George Clark is an artist, curator and writer.
Bridging curatorial and artistic practice, George Clark’s work explores the history of images and how they are governed by culture and technology as well as social and political conditions. His work has been shown at festivals and museums internationally. His feature film A Distant Echo premiered in the official selection at the 20th Jihlava IDFF as part of the Opus Bonum competition. Shot on 35mm film in various Californian deserts, the film explores themes of identity, culture and the construction of history in collaboration with musician Tom Challenger. His short film Sea of Clouds / 雲海 (2016) made in Taiwan is structured around an interview with the artist Chen Chieh-jen and premiered at the BFI London Film Festival 2016.
Recent exhibition projects include Living Archive (Jatiwangi Art Factory, Sept 2017; UK/ID Festival Jakarta, Oct 2017, Yunseul Museum, South Korea, March 2018) a collaborative project with Jatiwangi Art Factory made with over 30 community curators. His solo exhibition A Planter’s Art (Soulangh Cultural Park, June-July 2016), drew on outtakes from a government educational film, photographs from a Taiwanese historical wax museum and a new 35mm footage shot in Taiwan, Hong Kong and Los Angeles. The new films were installed with a specially grown garden at Soulangh Cultural Park, Tainan. His ongoing project Eyemo Rolls (2011-2018), a growing body of over a two hundred 35mm film rolls has been shown in various configurations 25FPS Festival (Sept 2016), Visions, Montreal (April 2017), BIMI/LUX, London (June 2017), Museum of Modern and Contemporary Art / MMCA, Seoul (Sept/Oct 2017) & Museo de Arte Moderno de Buenos Aires (Nov 2017). Prior to this he collaborated with various artists including Luke Fowler on The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott 2013 and he co-wrote the script for The Future’s Getting Old Like the Rest of Us 2010 with Beatrice Gibson.
His curatorial work is focused on exploring and expanding histories of film and video practice globally. He was assistant curator of film at Tate Modern (2013-2015) where he curated retrospectives of Ute Aurand, Camille Henrot, Mike Kuchar, Luis Ospina and Chick Strand and curated the thematic seasons Throwing Shadows: Japanese Expanded Cinema in the time of Pop (with Julian Ross and Go Hirasawa Jan 2016 Tate Modern & IFFR) L.A. Rebellion: Creating a New Black Cinema (April 2015), Embeddedness: Artist Films and Videos from Korea 1960s to Now (Sept 2015) , Magiciens de la Terre: Reconsidered (April 2014) and Assembly: A Survey of Artist Film and Video in Britain 2008-2013 (Nov 2013-March 2014). He was a member of the advisory board for the BEFF / Bangkok Experimental Film Festival and one of the curators of BEFF 6 (2012), he curated the Lav Diaz focus at the AV Festival (2012) and curated INFERMENTAL for Focal Point Gallery with Dan Kidner & James Richards (2010) and co-edited the book A Detour Around Infermental (2012).
During 2016 he worked with Circuit Artist Film and Video Aotearoa New Zealand developing a new series of artists moving image commissions and the exhibition and symposium Phantom Topologies. He has written various catalogue essays and contributed to publications including Afterall, Art Monthly, Sight and Sound and Senses of Cinema. He has been a jury member at various festivals including DOX LISBOA (2017), 25 FPS Festival (2016), International Short Film Festival Oberhausen (2015), CPH DOX Festival (2013) and the International Film Festival Rotterdam (2009). He is currently a visiting lecturer in Sculpture department at the Royal College of Art.