New Article on Inside by Nikola Gocić

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From film writer Nikola Gocić:

With my fourth article for EFS Publications, I open my mind wider and take a deep dive into the turbid sea of Maximilian Le Cain's and Vicky Langan's psychological inwardness, in an attempt to find representative artefacts and bring them to the surface. In other words, a few thoughts on Le Cain's solo feature debut, Cloud of Skin (2015), and his latest and most accomplished collaborative effort with Langan, Inside (2017). Read the full article here: https://goo.gl/SuHq7p

Encountering the Land | VISUAL Gallery, Carlow

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Presented by Carlow Arts Festival and VISUAL Carlow

Wednesday 6 June – Sunday 2 September 2018

Bastian Birk Theusen, Vicky Langan & Maxmillian Le Cain, Fergus Doyle, Ella de Burca, Lisa Fingleton, Laura Fitzgerald, Ruth le Gear, Saidhbhín Gibson, Eileen Hutton, Bernadette Kiely, Catriona Leahy, Maria McKinney, Yvette Monahan, Miriam O’Connor, Sarah O’Flaherty, Kenneth O’Hallaron, Laurence O’Toole, Curro Rodriguez, Bennie Reilly, Blaise Smith, Deirdre Southey, Aine Stapleton. Including selected works from the Arts Council Collection by Charles Brady, Barrie Cooke, Gerard Dillon, James Dixon, Mairead O’hEocha, Martin Gale, Patrick Hall, Alice Maher, Patrick Pye, Nano Reid.

How does rural life inspire us? What are the challenges facing farmers today? Do you know where your food comes from and how it’s produced? These questions and more are asked in engaging and creative ways by the artists selected for ARTWORKS 2018.In an exhibition that includes photography, painting, film and performance, the romance and the rough of rural life are considered. Ideas relating to our agrarian history, the rural as a sanctuary and the land as provider, are presented.

This years selectors are artist and farmer Orla Barry, Sean Kissane, Curator, Irish Museum of Modern Art and Emma Lucy O’Brien, Curator VISUAL, Carlow.

There will be two awards for outstanding work presented:
The Hotron ARTWORKS Award and the Éigse Prize for work by a recent graduate.
Both prizes are sponsored by Hotron Ltd. Award winners will be announced at the Festival Launch on 6 June.

PLAY GROUND at Visual Artists Ireland Get Together / MExIndex, IMMA

Play Ground, the Langan / Le Cain film tribute to Frans Zwartjes, is one of four films selected by MExIndex for a programme that will screen repeatedly throughout the Visual Artists Ireland 'Get Together'. Billed as 'Ireland's National Day for Visual Artists', this day-long event features talks, panel discussions, 'speed curating' and specialist clinics. It takes place at IMMA  (Irish Museum of Modern Art) on Monday May 21st.

Full programme details here.

NAWR concert series | BBC Building Swansea Studios

NAWR ANOIS is a series of 7 concerts, running from February to July 2018. The series showcases the diverse music of contemporary Irish, Welsh and international artists. The series aims to develop deeper connections between Irish and Welsh composers, sound artists and musicians. The concerts will take place in the historic BBC Building in Swansea Studios at UWTSD. The series will feature: Mick O'Shea, Softday, Vicky Langan, Caoimhín Ó Raghallaigh, Analog On, Rachel Ní Chuinn, and Clang Sayne.

Supported by Culture Ireland as part of GB18: Promoting Irish Arts in Britain.
Supported by Swansea College of Art, University of Wales Trinity Saint David.

Phantom Islands & Inside at Cineautopsia, Colombia

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Inside (Vicky Langan / Maximilian Le Cain) and Phantom Islands (Rouzbeh Rashidi) will screen at Cineautopsia: Festival de Cine Experimental de Bogotá (May 16th - 19th).

