Double Ghosts at Chin Pao San 19 August 2018, Chin Pao San cemetery, Taiwan
The outdoor screening at the Chin Sao Pao cemetery will feature the Taiwanese premiere of Double Ghosts a new 35mm film work by George Clark / 喬治 克拉克. Taking place in the original location of Raúl Ruiz’s unfinished film The Comedy of Shadows/影子喜劇, and on the 7th anniversary of his death, the outdoor projection is a tribute to Raúl Ruiz and his phantom film. George Clark’s film was made in Chile and Taiwan and considers the echoes of unrealised projects and political histories responding to the life and work of Raúl Ruiz, the legacy of the short lived socialist Unidad Popular government in Chile and Ruiz’s connections with Taiwan and China. Double Ghosts attempts to use the space of cinema as a site of projection between the past and the present. Drawing on the tradition of ceremonial screenings in Taiwan the special event will be realised in collaboration with a traditional temple projectionist invited to present George Clark’s new 35mm film. The screening will from part of George Clark’s project for the 2018 Taiwan Biennial “Wild Rhizome,” National Taiwan Museum of Fine Arts.
Presented in collaboration with Taipei Contemporary Art Centre, The Other Cinema Collective & Taiwan Biennial.
Special thanks to Chin Pao San for hosting event and Huiying Chen, Yuling Chou and Shih-yu Hsu.
In 1995, Chilean filmmaker Raúl Ruiz flew to Taiwan to film The Comedy of Shadows / 影子喜劇. The film was shot but never finished. The incompleteness of Ruiz’s film is the starting point for Double Ghosts, an new multi-part project by artist and curator George Clark (UK). Double Ghosts considers the echoes of this unrealised project to explore cinematic and political phantoms, from the status and potential of unrealised and fragmented histories to the legacy of Chilean filmmaker Raúl Ruiz (1941-2011) and animist cinematic traditions in Taiwan. While working on his new project George Clark will collaborate with TCAC on series of events that seek to activate these fragments and consider questions of cultural displacement, exile and the changing nature of cinema as the hiatus between the real and the unreal.
George Clark will present Double Ghosts in Taiwan during the final stages of its production as he prepares installation of the project for the 2018 Taiwan Biennale. The project has previously been presented at the Museum of Visual Arts in Santiago Chile in December 2017 and the AV Festival in UK in March 2018. The first event will take place at TCAC and the second will be a site specific screening at the Chin Pao San cemetery, with free transport provided from and returning to TCAC office.
For the first event at TCAC on 8.17, George Clark will give an illustrated talk introducing his project Double Ghosts sharing his research in Chile, Taiwan and Europe exploring Raúl Ruiz’s unfinished film The Comedy of Shadows/ 影子喜劇. Dedicated to the potential and legacy of lost works, the evening will look at how history can be constructed through phantoms and fragments with a rare screening of Raúl Ruiz’s landmark film The Hypothesis of the Stolen Painting (1979). Originally commissioned for French television as a documentary on philosopher and novelist Pierre Klossowski, Ruiz’s legendary film evolved into a unique speculation on the enigmatic power of images. Deftly blending genres between documentary and fiction, Ruiz’s film creates an elaborate labyrinth in order to trace a lost work by an 19th Century artist whose work is shrouded in mystery and erotic intrigue. Mixing art theory, occult speculation and cinematic games, the brilliant film is filled with clues through which to understand Ruiz’s broader body of work.
The Hypothesis of the Stolen Painting (Dir. Raul Ruiz, 1978)
Featuring The Hypothesis of the Stolen Painting / L’Hypothese du tableau volé (Dir. Raúl Ruiz, France, 1978, 66min)
‘Get Out and Push!’
Focal Point Gallery, Southend-on-Sea, UK
12 May to 19 August 2018
‘Get Out and Push!’, an exhibition that begins with the British Free Cinema film movement of the late 1950s. The term ‘free’ is used loosely to denote a programme of films having been made free from propaganda, under independent circumstances or free from technical and social convention.
