12 September 2016

FVU at Estuary 2016

Estuary 2016 is a 16 day festival organised by Essex-based arts organisation, Metal. The festival presents art, literature, music and film in a series of unconventional venues along the Thames. Two FVU productions will be on show from 17-30 September at Tilbury Cruise Terminal; the poet Lavinia Greenlaw's first film The Sea is an Edge and an Ending, and Jem Finer's 51º 30’ 44” N, 0º 0’ 38" E

The festival opens with a weekend of talks, activities and performances. Here's where FVU will be:

Artist Talk & Screening: Portrait of a River
Saturday 17 September, 3.50 - 4.20 pm
Nikolaj Bendix Skyum Larsen in conversation with FVU Director, Steven Bode. The two will discuss Larsen's 2013 moving image work Portrait of a River and the related publication of the same name.

Artist Talk: Lavinia Greenlaw
Sunday 18 September, 5 - 5.30 pm

Lavinia Greenlaw introduces her work.


Getting to Estuary

By Rail
From London:
HS2 from St Pancras to Gravesend - short walk to Gravesend Ferry - Ferry* direct to Tilbury Cruise Terminal Landing Stage
From Southend / London:
C2C from London Fenchurch Street to Tilbury Town. 
Then short bus ride from station - No. 99 (not Sundays)

By Road 
From the West (London):
M25 / Junction 30 / A13 eastbound (Tilbury and Southend).
Exit onto A1089/ Dock Approach Rd Continue to follow A1089.
Take 2nd exit at the "ASDA / McDonalds" to Port.
Continue past the Port of Tilbury entrance on the right
Continue as far as the road takes you. Cruise Terminal at the end.

From The East (Southend / Basildon / Pitsea): 
Follow the A13 towards the M25 and leave at the A1089 exit.
Continue as above.

From Kent:
Travel to Gravesend High Street - Parking available - short walk to Gravesend to Tilbury Ferry Terminal. Ferry* direct to Tilbury Cruise Terminal Landing Stage

*The Tilbury to Gravesend ferry does not run on Sundays, but will run on Sunday 18 September for the opening weekend. Click here for the ferry timetable.

For more information about the festival, visit estuaryfestival.com 

15 August 2016

Remembering Michael O'Pray

It was with great sadness that we heard the news that Michael O’Pray had passed away in the last few days. Mike was the prime-mover in founding and establishing Film and Video Umbrella in the 1980s, and his numerous touring programmes, highlighting influential works by many of the key figures in the canon of experimental film such as Jan Svankmajer, Derek Jarman, Maya Deren and Kenneth Anger, amongst others, set a standard and a template that the organisation has always aspired to follow. A respected academic, and author of several books, including illuminating texts on Jarman, Warhol and the history of avant-garde film, Mike will be fondly remembered and very much missed. 

In this special edition of White Screen, we present a pivotal early work by Ed Atkins, one of the most highly regarded artists to emerge in recent years. Made in 2012, Atkins’ Material Witness OR A Liquid Cop is an important early example of the trademark virtuosity – in the realms of computer animation, editing, sound design, and script – for which he is now internationally celebrated. Critic and curator Laura McLean-Ferris responds to this ‘gorgeously and confusingly haptic’ work with a dreamlike, meditative piece touching upon anxiety, endings, and our fraught relationship – in this digital age – with our bodies.

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Patrick Hough and Lawrence Lek are today announced recipients of the Jerwood/FVU Awards 2017. Each receive £20,000 to develop significant new moving-image works for exhibition in spring 2017.

Echoing this year’s curatorial theme of Neither One Thing or Another, both artists’ proposals examine the steadily blurring line between the real and the artificial, and the increasingly intimate interplay between physical objects and their virtual counterparts. In Lawrence Lek’s proposal an emerging artificial intelligence – a computer-generated ghost in the machine – discovers its own autonomy, and ponders the range and limits of its post-human powers of creativity. In Patrick Hough’s proposal, on the other hand, forgotten artefacts from the Hollywood Dream Factory – props and décor from abandoned film sets – take on a new life as precious mementoes of cinema history: replicas and fakes that have acquired a strange kind of authenticity. Moving fluently between definitions and across formal boundaries, both works make us look again at the uncertain nature of what we think we know and see.

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5 May 2016

We are hiring!

Vacancy: Communications Manager

Over the past three decades FVU have commissioned many of the foremost figures in the field of artists’ film, working in collaboration with diverse venues nationally and internationally. The Marketing Manager role presents an exciting opportunity to grow the organisation’s profile and to implement innovative marketing and audience development strategies for each new artists’ film commission that we produce. We are looking for a highly motivated and ambitious individual with a passion for arts marketing. Applicants should have strong experience in audience development, relationship management, digital marketing, e-communications, print and press.

Find out more: fvu.co.uk/opportunities 

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For the eleventh edition of White Screen, we are featuring Towards the Possible Film (2014) by Shezad Dawood alongside a newly commissioned essay, High Peeks, Mysterious Islands by Science Fiction writer, Mark von Schlegell. Von Schlegell’s essay investigates issues of time, memory, and perception in relation to social breakdown and dystopian futures; while Dawood’s film is a study of parallel universes, combining the resonance of a mythic fable with the hallucinatory haziness of a waking dream.

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FVU has been awarded a grant of £93,134 towards a new initiative Changing Places as part of the Arts Council England’s Strategic Touring Programme. 

Changing Places will tour moving-image works by South Asian artists to eleven historic sites across England in areas that are experiencing significant urban or architectural change. Partnering predominantly with heritage organisations, the programme will examine legacies of Britain’s colonial past via commonalities in architectural trends throughout Britain and South Asia.

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This month we feature the newly commissioned essay Full Moon by Hannah Black, presented in parallel to Mark Leckey’s FVU commission from 2003, Parade. In step with the spirit of Parade, and the longstanding interest in pop/subculture/image histories that is Leckey's signature, Black spotlights the R&B singer Brandy (one of many references in Leckey's film), comparing her multi-layered vocal styles and techniques with the profusion of layers and surfaces that distinguish Leckey’s work. 

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White Screen invites writers to respond to films selected from the FVU archive and made available to view via a dedicated website for a limited period. This month we explore themes of power and protest through Karen Mirza and Brad Butler’s Deep State (2012) and the newly commissioned essay A Fable Agreed Upon, Dangerously by writer, critic and curator Adam Kleinman. 

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The Jerwood/FVU Awards 2016 exhibition ‘Borrowed Time’ will premiere two moving-image works by selected artists Karen Kramer and Alice May Williams. These significant new films have been developed following the award of £20,000 to each artist last year from Jerwood Charitable Foundation and FVU. After its debut at Jerwood Space, London from 9 March to 24 April 2016, the show will travel to CCA, Glasgow from 28 May to 10 July 2016. 

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White Screen invites writers to respond to films selected from the FVU archive and made available to view via a dedicated website for a limited period. This month we are featuring the film Dark Glass by Clio Barnard alongside a new essay by author Juliet Jacques, who draws on the entwined histories of psychoanalysis and cinema.

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FVU and Jerwood Charitable Foundation today announce the call for entries for the Jerwood/FVU Awards 2017, inviting moving-image artists and collaborative practices to submit proposals for the award under the theme ‘Neither One Thing or Another’.

In its fourth edition, the awards will provide two artists with a £20,000 bursary each to create substantial new moving-image works. Furthermore the winning artists will receive support from FVU over a 10-month development period and an exhibition at Jerwood Space in London in 2017.

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