The Experimental Film Festival of Bogotá / CineAutopsia was born from the search for an authentic, radical and propositive cinema. It promotes a cinema that evokes the practice of freedom. It supports creators of audiovisual art, especially from Bogotá, Colombia and Latin America, by offering them the possibility of sharing their experiences and ideas. In this context, the main interest of the festival is to interact with the public through creative laboratories, artistic interventions, guest shows, talks and film screenings, positioning itself as a creative epicenter where different expressions that derive from the cinema converge with the other arts.

Music Network Music Capital Scheme

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Very happy to’ve been awarded support through the Music Network Music Capital Scheme 2017/18. It’s really positive to see an organisation like Music Network open to supporting unconventional sound-based practices. I’ll be using the award to buy the DPA d:screet SMK4060 stereo mic kit and some other much-needed electronic equipment. Thanks again and congrats to the other recipients. 

The Music Capital Scheme, supported by the Department of Culture, Heritage and the Gaeltacht and managed by Music Network, comprises two distinct awards that provide funding for the purchase of musical instruments to both non-professional performing groups and to individual professional performing musicians.

The Palms

5th May 2018

When I was a young girl, I accidentally came across private correspondence belonging to my mother that referred to my estranged father’s relationship with Ann Lovett, along with a description of her death in 1984, two years before I was born. I knew nothing about my father when I was growing up. My mother left him when I was a baby and I knew not to ask questions about him. I was an only child and there was nobody I could talk to about what I had found. From then on, if I saw Ann’s name printed in a newspaper, my heart raced and my palms would sweat. I was overwhelmed with guilt, sadness and a profound shame.

As a teenager, I continued to assume the absolute worst about my father. All I knew was Ann's age and her death so speculation took over. The anger and shame I felt turned in on myself and I began to believe that I was corrupted and worthless and that I would grow up to have an inherent ‘badness’ inside of me. I hurt myself in secret and came close to ending my life on more than one occasion. As a young adult, when the internet became more accessible to me, I spent years secretly researching Ann’s death by combing through historical news articles, message boards, blogs, journals and documentaries, gathering scraps of information to try to piece together what happened in Granard before and after Ann died in the hope of uncovering what my father’s role in all of this had been. The more I read, the more I became convinced of some manner of a cover-up, facilitated by what I assumed were parochial, incompetent Gardaí. I saw references to the three separate inquiries carried out after Ann’s death and couldn’t understand why, in spite of these, there were still few solid facts to be found. I struggled with the weight of knowing who Ann’s baby’s father might be but was paralysed by it. I was unable to process or suppress the contemplation of the senseless loss of Ann’s life, the tragic, lonely stillbirth of what might have been my half-brother, the suffocating atmosphere of the town closing ranks, the silence. 

When I reached my twenties, I made contact with my father for the first time and was trying to work up the nerve to put questions to him about Ann, in person. This was a highly charged time. I was a young mother on lithium treatment for bipolar disorder and I fell to pieces after a few text message exchanges. I backed off, breaking off all contact. I couldn’t hold it together and felt like I was shattering in all directions. I felt duty-bound to the citizens of Ireland to exhume a side of the Granard narrative that was still ‘unseen’ - a patriarchal network that, as I saw it at the time, helped my father leave town, free to start a new life, with everything quietened, smoothed over. At that fragile point in my life, I just wasn’t mentally or emotionally strong enough to take on meeting my father for the first time, coupled with the responsibility that came with potentially having just one shot at interrogating him about this intense history. I wish I had known the darker and more sinister layers to this terrible story back then. 

The silence surrounding this horrific tragedy has been an enormous burden on so many people. Three lives ended in a state of unthinkable desperation, and the trauma that stayed with those who cared about Ann and Patricia fueled endless cycles of depression, alcoholism, self-harm, violence, self-destructive behaviour and sadly, suicides. Remains and after-effects of this trauma have embedded themselves into the generation that followed Ann’s and my father’s. I have not yet begun to find a way to rid myself of this unshakable sadness, this internal rage in all directions. I am sure there are other young people my age connected to those in Granard who feel the same. I feel so strongly about this closing quote from my father: “What kind of signal is it that we are sending out to our children, that it is OK to brush things away under the carpet and remain silent for decades?”

