XTC Majalengka X George Clark
10 Village Video Festival
Jatiwangi Art Factory
15-16 December 2018
What can we do to bring the body closer to the place where we live? Walking may be one of them….
The XTC Majalengka motorbike enthusiast club collaborated with George Clark to take part in a mass walk following the hiking route from a group of grandfathers from Marsden in West Yorkshire. We invited more than 100 local members of XTC, to put aside their motorbikes and set out on foot across Majalengka’s land, to experience their locality through new prism and observe the continuing changes towards its future as new industrial centre.
On The Planters Art: An illustrated talk on films, maps and gardening Friday 30 June, 3pm,
LUX Scotland The Mitchell Library, Glasgow
Free, ticketed via Eventbrite
‘I am told there are people who do not care for maps, and find it hard to believe; here is an inexhaustible fund of interest for any man with eyes to see or twopence-worth of imagination to understand with!’ – Robert Louis Stevenson
‘The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious’ – Gilles Deleuze
Artist and curator George Clark will present this illustrated lecture looking at ideas of perspective, categorisation and interpretation in cinema and art. Drawing from research for his ongoing film projects in Hong Kong and Los Angeles, he will present and discuss a diverse range of subjects from the 16mm Kodachome films of Californian gardener Albert Wilson, the history of bird watching and illustration in colonial Hong Kong and the visionary 1980 Centre Pompidou exhibition on cartography Maps and Figures of the Earth/Cartes et figures de la Terre.Central to the talk is exploration of maps as ‘instruments of travel and discovery, as well as sophisticated tools to dream.’ The presentation will draw on the writings of Jorge Luis-Borges and Gilles Deleuze, film work by South American emigres in Paris such as Hugo Santiago and David Lamelas and Raul Ruiz’s rare film on maps and labyrinths made to accompany the Pompidou exhibition.
Image: Cartes Et Figures De La Terre, catalogue cover, Centre Georges Pompidou, 1980.
A Distant Echo 71st Edinburgh International Film Festival
Tuesday 27 June, 18:10, Odeon Cinema 4
Thursday 29 June, 18:10, Odeon Cinema 4
The UK premiere of my film A Distant Echo will be held at the upcoming Edinburgh Film Festival (21 June – 2 July 2017).
“Breathtakingly rendered on 35mm film, the vast expanse of various Californian deserts provides a stage for the contemplative re-enactment of an Egyptian history. Based on archival research, Clark’s debut feature blends fact and fiction, the historical and the contemporary, and transcends cultural and geographical boundaries to reflect on the ongoing tensions between local and national politics. The hypnotic choral composition by Tom Challenger adds a meditative layer to the expressive stillness of the images. A profound and affecting audiovisual experience.” – EIFF 2017
Termite Workshop: Vegetal logic and the ecology of images
Fri 16 Jun 2017 / 10am – 6pm
LUX, Waterlow Park Centre Details online
This one-day workshop led by artist and curator George Clark explores and develops key aspects of his practice, while drawing on the environment of Waterlow Park (where LUX is based). Participants will explore methods of filming and working with sound and image by drawing on the logics of gardening and the archeology of images. The day will consist of screenings, readings and practical projects, featuring the writings and works of figures such as Raul Ruiz, Hugo Santiago, Chen Chieh-jen, Hito Steyerl, Trinh T. Minh Ha and The Office of Culture and Design in Manila, amongst others.
Using the idea of Manny Farber’s Termite Art, participants will look at connections across art forms and geographies to collapse established histories and definitions of artistic and curatorial work, seeking a mode of entangled practice. The day will explore strategies of assemblage, disregarding the boundaries between disciplines; ways of working at the intersection of histories and cultures, to develop an entangled mode of production in dialogue with the ecology of images and expanded exhibition contexts.
‘The most I can do is try to repeat what took place in a different zone in mental terms, trying to distinguish between what made up a part of that sudden conglomeration in its own right and what other associations might have become incorporated into it parasitically.’ – Julio Cortazar, 62: A Model Kit
More and more my memory and experience of works is coloured by the places and the people with whom I encountered them. This screening brings together works that have been important to me over the last few years selected from places where I have lived for a time and where I have filmed myself. The screening features works from Thailand, Hong Kong, USA, Mexico, Taiwan, the Philippines and Aotearoa New Zealand interspersed with fragments from my ongoing project Untitled (Eyemo rolls)shot in these various countries since I began travelling with an Eyemo 35mm film camera in 2011. Each work is drawn from a particular geography but also blurs the line between them. The project is a way to think about entanglement and the cinema as a locality between places.
