Tag Archives: Art

Grounded, Screening 4 live for 24hrs

From about 6pm this eve UK time, SCREENING 4 will be live for 24hrs on coastalcurrents.org.uk/screening-4/

1+1=3 / NARRATIVES

AN EXPLORATION OF HOW OUR BODIES TRY TO MAKE SENSE AND THE STORIES WE TELL

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including:

SALLY POTTER, PLAY (UK, 1970), 16MM FILM TRANSFERRED TO VIDEO, 10.00

ANDREW KÖTTING, BECAUSE THE REST IS SILENCE (UK, 2020), SUPER 8 COLOUR/B/W, SUPER 8 APPS, 16MM ARCHIVE  AND HD VIDEO, 13.29

HAROLD OFFEH, SMILE (UK, 2001), VIDEO, 02.58

OONA DOHERTY, DAVE TYNAN, HUGH OCONNOR, CONCRETE SONG (2017), 03.00

BECKY EDMUNDS, STAND IN (2009), 05.14

LUCY CASH AND SIMONE KENYON, HOW THE EARTH MUST SEE ITSELF (2019), 13.05

EVAN IFEKOYA, CONTOURED THOUGHTS (UK/ICELAND, 2019), VIDEO, 04.42

DAVID BLANDY, HOW TO FLY (2020), VIDEO, 06.22

This is followed by a live online discussion, Saturday 8 Aug 3pm https://www.facebook.com/CoastalCurrents/

And a final Screening 5 Saturday 8 Aug from 6pm for 24hrs http://coastalcurrents.org.uk/screening-5/

 

 

 

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Matthew Arnold’s Culture and Anarchy (1869)

In a new series of BBC Radio4 entitled The Value of Culture Melvyn Bragg explores the idea and evolution of culture.

The programmes reflect on Matthew Arnold’s Culture and Anarchy (1869), described as one of the most celebrated works of social criticism ever written. It forms the basis for a new discussion of what we understand as culture, and how we determine its value. It returns to the question wheather the arts ought to be valued for their own sake, for their lack of use or for whatever else they might do in the world.

For a commentary by Claudia Kappenberg read her blog post.

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Rethinking Capitalism, through dance

In this talk for The Bruce Initiative for Rethinking Capitalism Randy Martin reads dance in terms of sovereignty, rule, governance and capacity, and he reads capitalism through dance. He concludes by saying: ” Dance is straddling between two major strategies of art: the utopian which we have now brought from the distant spectacle into a kind of tactile form, and the interventionist, which is about methods, techniques and the means through which we achieve what we would like to become.”

How does this translate to screendance? It could be argued that screendance is utopian, in that it is the sphere of the imaginary, of invented space-time and mobility. But the screen can also scrutinize, mirror and confront. So perhaps it can equally be interventionist in that it looks back at us and at the everyday?

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