I would like *everyone* to read my father’s interview in the Irish Times today. I hope people feel angry that a vulnerable minor was manipulated, intimidated and silenced this way by the church. Look at the spineless way they’ve responded. I am so proud of him for having the courage to come forward like this. It can’t have been easy. So many lives were ruined because of the way this was handled back in 1984. I can’t even begin to go into it. All I ever wanted to see was accountability. To pull back the curtain on whatever parochial collusion went on at that time. I want people to also remember these sickening quotes from editorials, letters, and sermons after Ann died.

Eugene McGee’s front page editorial, “Ann Lovett’s Decision” (Feb 1984)

“Who is to say Ann Lovett did not die happy? Who is to say she has not fulfilled her role in life as God decreed?”

Canon Gilfillan sermon at Sunday Mass (Feb 1984):

“The secret of what happened is with that little girl in the grave,” he said. “What happened should have been left to the town to deal with in its own way. My firm belief is what happened should not have been covered by RTÉ or the newspapers: it should have been kept parochial, local. They gave us loud-mouthed publicity of the worst kind, but God is good and able to triumph over evil reporting.”

The Catholic Archdiocese of Armagh in a letter to the poet Christopher Daybell (Feb 1984):

“I think her sad death reflects more on her immaturity than on any lack of Christian charity amongst the family and people with whom she lived.”

I recently read Han Kang’s beautiful ‘The White Book’ and wept at her articulation of the existential weight she carried while grieving the death of her older sister who lived only a few hours after a premature birth. Her words mirrored the feelings I had pushed down within myself across the years. “If you had lived beyond those first few hours, I would not be living now. My life means yours is impossible. Only in the gap between darkness and light, only in that blue-tinged breach, do we manage to make out each other’s faces.” I think of Ann all the time. In the weeks leading up to this piece, my father told me that my middle name ‘Ann’ was given to me after her. I had always silently wondered about that name when I looked at my passport. 

In 2014, I visited Granard on her 30th anniversary and recorded the sounds of the place where she gave birth alone and scared in the cold and the rain at 15 years old, where her baby Pat died stillborn and asphyxiated, where Ann’s body went into irreversible shock, where she knew she was going to die. I sat there and listened to the crows in the fir trees that surround the grotto, a dog crying in the background, the church bells, the quiet. It was heartbreaking. I would like to make this small recording available for the first time and will donate any download proceeds towards the Together For Yes campaign. 

>> https://vickylangan.bandcamp.com/track/the-palms

Sorry this is long and sprawling. I never thought this day would come, when I would finally feel like I wasn’t holding all of this in. I never imagined that it would have worked out like this. I want to thank Rosita Boland for her important reporting on this story and for her kindness and sensitivity over the past few weeks. She showed such care and dedication to the people involved in this story and my father and I are grateful to have a chance to start our lives over. I look forward to meeting him for the first time very soon. I’d also like to take this opportunity to say thank you to my husband Dave for his constant support. To Sinead Ring, Anthea McTiernan, Michael Fitzgerald, the McGaherns and the Murphys, thank you all for the kindness ye showed me when things were overwhelming. Thanks too to the small number of friends I felt able to confide in over the past twenty years. I wouldn’t be here without ye. 

Ann and Patricia, ye deserved a better life than the one ye knew. We will never forget you. RIP Pat. xx

EFS at Process Festival, Riga

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Process is an experimental film festival in the Baltics dedicated to analog cinema, celebrating the physical film medium in all its personal, adventurous and uncompromising forms. The selected films break with the conventional rules of filmmaking and aesthetic norms, using the physical film as their main medium. Taking place from 22nd to 25th of March in Riga, Process addresses both local and international artists and audiences.