As a precursor to the British New Wave, Free Cinema marked a broader attitudinal shift in cinema and the arts against the exclusion of whole areas of life. Through a supporting programme of film and events, the exhibition will examine how the movement reflects the present challenges and methods of resistance employed by filmmakers and artists alike. This will include a temporary cinema space built into gallery one.
Including works by Lindsay Anderson, Michael Grigsby, Lorenza Mazzetti, Robert Vas and Free Cinema Seven: George Clark, Redmond Entwistle, William Fowler, Matthew Noel-Tod, Rastko Novakovich.
Exhibition features work ‘Operations’ (2007) collective work originally produced for exhibition Free Cinema Seven, O3ONE project, Belgrade, Serbia.
Operations (Free Cinema Seven, 2007)
“Operations is a collaborative project utilizing key elements of cinema: image, sound and text. The work presented is the result of year-long activities by Free Cinema Seven, during which the group freely exchanged and edited different materials between the five group members. The process of cinema production is performed as a conversation about cinema. Individual and group concerns contribute to a creative process where the traces of each stage of production (editing, exchange, discussions, iterations) are allowed to exist within the final single screen video.”
A Tale of Two Cities: Narrative Archive of Memories II
Yunseul museum, Gimhae Arts and Sports Center, South Korea
8 -29 March 2018
Curated by Sunyoung Oh / Project 7 1/2
“In the frame of the exhibition A Tale of Two Cities: Narrative Archive of Memories, the project 7 1/2 reconstructs the historical fragments hidden behind the modern history of Korea and Indonesia stretching from 1945 to this day. The story begins by discovering and recognising parallel experiences in modern history that is shared coincidentally or inevitably between the two countries. The Seould exhibition (July 21-September 2 2017, Arko Art Centre) leads to Gimhae (March 8-29, 2018, Gimhae Arts and Sports Centre).” – Sunyonng Oh
For A Tale of Two Cities: Narrative Archive of Memories II (curated by Sunyoung Oh) Jatiwangi Art Factory presented Village Video Festival: It’s Performativity and The Living Archive. For the project they divided their archives into two parts. First, they present the Living Archive (memories, things, site, objects) a collaborative project with George Clark. Second, they present the research and video works from the festival, five projects which reflects on artistic findings of the festival.
Living Archive
In addition to the Living Archive the exhibition featured the following video projects:
1. Dito Yuwono, Wakare, 01:55, video, 2016
2. Aridina Krestiawan, Sensus Kebanggaan, 32:36, video, 2016
3. Jatisura Village Government video, 2012-2014 (3 Videos) – Inspeksi Pohon Cabe, 5.38, Video, 2013 – TNI dan Ketahanan Pangan, 9:30, video, 2014 – Green Police, 7.07, Video 2012
4. JaF TV (3 Videos) – Mahardika Yudha & Mohammad Fauzi, Warung Kopi, 15:25, video, 2011 – Serrum, How To Membuat Terompet, 9:35, video, 2011 – Serrum, How To Membuat Segel Genteng, 5:37 Video, 2011
I will be presenting material from my new ongoing project Double Ghosts at the upcoming AV Festival in March 2018. The screening launches a weekend of events 16-18 March exploring the history and legacy of political film, cultural displacement, collective memory and how cinema captures or reflects reality. The following events were co-curated with AV Festival director Rebecca Shatwell to explore these issues in relation to the work of Raúl Ruiz.
“Double Ghosts is a new film work by George Clark that responds to the legacy of Chilean filmmaker Raúl Ruiz (1941-2011). In 1995, Ruiz flew to Taiwan to film Comedy of Shadows / La comedie des ombres. The film was shot but never finished. The incompleteness of Ruiz’s film is the starting point for Double Ghosts, an ongoing project seeking to think through divergent cultural, social and geographical contexts. Considering the echoes of unrealised political histories from the legacy of the short lived socialist government in Chile to life under martial law in both countries, Double Ghosts attempts to use the space of cinema as a site of projection between the past and the present.
