If You Could Read My Mind — Vicky Langan at Café OTO

Penultimate Press and Kye weekend at Cafe OTO, London. October 18th 2014

Footage shot by Maximilian Le Cain

If You Could Read My Mind — Vicky Langan at Café OTO

by Fergus Daly


An early evening in the present.

Café OTO stage.

Front centre a small table, containing tape player, CD player, microphone, sheet of paper, hydrophone, glass of water, Alka-Seltzer and box of matches.

Sitting at the table, facing front, a twenty-something woman: Vicky Langan.

Dressed in white dress and white sheer shrug.

Near darkness, the only light provided by flickering 8mm images behind Langan.


Yes, Langan’s performance begins like a Beckett play, one can't help but think of Krapp’s Last Tape. There’s a lot at stake here, in this minimalist performance, the artist inventing her own genealogy, somewhere between Cage and Beckett.

Vicky Langan’s is a sound performance but with important visual elements What exactly are we faced with? A variety of sounds emitted by an assortment of lo-fi technological devices, a body and its gestures, an impassive countenance, all barely perceptible (the video documentation using night vision gives a slightly distorted impression of the visibility of the performance that needs to be mentally compensated for, the dimness of the light seems essential to its success).

Performance art has always had as its goal to undo the image of thought that privileges interiority and posits an internal self that transcends the body and the external world and that grounds the idea of an artist communicating her innermost feelings to an audience. To a large extent contemporary art can be defined by its construction of a plane of experimentation, of 'immanence' prior to subjects and objects. Deleuze challenged Kant's contention that what is given to our faculty of knowledge is known only by virtue of its conforming to the a priori principles of our intuition and understanding - the French philosopher wanted thinking to live in the space hollowed out between intuition and understanding, setting space and time, the forms of sensation, free of the categories and syntheses of a unifying 'I think'. Art would then be experimentation with sensation, with what can only be sensed and which would be subject to the new kinds of a-categorical syntheses found in artworks. Therefore, to a large extent contemporary art can be defined by the unique ways it discovers to sever space and time from the understanding, re-orienting or dis-orienting its concepts and practices.

At Cafe OTO Vicky Langan is certainly not wearing her emotions on her sheer shrug sleeve. A major challenge for contemporary audiences is to abandon common sense notions of interiority and the artist’s communication of prepared ideas or emotions supervised by the inner solidity of the ego. The contemporary artist’s aim is to create spatial and temporal possibilities and experiences for the viewer/listener. Langan’s performance is an assault on interiority, an anti-neurosis, the construction of a self that’s like a vessel for externalized forces; not remembering, still less contemplating, merely being. There’s no concern for gestures and attitudes that attempt to lend a truthfulness to a character as in a theatrical performance - Langan has no interest in us reading her mind, second-guessing the psychological struggle that has led her to lay these sound fragments before us. Resisting interiority and psychology, the emphasis now lies on potential, virtual, strength that is channelled into the minimal gestures that act less as a guard-rail against the outside world than a force to keep memories and personal attachments at bay that have been exorcised elsewhere. There is expression but it’s in no way assignable to the performer.

It isn’t for nothing that we invoked Krapp, Becketts effort to rewrite Proust but without the crucial involuntary memory. Beckett didn’t need that catalyst to creativity as his interest lay elsewhere, not in the opening up of possibilities but in exhausting them: staging the clash between live performer and machinery involving taped memory allowed his character alternately to search for and repress his memories permanently archived in technology, his voluntarist approach to memories rendered possible by their accessibility on imperfectly catalogued spools of audio-tape.

I feel Langan is closer to Proust but seeks to render memory even more impersonal. If for Krapp it’s the voice that invokes time, for Langan, like Proust’s Marcel, it’s material sound: if, for example, in In Search of Lost Time, the contact between spoon and plate is one precipitant of involuntary memory, in Langan’s case it may equally be gaseous or liquid sound that opens up temporal possibilities and experiences for the viewer/listener, channeling the past into the rhythmic nature of an event that captures something of the ineffable.

It’s as if the Proustian battle with the madeleine, the involuntary evocation of Combray it provoked, that had for so long shackled him to the past and led to the near-infinite procrastination of his passage to total creativity, has already been waged in the wings, before Langan’s performance begins. Now she only has to play the part of conduit for her relationship to the 'noisy past' (as Michel Serres says, where there’s technology, where there’s a channel, there must be noise.)

It’s a delicate operation, constructing this passage to exteriority. In her demeanour Langan often seems not self-possessed but other-possessed (little wonder the notion of witchcraft was invoked in reaction to Langan’s performance), as if present at her own absence.

It is no easy task to maintain open all the possibilities of sound with no reference to anything outside itself and a greater feat still to multiply the specific sounds (personally collected and recorded) - voices, animal and metal sounds, recordings of activities, for example, pushing a heavy box around an empty building - without falling into the trap of arbitrariness.