Experimental Film Society (EFS) is widely present in this edition of the festival:

EFS Short Film Programme:

La Picota (2018) by Ana González / Colombia / 3mins
Contact (2011) by Vicky Langan / Maximilian Le Cain / Ireland / 3mins
Feed Me (2016) by Maximilian Le Cain / Ireland / 3mins
Universal Film (2018) by Jann Clavadetscher / Ireland / 3mins
Ice (2018) by Michael Higgins / Ireland / 5mins
Homo Sapiens Project (161-170) (2013) by Rouzbeh Rashidi / Ireland / 8mins
Image Turned Down (2011-2014) by Maximilian Le Cain / Ireland-Greece / 20mins

Refining the Senses Performance – Atoosa Pour Hosseini

Refining the Senses is an uncanny sensory experience that places the viewer in a mysterious and contemplative liminal zone between different dimensions of life, death and memory that fluctuates between the personal and the general, the pictorial and the material. Combining found and original footage, she scratches, dyes and paints the film surface to highlight both the fragility and persistence of the image.

FEAR Short Film Programme curated by Rouzbeh Rashidi & Maximilian Le Cain

Cinema is fundamentally linked to the ghostly and uncanny. In summoning up insubstantial images that replay moments already passed, it can be compared to séance activity. In showing us sights and sounds of people often long gone but animated by the illusion of movement, it answers to Jean Cocteau’s description of it as ‘death at work’. Experimental film and horror cinema are therefore joined in being the two modes of cinematic practice that best explore the essence and deepest implications of what cinema is. At their most visionary, they overlap extensively. This is a view held by filmmaker Rouzbeh Rashidi and repeatedly explored in his atmospheric films. ‘Fear’ is a programme Rashidi has curated of experimental films that haunt the shadows between experimental film and the horror genre.

Vicky Langan DJ Set

EFS filmmaker Vicky Langan is an Irish artist whose practice operates across several often overlapping fields, chiefly performance, sound, and film. Vicky will DJ mysterious fragments and textural soundings.

Full info HERE

Kindly supported by Culture Ireland

Phantom Islands at Audi Dublin International Film Festival

Phantom Islands

A Pictorial Film By Rouzbeh Rashidi
Produced by Experimental Film Society.
Funded By The Arts Council Of Ireland / An Chomhairle Ealaíon under the Reel Art scheme.

World premiere in the Dublin International Film Festival on Tuesday 27th February at the Irish Film Institute (IFI). Tickets HERE

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Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Funded By The Arts Council Of Ireland / An Chomhairle Ealaíon under the Reel Art scheme. Distributed by Experimental Film Society and due for release February 2018

Cast & Crew

Image, Sound and Edit Rouzbeh Rashidi
Starring Daniel Fawcett and Clara Pais
Producers Conor Horgan, Maximilian Le Cain and Atoosa Pour Hosseini
Music by Amanda Feery
Additional Music Cinema Cyanide
Additional Sound Composition Vicky Langan
Assistant Director and Production Assistant Jann Clavadetscher
Production Runner Katie Mc Fadden
Colour Grading Michael Higgins
Title Graphics Pouya Ahmadi
Production Supervisor Alan Fitzpatrick (Filmbase)

Dedicated to Marguerite Duras, Jean Epstein and Andrzej Żuławski

EFS screening at Esto Es Para Esto, Monterrey City, Mexico

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A programme of Experimental Film Society will be screening at Esto Es Para Esto on 1st of March, 2018 in Monterrey City, Mexico. Details of the programme:

Experimental Film Society (EFS) is a group of filmmakers dedicated to the creation of uncompromisingly personal, formally challenging filmmaking. Based in Dublin, it has succeeded in forging a new and radically alternative Irish cinema. Its defiantly independent vision, both deeply informed by film history and utterly modern, has animated over five hundred shorts and features over its eighteen-year existence. Its films adopt an exploratory approach to filmmaking and foreground mood, atmosphere, visual rhythms, and the often-startling sensory interplay of sound and image.

