 Artspace, Sheffield and ICA London.

Here’s Teeth for you to watch.

31st Hamburg Short Film Festival June 2015

Peter has been selected for the No Budget Competition of the 31st Hamburg Short Film Festival. I’ll be introducing 2 screenings on the 10th and the 12th June 2015.

Peter (Screen Shot) Digital film 29:55, 2014, Jane Topping.

Peter (Screen Shot) Digital film 29:55, 2014.

Here’s a little bit about the festival:


No other form of cinematic art is as open, experimental, fast, courageous, abstract, hard, discursive or reactive as the short film. At the same time, it has to be incredibly disciplined. Its art lies in its focus – on single pictures, takes, tracking shots or dialogues. It never has enough time and it only has this one chance. It can expect no forgiveness. It is a medium of artistic self-exploration, of the search for a provisional absolute form, of impudence and the marginal.

In the early days of cinematic history, before there were experimental films because cinema itself was still pretty much an experiment in itself, everything was short and short films were the most popular attractions at fun fairs. Today, short films are the other side of cinema: its cinematographic laboratory, its subconscious and its sense of the things not yet shown, pictured or said. You can rarely find them on the big and small screens and a short film in the review section of a newspaper is a rare exception.

However, they are at home at the Hamburg International Short Film Festival. Since its foundation 28 years ago, the Hamburg International Short Film Festival has been celebrating short films as an independent art form, while offering an opportunity for film makers from all over the world to get in touch with an eager audience and with each other. The International Competition mirrors current global aesthetic tendencies and narrative structures. The German Competition offers an overview of the state of the nation’s short films and film academies. And in our long-standing and unique No Budget Competition, that had formed the festival’s nucleus and origin in 1985, we present works made with little money but plenty of ideas and commitment. The list of names involved so far includes Mara Mattuschka, Miranda July, Zbigniew Rybczynski, Christoph Schlingensief, Bjørn Melhus, Ken Jacobs, Jay Rosenblatt, John Smith and countless more. The Three Minute Quickie is another one of our unique specialties. In it film makers from Germany and from abroad can submit films of no more than three minutes length to a predetermined subject. Furthermore, the Mo&Friese Hamburg Children’s Short Film Festival is one of a small number of short film festivals for children in the world. It offers programmes for several age groups in cooperation with the Hamburg International Short Film Festival.

The proliferation of short films as an art form, the support of the independent creation of films and the discovery and support of hitherto unknown film makers are not just among the main tasks the festival set for itself, they are also the foundation of its success. The Hamburg Short Film Agency (KFA) departments of sales, distribution and archive allow for direct promotion and placement of short films. As a part of KFA, the festival is able to distribute globally and make the names of film makers known throughout the world.

At the Hamburg International Short Film Festival, around 14.000 visitors get to watch ca. 400 films in international and national competitions as well as in carefully curated special programmes, which showcase contemporary film art alongside earlier influential avant-garde-pieces. Apart from the national focus, which takes a look at a different country every year, there are monographic shows or explorations of specific cinematic motives through time and genres.

Among all the festivals in the world, the Hamburg International Short Film Festival Festival has to position itself with a sense of itself and an overall value that is more than just the sum of its individual parts. The competitions, special programmes and its highly atmospheric festival centre are these parts. Together with its short films, film makers and audiences they add up to much more in both actuality and in meaning.

VH-16-22-7-12-3-22-5 Dreams of Machines

Amelia Bywater and Emma Fitts’ performance (Victor & Hestor, last Saturday) as part of their current show VH-16-22-7-12-3-22-5 Dreams of Machines at Transmission was excellent and so’s their website. Take a wander around it, if you have the ‘spare time’…

Victor and HesterDreams of Machines Presenting the domestic space as a potentially potent social space, the work draws questions around a feminist reading of domestic labour, technology and companionship, and explores tensions between language, architectural space and the bodies that move/work within and between these frameworks. 



O Yes at the art school

O Yes - Inventors of Tradition IIThis – 6 Minutes – and perfectly crafted.

Led by Ellen van Schuylenburch, for The Inventors of Tradition II, Panel and Atelier E.B recreate a dance from Michael Clark’s I am Curious, Orange as a series of four short performances within the iconic and atmospheric space of The Assembly Hall at The Art School, Glasgow.

I am Curious, Orange, premiered in Amsterdam as a part of The Holland Festival in 1988 and marked the first time that The Fall played live with Michael Clark Company (with score and lyrics especially composed). Within YES O YES, the dance recreated by O YES, Clark explores Glasgow’s specific social and cultural tensions through an abstracted Rangers versus Celtic football match.

Honouring the history of the piece and its connections to Glasgow, four recreated performances revive this seminal collaboration, bringing together student dancers, independent dancers and a live ensemble band created by Tut Vu Vu.

DJ’s, programmed by Atelier E.B and Panel, play downstairs at the Vic from 6pm-11pm.

O YES is curated by Atelier E.B and Panel for The Inventors of Tradition II and is part of Dance International Glasgow

The recreation is led by Ellen van Schuylenburch with the kind permission of Michael Clark


Spring/Summer 2015 @ DCA

What a start to the summer! Get yersel’ to the seaside pronto and up to DCA for the neon splattered, martini drenched exhibition of work by Maripol, Clare Stephenson and Zoe Williams.

SS15 After Party Poster (Image Clare Stephenson)

SS15 After Party Poster (Image Clare Stephenson)

Heavenly and disco blasted.

Clare Stephenson

Clare Stephenson



Zoe Williams

Zoe Williams