The selected films speak to particular places but also to the memory of them, to subculture’s reclaiming of space or the resistant occupation. The works are drawn from each of these locations, but often they blur the line between them; Thai artist Apichatpong Weerasethakul’s 0116643225059 was made when he was home sick while studying in Chicago, Chick Strand’s Guacamole was made in Mexico during her periodic trips there from her home in Los Angeles. The films speak to particular places but also to the memory of them, subcultural’s reclaiming space or resistance to occupation from Mok Chiu-yu’s iconoclastic Letter to the Young Intellectuals of Hong Kong an open call to political action in Hong Kong during British colonial rule, Chen Chieh-Jen’s action against the conditions in Taiwan during period of martial law or surfer culture as in Malibu Now, You Can Do Anything. A careful balance exists in many of the works between the observers perspective and staged scenarios in front of the camera from the collective Tito & Tita’s feline screen-test Director’s Cat to Shannon Te Ao’s hypnotic reading to house plants of the poetry of Joanna Margaret Paul. Reflecting on her writing and films, Joanna Margaret Paul stated ‘when my work is all laid out together the jigsaw puzzle of my life will show itself, I think…It’s oblique, but it’s all there.’
– George Clark
Thanks to all participating artist, lenders and Michael Temple andMatthew Barrington (BIMI), Maria Palacios Cruz and Ben Cook (LUX), and Laurin Federlein.
“More and more my memory and experience of works is coloured by the places and the people with whom I encountered them. This screening brings together works that have been important to me over the last few years selected from places where I have lived for a time and where I have filmed myself. The screening features works from various countries interspersed with fragments from my ongoing project Untitled(Eyemo rolls) shot in these various countries since I began travelling with a Eyemo 35mm film camera in 2011. Each work is drawn from a particular geography but also blurs the line between them. The project is a way to think about entanglement – of the cinema as a locality between places.” – George Clark
Eyemo Rolls #1-3 (George Clark, 35mm, 3 min)
0116643225059 (Apichatpong Weerasethakul, Thailand, 1994, 16mm [on digital], 5 min) Eyemo Rolls #23, #26-27 (George Clark, 35mm, 4 min) The Garden of M.B. (Louise Menzies, Aotearoa New Zealand, 2013, silent, 16mm [on digital], 3 min) Eyemo Rolls #120-121, #124 (George Clark, 35mm, 3 min) Dysfunction No.3 (Chen Chieh-jen, Taiwan, 1983, silent, 8mm [on digital] 8 min Eyemo Rolls #87-92, (George Clark, 35mm, 4 min) Letter to the Young Intellectuals of Hong Kong / 給香港的文藝青年 (Mok Chiu-yu & Li Ching, Hong Kong, 1978, 35mm [on digital], 15 min) Eyemo Rolls #24-25, #74-76 (George Clark, 35mm, 4 min) Guacamole (Chick Strand, USA / Mexico, 1976, 16mm, 10 min) Eyemo Rolls #33-34 (George Clark, 35mm, 3 min) My Tears Are Dry (Laida Lertxundi, USA, 2009, 16mm, 4 mins) Eyemo Rolls #57-60 (George Clark, 35mm, 4 mins) Guacamole (Chick Strand, USA / Mexico, 16mm, 10 mins) Eyemo Rolls #33-34 (George Clark, 35mm, 3 mins) Director’s Cat (Tito & Tita, Philippines, b&w, silent, 2013, 16mm, 3 mins) Eyemo Rolls #81-84 (George Clark, 35mm, 4 min)
Presented by VISIONS, in collaboration with Double Negative and la lumière collective. Thanks to all the artists for permission to screen their work and Alexandre Larose, Benjamin R. Taylor, Eduardo Menz and Daïchi Saïto.