1_La Picota (2018) By Ana González / 3Minutes / Colombia
2_Universal Film (2018) By Jann Clavadetscher / 3Minutes / Ireland
3_Homo Sapiens Project (161-170) (2013) By Rouzbeh Rashidi / Ireland / 8mins
4_The Family Vault of James Hyland (2017) By Michael Higgins / 14Minutes / Ireland
5_Play Ground (2017) By Vicky Langan/Maximilian Le cain / 16Minutes / Ireland
6_Refining the Senses (2017) By Atoosa Pour Hosseini / 13Minutes / Switzerland-Ireland

Total running time: 58 Minutes

More info HERE

EFS & purge present Spectators: A Tribute to Frans Zwartjes

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Experimental Film Society & purge present
Spectators: A Tribute to Frans Zwartjes

Birds, Spare Bedroom, Spectator & Living by Frans Zwartjes
+  tribute films by Stanley Schtinter, Langan/Le Cain & Rouzbeh Rashidi

6.30 pm, Thursday February 22nd
The Guesthouse, 10 Chapel St., Cork

Frans Zwartjes, Holland’s preeminent experimental filmmaker, passed away at the end of 2017. As a tribute to this great and always radical artist, Experimental Film Society (EFS), in association with purge, presents a screening of four of Zwartjes’ finest films along with three others made in tribute to him.

Zwartjes’ highly stylised, poetically claustrophobic films achieve a unique level of sensual intimacy in their renditions of sexual and domestic tension, and voyeurism. These wordless works draw on performance art but are equally distinguished by their oneiric visuals, disconcerting editing rhythms and hypnotically minimal sound design. Once Zwartjes has caressed the surface of your eyeballs, you will never see cinema in the same way again.

This programme also features Zwartjes, a recent documentary portrait of Frans Zwartjes by Stanley Schtinter, as well two films made in homage to Zwartjes by filmmakers connected with EFS: Rouzbeh Rashidi’s Homo Sapiens Project (113) and the Irish premiere of Vicky Langan & Maximilian Le Cain’s Play Ground.

Schtinter is a Zwartjes collaborator. He was behind major Zwartjes tribute events at such venues as EYE Film Institute in Amsterdam and London’s Whitechapel Gallery. He produced the first ever release of Zwartjes’ music through his label, purge. EFS is an Irish company dedicated to nurturing personal, experimental cinema. Rashidi and Langan / Le Cain acknowledge Zwartjes as a major influence on their work.

Birds (5 mins, 1968)
Spare Bedroom (15 mins, 1969)
Spectator (10 mins, 1970)
Living (15 mins, 1971)

Zwartjes (Stanley Schtinter, 9 mins, 2017)
Homo Sapiens Project (113) (Rouzbeh Rashidi, 16 mins, 2012)
Play Ground (Vicky Langan & Maximilian Le Cain, 16 mins, 2017)

Play Ground was made with the support of Centre Culturel Irlandais, Paris.

Stills courtesy of Collection EYE Filmmuseum.

Folds of Existence: Experimental Film Society (New York)

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Folds of Existence

A screening series of contemporary moving image that mediates the precarious boundaries between public space and personal psyche. Ranging from the meditative and transcendent to the cacophonous and debaucherous, these layered realities attempt to reclaim timeworn ideologies, made manifest via social network dynamics, contested geopolitical histories, formulaic mass entertainment, ecstatic virtual imaginings and oscillating collective projections. This powerful compilation of works challenges the currency and potentiality of events, and points towards alternative aesthetics and modes of existence.

The programs presented include short-form, feature-length, single-channel and installation-based works.