For this site-specific event, Clark will present a selection of new 35mm footage shot in Taiwan and Chile, in dialogue with rare short films by Raúl Ruiz exploring his homeland through the prism of his exile and work by the artists group CADA (Art Actions Collective) made during the military dictatorship in Chile.”
Double Ghosts programme
Screen Pioneers No.3 Raul Ruiz (Dir. Keith Griffiths, 1985)
Screen Pioneers No.3 Raul Ruiz
Directed by Keith Griffiths, script by Ian Christie, UK, 1985, 10 min
Screen Pioneer’s No. 3 is dedicated to the filmmaker Raul Ruiz. This rare documentary written by film scholar Ian Christie and directed by Keith Griffiths was produced and broadcast by Channel 4 in 1985 as part of the arts programme VISIONS: EXTRAVAGANT IMAGES. The film is brilliant and inventive portrait Ruiz’s work, his biography and preoccupations and including a rare interview with the director
Lettre d’un cinéaste (dir. Raul Ruiz, 1982)
The Return of a Library Lover / Lettre d’un cinéaste ou le retour d’un amateur de bibliotèques
Directed by Raul Ruiz
France/Chile, 1982, 15 min
Ruiz, rediscovering the things of his past in Chile ten years after the Coup, regards them now with the eyes of another world. This other world is cinema, the mechanical gaze of a Super 8 camera. This eye sees very deeply, even beyond reality and brute memory. ‘Lettre d’un cinéaste’ is the documentary version of a Ruizian fiction: a survivor returns to the land of the dead and discovers his doubles and phantom friends – Charles Tesson, International Rotterdam Film Festival catalogue, 2004
¡Ay Sudamérica! (CADA (Colectivo Acciones de Arte), 1981)
¡Ay Sudamérica! CADA (Colectivo Acciones de Arte), Chile 1981, 4.45min
On July, 12th, 1981, six small airplanes, flying in perfect formation over Santiago, dropped 400,000 flyers discussing the relationship between art and society. This action referenced the bombardment of the House of Government (La Moneda), which marked the fall of Salvador Allende’s democratic government and the beginning of Augusto Pinochet’s dictatorship in Chile. Through this ‘acción sobre arte y política’, CADA reconstructed the political trauma of 1973, while proposing a new critical political perspective. The flyers contained a message that simultaneously upheld each person’s right to a decent standard of living and proposed that the general public was capable of instating an entirely new concept of art – one that could overcome traditional, elite boundaries and become part of public life.
A TV Dante: Cantos 9 (Raul Ruiz, 1991)
A TV Dante: Cantos 9
Directed by Raul Ruiz, Chile/UK, 1994, 10 min
I was commissioned to make, as I liked, this series of Dante’s Cantos, each lasting 10 minutes which would make something like a serial for TV. The commission was ‘do what you want with this amount of money’. So I took the money and I went to Chile. I said I will make a mixture of a parody of political Latin American films of the 1960s and instead of putting in the red flags I’ll put in crosses and people screaming ‘Viva la muerte! / Long life to death!’ That was the starting point and then I said let’s say that Dante comes to Hell, the inferno, and that it is Chile. He comes like on an official visit with a kind of consulate and carrying a book with the civil code. I said to the actors that the premise is ‘if you are a sinner in this world, after you are dead you will become Chilean.’ That was, more or less, in the form of a joke, the idea. So Chile is Hell, so what? In the film, I’d play with that idea. But that idea was considered unacceptable in Europe and it was never shown. Then some American bought the movie and changed the title. Instead of Dante’s Inferno, which was too complicated for the audience, they put Diablo Chile on it and it worked! […] Chileans immediately accepted that Chile is Hell, of course. They are real patriots. At the same time we are supporters of our inferno! – Raul Ruiz, on-stage interview with Ian Christie, International Rotterdam Film Festival, January 2004
Double Ghosts (dir. George Clark, 2018)
Double Ghosts Directed by George Clark, Chile/UK/Taiwan, 2018, 31 min
The artist and curator of contemporary art George Clark will present his research project exploring the unfinished film by Raúl Ruiz “La comedie des ombres”. He will discuss his work together with Fernando Pérez Villalón, director of the Art Department of the Alberto Hurtado University, Santiago.