‘Spurred by recent archeological digs in the California desert for traces of past Hollywood epics, A Distant Echo revisits the ecology of the desert image through returning to the sites of modern day dunes in Guadalupe, Death Valley, Imperial County, and the Mojave Desert. Having once stood in for the landscapes of Ancient Egypt, these sites are revisited in 35mm by Londonbased filmmaker George Clark for the Canadian premiere of his feature debut.
A Distant Echo is an “adaptation” of Shadi Abdel Salam’s 1969 feature film, The Night of Counting the Years, which was set in Egypt in 1881, prior to the British occupation. Salam’s film followed the narrative of an archeologist from Cairo with an ancient tribesman as they negotiated the values and morality of recovering cultural artifacts. Between scenes of the desert, we are shown Egypt through British Imperialism’s lens of discovery, notably through building up its own museums and libraries with their colonial inquisitions.
Featuring a male choral score by composer Tom Challenger that further extends A Distant Echo to Clark’s upbringing in Yorkshire, where the male choral choir began at the height of Britain’s Industrial Revolution, the film transports the viewer into a speculative study on the history of iconic sites, sounds, images, and memory, and questions the veracity of our cultural lineages through image making.’
Sea of Clouds will have it’s Japanese premiere as part of the 31st Image Forum Festival. A new version of the film with Japanese subtitles will be produced for the screenings adding another layer of language to the film. The film screens in the following programme.
対話の可能性 / Possibility of Dialogue
Theatre Image Forum, Shibuya, Tokyo
21:15, 4 May 2017
13:45 7 May 2017
The the programme will tour Japan showing in the following cities:
Kyoto, 14 May 11:00
Yokohama, 18 June 18:30
Nagoya, 25 June 14:50
The Forssa syndrome
(Pasi “Sleeping” Myllymäki, 2 min, 1982, Finland)
(Philip Widmann, 30 min, 2017, Germany / Japan)
雲海 / Sea of Clouds
(George Clark, 16min, UK/Taiwan)
See a Dog, Hear a Dog
(Jesse McLean 18min, 2016, USA)
Session #8: About The Island, curated by George Clark
Tuesday 28 March 2017, 2:00-5:00
Birkbeck Cinema, 43 Gordon Square, London, WC1H 0PD Essay Film Festival
Spanning the Tropic of Cancer, the island of Taiwan is located south of Japan with the East China Sea to the north, the Philippine Sea to the east, the Luzon Strait directly to the south and the South China Sea to the southwest. The history of the island can be read in its complex landscapes. Filmed across central Taiwan Sea of Clouds / 雲海 approaches landscape as a contested terrain marked by changing histories of interpretation and occupation. The film is structured around an interview with contemporary artist Chen Chieh-jen. In order to describe the approach to his work, Chen recalls the tradition of using screenings as a means of covert political assembly during the Japanese colonial period. In bringing these materials together the film attempts to map the contours, slippages and broader resonances within the mountain landscapes in order to find ways into the complex history of labour, colonisation and cinema in Taiwan.
For this special screening at the Essay Film Festival George Clark will present and discuss his film as part of his broader research into Taiwanese politics and moving image culture. The illustrated talk will range from the Japanese colonial period to the avant-garde journal Theatre Quarterly and the work of artists such as Chen Chieh-jen and Kao Chung-li, ethnographer Hu Tai-Li and independent filmmaker Huang Ming-chuan.
The talk will include rare screening of Chang Chao-Tang’s The Boat-Burning Festival / 王船的祭典 (1979) and conclude with the film The Pursuit of What Was / 物的追尋 (2008) by Ya-Li Huang(director of Le Moulin). Ya-Li Huang will join George Clark and take part in a discussion on cinema in Taiwan chaired by researcher and curator Julian Ross.
Programme: Sea of Clouds / 雲海 George Clark, UK / Taiwan, 2016, 16min
The Pursuit of What Was/物的追尋 Ya-Li Huang, Taiwan, 2008, 22 min
The Boat-Burning Festival / 王船的祭典 Chang Chao-Tang, Taiwan, 1979, 20 min
The title for this programme is in reference to the 1998 documentary retrospective curated by Chang Chao-Tang for the first edition of the Taiwan International Documentary Festival called About The Island: Taiwan Documentary Retrospctive. With thanks to Taiwan Doc and Taiwan Film Institute.