Programmed by Lorenzo Gattorna and Mary Ancel

PROGRAM 4
January 19, 2018
Experimental Film Society
Curated by Rouzbeh Rashidi

DATE AND TIME Friday, January 19, 2018 8:00 PM
LOCATION American Medium 515 West 20th Street 3N New York, NY 10011 United States

Experimental Film Society is a group of filmmakers credited with bringing a new energy to Irish experimental cinema. Their uncompromisingly personal work raids their psyches to fuel phantasmagorical reconfigurations of techniques and half-remembered nightmares from cinema history. As they experiment with cinema, they allow it equally to experiment on them, creating richly experiential works that chart an uncomfortable territory that is at once uncannily familiar and utterly alien. In evoking possible futures cinema might once have had, these films upset the continuum, rendering the apparent solidity of our current condition fractious and plastic.

  • Controle No6 (2015), Jann Clavadetscher, Ireland, 13m
  • The Family Vault of James Hyland (2017), Michael Higgins, Ireland, 14m
  • Homo Sapiens Project (161-170) (2013), Rouzbeh Rashidi, Ireland, 8m
  • Brine Twice Daily (2015), Vicky Langan and Maximilian Le Cain, Ireland, 20m
  • Refining the Senses (2017), Atoosa Pour Hosseini, Switzerland-Ireland, 13m

Luminous Void: Experimental Film Society Documents

Book launch with live performance by
Vicky Langan & Maximilian Le Cain

4pm, Saturday December 2nd 2017
Filmbase, 2 Curved St, Temple Bar, Dublin 2.
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Experimental Film Society (EFS) is pleased to announce the publication of Luminous Void: Experimental Film Society Documents, a book chronicling the history of EFS. The book launch will take place at Filmbase, Dublin, and feature a special live performance by Vicky Langan & Maximilian Le Cain.

EFS is an international group of filmmakers dedicated to the creation of personal, formally challenging cinema. Originally founded by Rouzbeh Rashidi in Tehran, EFS has been based in Dublin since 2004 where it has been responsible for injecting a new energy into Irish alternative film. Its defiantly independent vision, both deeply informed by film history and radically modern, has animated over five hundred films as well as numerous performances, installations and sound works.

Luminous Void: Experimental Film Society Documents chronicles this unique chapter in contemporary underground cinema by compiling a series of essays, interviews and manifestos that set out and explore the ideas that drive and emerge from EFS filmmaking. It includes new texts by renowned film critic Adrian Martin, and by Alice Butler & Daniel Fitzpatrick, the curatorial team behind aemi (artists and experimental moving image).

Vicky Langan & Maximilian Le Cain’s longstanding filmmaking partnership has recently expanded to include live performance collaborations. They performed at the 2017 Lausanne Underground Film & Music Festival and at TULCA Festival of Visual Arts where their feature film Inside (2017) premiered. Le Cain makes experimental films that explore a personal relationship with cinema as a site of haunting, while Langan’s practice operates across several overlapping fields. Her vulnerable, emotionally charged work envelops audiences in an aura of dark intimacy.

Copies of Luminous Void: Experimental Film Society Documents (edited by Rouzbeh Rashidi & Maximilian Le Cain, 164 pages) will be on sale at the launch priced €15, or can be ordered directly by emailing experimentalfilmsociety@gmail.com

The book was designed, typeset & made into pages in Adobe InDesign by Borna Izadpanah, London. The text was set in typefaces Romain and SangBleu by Swiss Typefaces, Vevey. The book cover was designed by Pouya Ahmadi, Illinois.

Langan/Le Cain - TULCA Festival of Visual Art, 2017

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They Call Us The Screamers 3 November – 19 November 2017

 TULCA Festival of Visual Art, Galway, Ireland

The 15th edition of TULCA Festival of Visual Art – titled They Call Us The Screamers – features artworks by Irish and international artists that are presented across six venues: Galway Arts Centre, 126 Artist Run Gallery, Nun’s Island Theatre, Connacht Tribune Print Works, Barnacles Hostel, and University Hospital Galway. The participating artists are: Fabienne Audeoud, Sam Basu and Liz Murray, Kian Benson Bailes, David Beattie, Oisin Byrne, Ciarán Ó Dochartaigh, Vicky Langan and Maximilian Le Cain, Liz Magic Laser, McGibbon O’Lynn, Yvette Monahan, Yoko Ono, Plastique Fantastique, Richard Proffitt, Bob Quinn, Florian Roithmayr (with Meredith Monk), Kaspar Oppen Samuelsen and Marie-Louise Vittrup Andersen, Lucy Stein

