F for Fibonacci

PARALLEL - ICO Art + Cinema Weekend 2016

Programme

Parallel features exclusive previews, artist Q&As, brand new programmes of archive material and seminars with top industry figures.

Saturday

Eglantine Margaret Salmon

New Natural History + Q&A with Margaret Salmon

Margaret Salmon offers an exclusive presentation of scenes from her forthcoming feature film Eglantine, followed by a programme of archive shorts that have influenced her work and a selection of early natural history films selected from the BFI National Archive by Bryony Dixon, Curator of Silent Film, BFI. In Eglantine, the eponymous eight year-old heroine is lost in the woods and must navigate a range of real and imagined incidents and habitats on her journey back to her tent, before her mother discovers her absence. Shot on 35mm with a score by electronic composer Matthew Herbert, this is a love poem to the natural world and childhood.

Before and After Selfies Tony HillBefore and After Selfies - Curated by Herb Shellenberger

Before and After Selfies contextualises recent selfie-based, front camera, online moving image works alongside pre-Internet works sharing similar themes, forms and visual elements. Taking videos made in the past few years, which are usually exhibited freely on Vimeo and YouTube, alongside artist films made since the 1960s, the screening will investigate these new works by young artists who, through social media, are reaching audiences beyond the typical experimental film and gallery contexts.

Conversation Ute Aurand SakuraConversation - Curated by Ute Aurand & Peter Todd

Every year or so artists Ute Aurand and Peter Todd meet up to continue a filmic conversation, and with friends Robert Beavers and Renate Sami have a screening at home. For Aurand and Todd, both also active as curators, their dialogue reflects filmmaking as a way of living. Conversation gives us access into this process, underlining the symbiosis between making and watching films.

A Brief History of Princess X

The Artist’s Cinema 2016 + Q&A with Corin Sworn & Margaret Salmon

A chance to see all five films commissioned by the ICO and LUX for The Artists Cinema 2016. This unique project brings leading visual artists’ work into cinemas in a subversive and playful way, to screen before a diverse and large-scale audience. With work by Gabriel Abrantes, Dora García, Naeem Mohaiemen, Margaret Salmon and Corin Sworn.

Sky Trembles

Preview: The Sky Trembles And The Earth Is Afraid And The Two Eyes Are Not Brothers

A director abandons his film set and descends into a hallucinatory, perilous adventure of cruelty, madness and malevolence. A multi-layered excavation into the illusion of cinema itself, Ben Rivers’ (Two Years at Sea, A Spell to Ward Off the Darkness) latest feature is a visually unsettling film that moves between documentary, fiction and fable taking us from the staggering beauty of the Moroccan landscape, to the rugged terrain of the Atlas Mountains and the stark and surreal emptiness of the Sahara.

Lettres du Voyant Louis Henderson

Sunday

Soil is history: Film programme curated by Louis Henderson and Filipa César

The three films in this programme by artists Louis Henderson and Filipa César propose that colonialism didn’t vanish but simply went underground, in a bid to own mineral resources. However, as Henderson’s Lettres du Voyant shows, technology has empowered former colonial subjects to seek reparations for gold stolen in the first ‘rush for Africa’, on their own terms.

Bristol LUX Open Forum: First Person Plural

Join Bristol LUX Critical Forum and some of the weekend’s guests to discuss film, subjectivity and more in this special open forum. From lyrical essays to intimate diaries and self-portraits, artists have long set down their subjective experience on film, avoiding mainstream cinema’s third person focus. What is it about artists’ moving image which makes it particularly suited to first-person filmmaking? What does this make possible – and how can it articulate and help to influence a position beyond the self?

I See it Feelingly - film programme curated by Amy Budd

I See it Feelingly brings together a selection of films concerned with framing human life and experience through touch, each employing a sensual visual vocabulary featuring labouring hands, digital skins and liquid surfaces in relation to the body. Bringing the work of contemporary artists into a dialogue with historic pieces, in each instance, the films invoke labour, intimacy and sensory pleasure via human and synthetic agents in an attempt to see the world feelingly.

Peggy and Fred in HellPreview: Cadenza - film programme curated by Beatrice Gibson

Curated by artist Beatrice Gibson, this programme explores abstraction as subject and form, looking at music, money, numbers and narrative through the frame of experimental cinema. Showcasing works by Tony Conrad, Laida Lertxundi, Mary Helena Clark and also Gibson’s two most recent works F For Fibonacci and Crippled Symmetries.

The Host ©Miranda_Pennell_Family_snaps_1The Host film screening + director Miranda Pennell Q&A

While investigating her late parents’ involvement with the Anglo-Iranian Oil Company (BP), filmmaker Miranda Pennell came across the letters of a petroleum geologist in Iran in the 1930s who would later embark on a search for the origins of civilisation. The Host interweaves stories drawn from both personal memory and from the records of an imperial history in the BP archive.

Pennell’s compelling film is about the stories we tell, the facts and fictions we live by and their consequences.

Arabian Nights Restless One

Preview: Arabian Nights Volume 1 – The Restless One

A magnificent, ambitious and timely undertaking, Miguel Gomes' Arabian Nights is a freewheeling baroque masterpiece. Loosely structured around the story of the same name, in which beautiful young Scheherazade embarks on a storytelling marathon to keep her husband from killing her, Gomes' Arabian Nights moves from outright – often outlandish – fiction to the present of neoliberal austerity politics, building real satire on its wayward course. (NB This screening at the Watershed is not included in the Parallel ticket price but a concessionary rate will be charged to attendees who present their pass at Watershed).

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