Necessity must be constructed, the specific space-time of the performance-event must be rendered a consistency that becomes its necessity. How will we recognise this necessity, this factor that makes it ‘work’ like a machine? We hear the judgment so often today, ‘it worked’, ‘it didn’t work’. With the contemporary artwork its success may often seem undefinable in any other way. I am reminded of Chantal Akerman’s account of editing her first installation piece:

We rolled the 3 tapes with a few minutes delay between them, after some time I shouted (to the editor Clare Atherton) 'it's working!' - it worked for 4 minutes, then I said 'it’s not working any more'. [And] after I saw La Captive I thought 'How come I made it work?' I’ve no idea. Some films you do very well, you do everything you should, and it has no grace. Why?

This ‘why?’ isn’t the artists problem, if anyones it’s the critic’s: “the role of the artist is to be conductive rather than creative in any conventional sense. An artist selects a set of potentials and sets them in motion. She renders them sensible – and therefore connectable – but stops short of prescribing how such connections must be made” (JE Panzner).

How can we refine Akerman’s notion of grace? At Cafe OTO the moments of grace come from Langan’s fragile and intimate manner of marshalling these externalized objects of sound. Perhaps the first principle of ‘grace’ is a sense of artistic honesty, and the second may be the avoidance of any pre-ordained method; nothing must be pre-programmed, there can be no clear idea underpinning the actualization of the piece that would permit another iteration elsewhere: it’s a time-based form of search and research allied to the skill to let things happen as gracefully as possible. The resulting artwork represents nothing, it simply (or otherwise) is: this situation, this space, this moment. If there is a ‘musical score’ for Langan it is constructed in the event: “it is only the contingent encounter, the unexpected action, the unrecognized noise, which can spur the transformative movement in thought” [Deleuze].

How strange to have an idea with Alka-Seltzer! The source of Langan’s sound materials may be raw, heart-breaking, profoundly personal, but the artist’s task is to transform these sensations into a three-dimensional experience through exteriorizing the possible connective, conjunctive and disjunctive relationships between them, employing the technological support to persistently adjust timbre and to foreground the materializing qualities of the recordings. Any tendency in the audience to behavioural habit or perceptual and affective cliché is challenged as they are led to seek out the sensations and secret movements in the sound vibrations and fluxes of Langan’s montages. If there is unity, it’s the fleeting sense of A Singular Event being ceaselessly reinvented, this inner consistency that prevents the piece from descending into arbitrariness. Having done with the question ‘what does it mean?’ opens up an attentiveness to movements and sensations prior to any subject formation, “the anonymous, pre-linguistic inner movements of the psyche” (as Sarraute put it). The artist-conduit open to the forces passing through them employs procedures/strategies to prevent, as Beckett put it, any factor from ’solidifying the flowing’. Freeing an event always involves defying recognition, not allowing the perceiver to organise the givens of the piece into a pre-existent narrative that denies its novelty.

The visual aspect seems essential to Langan’s performance. On one hand, hissing crackling fizzing plopping exhaling sizzling sounds, on the other a body, waiting shifting arching resting reaching - scrambling the faculties as when Deleuze says that cinema can “constitute a sort of visual music, as if it is the eyes that grasp the sound first.” Two series that come together, intertwine, separate, reunite, creating a rhythm that not only lends the event necessity and consistency but allows the audience to grasp these fleeting sensations as embryonic ideas, thinking-feelings, like thought-clouds that disperse as soon as you try to hang onto them (unformed memories, unnameable sensations, spectral affects or time in a nascent state, neither past nor present, a time of birth and creation):

“when noise successfully drives an act of thought, it is the intrusion of the outside into a system, forcing that system to break down and rebuild in an attempt to maintain stasis. This interference is a motor of creation - the transmission of noise stimulates the system to develop, to become different in spite of attempts to stay the same. Bodies engage with the empirical environment by means of noise, and the engagement is thought itself. True thought is a transfer of noise.” (Sean Higgins)

Late in the performance Langan strikes matches and amplifies the sound made from burning her underarm hair. But simultaneously the burning matches alter the lighting of the scene entirely so that the whole network of relations between the objects and the body (as one object amongst the others) is altered. The spectral quality of this personal (externalized) sound archive now becomes more (perhaps excessively) actual - the boundaries established at the outset (in almost total darkness) shift and there’s a sense of a sudden, unexpected evolution as the viewer seizes on the revelation of a body or body fragment to attach the sounds to. Langan seems to take the risk of characterization, of personalizing the event. There is the danger of a narrative developing in the viewer’s mind at this point that might carry them over the final minutes of crow caws, clanging bells and whimpering dogs, solid forms destroying the general sense of nascency. But this too is a fleeting thought - for most viewers it is a literal flash of lightning, a radical shift in levels of attention giving rise to a revenant hovering over the space that Langan has carved out in OTO in which organic and inorganic materials wrestle with intimate exteriority.