In 1995 the Chilean filmmaker, Raúl Ruiz, based in Paris, went to Taiwan to film “Comedy of Shadows/La comedie des ombres”. The film, a Taoist adaptation of the work of Luigi Pirandello “Six characters in search of an author”, was filmed, but never finished. The unfinished film “Comedy of Shadows” is the starting point of this new project located at the intersection of Taiwan and Chile. This session will explore how Ruiz’s film can act as an invitation to think through divergent cultural contexts and geographies, from political histories to lives and art under martial law and exile.
In his talk and film projection, George Clark will discuss the relationship between Taiwan and Chile via the Pacific Ocean. This session will include material from the research and in-development work of George Clark along with the screening of his 16-minute short film “Sea of clouds / 雲海” (2016).
George Clark (UK) is an artist, curator and writer. His films have been shown at festivals and museums internationally. His most recent work includes the film “A Distant Echo” (2016), the short film “Sea of Clouds / 雲海” (2016) and the ongoing project “Eyemo Rolls” (2011-2017), a growing body of more than one hundred rolls of 35 mm films.
Many thanks to Laha Mebow from permission to use her photographs from the original film shoot. Thanks to Maria Irene Alcalde, the team at MAVI and Carolina Castro Jorquera. With supported using public funding by Arts Council England and British Council.
“What can the landscape tell us about ancient history and how it is shaped? George Clark’s film essay explores this question through seemingly motionless images of the California desert accompanied by a minimalist chorale. This chosen form emphasizes the at first glance subtle shifts in the nature of the landscape, which becomes a stage for negotiations between an Egyptian archeologist and the members of a native tribe regarding the ancient graves hidden beneath the sand. The result is a multilayered tale that uncovers traces of the past, the ecology of the landscape, and cinematic history in locations that were once used to film Hollywood epics. – Festival Film Dokumenter 2017
“Apa yang dapat diceritakan oleh sebuah pemandangan mengenai sejarah dan pembentukannya kepada kita?” George Clark mengeksplorasi pertanyaan ini melalui gambargambar statis tentang Gurun California, lengkap dengan komposisi suara yang minimalis. Bentuk ini menekankan pada pandangan sekilas mengenai pergeseran bentang alam yang merupakan tahap negosiasi antara arkeolog Mesir dan anggota suku asli tentang kuburan kuno tersembunyi di balik pasir. Hasilnya adalah kisah berlapis yang mengungkap jejak masa lalu, ekologi bentang alam, dan sejarah sinematik di lokasi yang dulunya digunakan untuk memfilmkan epos Hollywood.” – Festival Film Dokumenter 2017
Es oblicuo pero está todo ahí / It’s Oblique But It’s All There Museo de Arte Moderno de Buenos Aires
Buenos Aires, Argentina,
7pm Friday 24 November 2017
Screening and artists talk. Eyemo rolls was presented in special screening at the Museo de Arte Moderno de Buenos Aires, the final event of the year for the El Cine Ee Otra Cosa / Cinema is Another thing the cycle curated by Gabriela Golder and Andrés Denegri. The screening will include works by Tanatchai Bandasak, Shannon Te Ao, Chen Chieh-jen, Mok Chui-Yu, Laida Lexthundi, Chick Strand and Tito & Tita.