The exhibition takes its reference from a book written by Jenny James, published by Caliban Books in 1980. The book is an account of Atlantis, the commune she established a few years earlier in the Gaeltacht village of Burtonport, County Donegal – promoting an approach of de-programming from the modern world through therapeutic self-development and environmental self-sufficiency.  The book is also a response to the controversies and scandals that embroiled the commune during their first years in Ireland, following accusations of cultish behaviour, kidnapping, and physical abuse. The members of the commune were collectively nicknamed ‘The Screamers’ in a 1976 Sunday World article, referring to their practice of primal scream therapy – an adapted form of psychotherapy developed by Dr Arthur Janov that sought to re-enact the traumas of modern upbringing and thereby reverse the neurosis that follows in later life.

They Call Us The Screamers provides the title and thematic compass for the exhibition, with artworks that are orientated to ideas held together by the historical episode. They include ideas of withdrawal and selfhood (Lucy Stein, Liz Magic Laser, Vicky Langan & Maximilian Le Cain, Richard Proffitt); autonomy and self-sufficiency (Kaspar Oppen Samuelsen & Marie-Louise Vittrup Andersen, David Beattie, Ciarán Ó Dochartaigh, Yvette Monahan); voice and neurosis (Florian Roithmayr, Yoko Ono, Fabienne Audeoud); future culture and community (Kian Benson Bailes, Plastique Fantastique, Sam Basu & Liz Murray, McGibbon O’Lynn, Oisin Byrne). The exhibition also features Bob Quinn’s The Family (1979) – a documentary film on Atlantis that was originally banned by the national broadcast network RTE Television, deemed too disturbing for Irish audiences at the time.

A publication designed by Alex Synge / The First 47 wll be available at all venues. In addition to curatorial texts by Matt Packer, the publication includes three newly commissioned texts by Sue Rainsford that sound the primal scream through the narrative forms of lyric essay, transcription, and testimony.

They Call Us The Screamers is an exhibition that does not aim to illustrate Atlantis in Ireland, nor attempt to redress their controversy. Instead, the story gives way to a broader framework of practice-related ideas that develop from the countercultural psychology of the 1970s, seeking to reclaim an alternative future for self and society in today’s perspective.

Curated by: Matt Packer

Maximilian Le Cain and I will also be doing a live performance at TULCA on November 4th and are delivering an artists' talk on the 13th.

Experimental Film Society at ULTRAcinema Mexico

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A programme of Experimental Film Society will be screening in the sixth edition of annual ULTRAcinema festival November 30 – December 3, 2017 in Puebla, Mexico. Venue: Sala 9 2 Norte #1205-A San Juan Aquiahuac San Andrés Cholula, Puebla 72810 Mexico. Details of the programme:

1_Impulsive Film (2016) By Jann Clavadetscher / 2Minutes / Ireland
2_Play Ground (2017) By Vicky Langan/Maximilian Le cain / 16Minutes / Ireland
3_Homo Sapiens Project (161-170) (2013) By Rouzbeh Rashidi / Ireland / 8mins
4_The Family Vault of James Hyland (2017) By Michael Higgins / 14Minutes / Ireland
5_Refining the Senses (2017) By Atoosa Pour Hosseini / 13Minutes / Switzerland-Ireland

Total running time: 55minutes

More info HERE 

Facebook HERE

Nasty Women Dublin, Pallas Projects

I have work in Nasty Women at Pallas Projects tonight on a data card called Cassavetes, put together by Mariah Black. The card also features works by Mary Kelleher, Molly Hennigan, Patricia Mc Inerney & Mariah Black. The card is an edition of 8, all proceeds go to Repeal Campaign.