Untitled (Eyemo roll #86), George Clark, 2016
Untitled (Eyemo roll #01), George Clark
Left to Run To Seed (Tanatchai Bandasak, 2016, silent)
Eyemo roll #26 (George Clark, 2016)
My Tears Are Dry (Laida Lexthundi, 2009)
Eyemo roll #60 (George Clark, 2016)
Letter to Young Intellectuals of Hong Kong (Mok Chui-yu, 1978)
Untitled (Eyemo roll #74), George Clark
Dysfunction #3 (Chen Chieh-jen, 1983)
Untitled (Eyemo roll #90), George Clark
Guacamole (Chick Strand, USA/Mexico, 1976)
Untitled (Epilogue) (Shannon Te Ao, 2015)
Eyemo roll #122 (George Clark, 2016)
Directors Cat (Tito & Tita, 2013)
Untitled (Eyemo roll #81), George Clark
Programme order:
1. Eyemo Rolls #86, #1-3 (George Clark, 35mm, 4 min)
2. Left to run to seed (Tanatchai Bandasak, Thailand, HD video, 2016, silent, 3.12 min) 3. Eyemo Rolls #26-27 (George Clark, 35mm, 3 min)
4. My Tears Are Dry (Laida Lertxundi, USA, 2009, 16mm, 4 mins)
5. Eyemo Rolls #57-60 (George Clark, 35mm, 4 min)
6. Letter to the Young Intellectuals of Hong Kong (Mok Chiu-yu & Li Ching, Hong Kong, 1978, 35mm [on digital], 15 min)
7. Eyemo Rolls #24-25, #74-76 (George Clark, 35mm, 4 min)
8. Dysfunction No.3 (Chen Chieh-jen, Taiwan, 1983, 8mm [on digital], 8 min)
9. Eyemo Rolls #87-92 (George Clark, 35mm, 6 min)
10. Guacamole (Chick Strand, USA / Mexico, 1976, 16mm, 10 min)
11. Eyemo Rolls #33-34, (George Clark, 35mm, 3 min)
12. Untitled (Epilogue) (Shannon Te Ao, Aotearoa New Zealand 2015, 5 min)
13. Eyemo Rolls #120-121, #124 (George Clark, 35mm, 3 min)
14. Director’s Cat, (Tito & Tita, Philippines, 2013, 16mm [on digital], 2.30 min)
15. Eyemo Rolls #81-84, (George Clark, 35mm, 4 min)
Sea of Clouds has its German premiere in programme ‘Regarding Resistance’ with works by belit sağ, Michelle Williams Gamaker, Rosalind Nashashibi, Lucy Skaer and Belinda Kazeem-Kaminski
Regarding Resistance
Often only what is visible and what is manifested itself in an images is believed. Visibility is never given, but is always produced in conjunction with knowledge and power structures. The five films describe this relationship through different aesthetic and political strategies and deal with the struggles and the knowledge of their black protagonists. The positions of the filmmakers produce a resistant gaze, a counter-narrative to the colonial, western narrative.
Unearthing. In Conversation (Belinda Kazeem-Kaminski, Austria, 2017)
Why Are You Angry (Rosalind Nashashibi &Lucy Skaer, UK/French-Polynesia, 2017)
House of Women (Michelle Williams Gamaker, UK, 2017) Sea of Clouds (George Clark, UK/Taiwan, 2016)
Grain (belit sağ, Netherlands, 2016)
A Distant Echo
Leeds International Film Festival
14 November 2017, 6pm
Hyde Park Picturehouse
Yorkshire premiere of A Distant Echo at Leeds Film Festival in partnership with Pavilion.
“Beautifully shot on 35mm film in locations ranging from the Mojave Desert to Leeds Library, A Distant Echo plays with movement and light in deserts across Southern California, exploring myth, identity, culture and the construction of history. The landscapes are layered with a dialogue between explorers, revealing the negotiations between an archaeologist from Cairo with members of a tribe who guard ancient tombs lost in the desert. A Distant Echo features an original choral soundtrack composed by Tom Challenger and performed by the Colne Valley Male Voice Choir.” – Leeds Film Festival.