4 to 12 August 2017 | Opening: 3 August, 6pm
Pallas Projects, 115 – 117, The Coombe, Dublin 8

Nasty Women Dublin

Opening Night: Thursday August 3rd 2017 6pm

Telephones Nasty Women Special: Saturday August 5th

Continues: Friday 4th – Saturday 12th August 2017 12–6pm  (excluding 6th +7th)

Nasty Women Dublin is taking place in Pallas Projects, Dublin from August 3rd-12th 2017. Originally a project by curators Jessamyn Fiore, Roxanne Jackson and Angel Bellaran hosted in the Knockdown Centre, New York it has spread to over 40 fundraising exhibitions worldwide.

“Nasty Women is a global art movement that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights, individual rights, and abortion rights. With over forty fundraising art exhibitions taking place around the United States and abroad, Nasty Women Exhibitions also serve to support organisations defending these rights and to be a platform for organisation and resistance.” Nasty Women Exhibition

Nasty Women Dublin will be fundraising exhibition that celebrates the strength and diversity of art by female artists in Ireland, and which acts to promote the cause of women's rights, in particular reproductive rights and The Campaign to Repeal the 8th Amendment.

All works are kindly donated by our artists and will be for sale for less than €100 with proceeds going to Coalition to Repeal the Eighth Amendment & Artists' Campaign to Repeal the Eighth Amendment.

Our curatorial panel:
Sheena Barrett, Mariah Black, Helen Carey, Mary Cremin, Jessamyn Fiore, Siobhan Geoghegan, Gillian Lawler, Alice Maher, Loitering Theatre & Kathy Tynan

Artists include:
Aoife Dunne, Mona Atkinson, Anne Maree Barry, Aideen Barry, Aida Bangoura, Margaret O’Brien, Sarah Browne, Catherine Barron, Jade Butler, Catherine Barragry, Rachel Burke, Amanda Coogan, Nuala Clarke, Aimée Chan, Avril Coroon, Siobhan Clancy, Pauline Cummins, Susan Connolly, Maud Cotter, Margaret O’Connor, Ruth Clinton and Niamh Moriarty, Aislinn Delaney, Margaretta D’Arcy, Isadora Epstein, Millie Egan, Sara French, Marie Farrington, Aoife Giles, Doireann Ni Ghrioghair, Sara Greavu, Orla Goodwin, Amy Higgins, Leah Hilliard, Léann Herlihy, Roisin Hackett, Katie Holten, Erica Van Horn, Dragana Jurisic, Wendy Judge, Jesse Jones, Barbara Knezevic, Ali Kirby, Sandy Kennedy, Breda Lynch, Katharine Lamb, Gillian Lawler, Kathryn Maguire, Susan MacWilliam, Siobhan McGibbon, Sibyl Montague, Janet Mullarney, Chloë Nagle, Emer O'Boyle, Deirdre O'Mahony, Seoidin O'Sullivan, Katie O'Grady, Mandy O Neill, Aisling O'Beirn, Sadbh O'Brien, Helen O'Leary, Rachael Rose O'Leary, Laragh Pittman, Aine Philips, Jennifer Smith, Vicky Smith, Sonia Shiel, Polina Shapkina, Ciara Scanlan, Celine Sheridan, Gráinne Tynan, Ann Quinn, Ruby Wallis, Chanelle Walshe, Eve Woods, Amy Walsh, Isabella Walsh & more to be announced!

Events:

Thursday 3rd: Opening Event 6–9pm, performance 6.30pm.

Saturday 5th: Nasty Women Telephones Special: Tickets

Tuesday 8th: FINDING CREATIVITY workshop with Catherine Barron (16+)

Saturday 12th: 'A glove is a gift' performance, Léann Herlihy 3pm

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