It might be objected that such performances are merely repeating what John Cage, Allan Kaprow and many others were doing decades ago? There may be similarities in approach, but all art is defined primarily by cultural context, and in the contemporary world there is no longer any need for subversion of codes and transgressing of taboos. In the 50s and 60s, and even into the 70s, there were counter-cultural expectations of (and a gleeful audience embracing of) contravention of the established order. In a sense, if the givens were the horizon to go beyond, they were still accepted as givens, as ‘the way things were’.

Now there is nothing left to transgress. Nothing is given any longer, neo-liberalism will tolerate anything as long as there is profit at the other end. For the artist, reality must be constructed entirely from scratch and anew on each occasion. Which makes it all the more difficult to pull off, as Vicky Langan did at Cafe OTO, such a subtly complex and gracefully realised performance.


Fergus Daly's writing is online.  Fergus Daly: Selected Publications        

The 20 best cassettes of 2014 (Fact Magazine)



The Barley Bridge (Penultimate Press) makes #5 in FACT Magazine's 20 best cassettes of 2014.

"Absolutely stunning compilation of oddball minimalist works from the likes of Graham Lambkin, Call Back The Giants (who continue to be one of the best bands in the world), Moniek DargeVicky Langan, and others. The diversity present from track to track makes this an intriguing collection, but the cohesion and flow between songs push it into essential territory. If only more compilations were this well thought-out. Get it."

via Penultimate Press


Dave Phillips flexidisc

composed by dp for schimpfluch, zürich october november 2013.

includes live recording made at 'extreme rituals: a schimpfluch carnival' in bristol 30th november 2012 (recorded by moju) with voices by emma weatherup, vicky langan, kelly-ann jervis and damaris

released by absurd/sao paulo and estranhas ocupacoes/recife in a limited edition of 274 copies in blood red vinyl. artwork by lahell 

Experimental Film Society at Temple Bar Gallery + Studios

Monday 24th November | 6pm

Studio 6 | Free admission, all welcome.

The second of six bi-monthly Experimental Film Society (EFS)screenings, taking place at Temple Bar Gallery + Studios under the Studio 6 Open programme, highlights the reach and stylistic diversity of EFS’ international membership. Bahar Samadi’s haunting, gem-like videos make very personal use of found footage to evoke a mysterious sense of loss and memory. Jason Marsh’s Pitpony and Esperanza Collado’s The Illuminating Gas both explore the raw materiality of celluloid but with contrasting approaches to rhythm. An emphasis on hypnotic rhythm and a willingness to tackle darkly erotic material characterizes the two collaborative pieces in the programme, Dean Kavanagh & Rouzbeh Rashidi’s Homo Sapiens Project (183) and Vicky Langan & Maximilian Le Cain’s Desk 13. And the darkness continues into Hamid Shams Javi’s surreal nightmare vision of family life in contemporary Iran, The Hell With It.   

EFS is a not-for-profit entity that promotes, archives and sometimes produces work by a dozen filmmakers operating in several different countries. Although each member has a distinctive vision, they are united by an uncompromising devotion to personal, experimental cinema. They have in common an exploratory approach to filmmaking where films emerge from the interplay of sound, image and atmosphere rather than traditional storytelling techniques. EFS was founded by Dublin-based filmmaker Rouzbeh Rashidi, who continues to curate and run the organization.

1 - Les Yeux Disparus (2012) By Bahar Samadi / France / 10mins
2 - W.E (2013) By Bahar Samadi / France / 5mins
3 - Pitpony (2014) By Jason Marsh / UK / 4mins
4 - The Illuminating Gas (2012) By Esperanza Collado / Spain / 7:30mins
5 - Homo Sapiens Project (183) (2014) By Rouzbeh Rashidi & Dean Kavanagh / Ireland / 21mins
6 - Desk 13 (2011) By Maximilian Le Cain & Vicky Langan / Ireland / 8mins
7 - The Hell With It (2014) By Hamid Shams Javi / Iran / 29mins

Total Running Time: 85mins

Experimental Film Society Website

Experimental Film Society Facebook

Penultimate Press and Kye event at Cafe OTO, London


Friday 17 October 2014
Matthew P.Hopkins / Moniek Darge / Call Back the Giants
Tickets : £10 adv / £12 on the door 

Saturday 18 October 2014
Astor / Vicky Langan / Graham Lambkin
Tickets : £10 adv / £12 on the door

Door Times : 8pm

Two-day pass : £18

Two days from two great labels Penultimate Press (UK) and Kye (USA) who've put out some fantastic releases from the likes of Graham Lambkin, Henning Christiansen, Stefan Jaworzyn, Jacques Brodier and Matthew P. Hopkins in recent years. 

On the Friday, OTO hosts Tim Goss' macabre pop art project Call Back The Giants - who has carved out a unique musical vision over his past four LPs, composer/violinist/performer/audio artist Moniek Darge - who specialises in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin, and Matthew P. Hopkins - whose solo work is characterised by processed voice, crude electronics, tape manipulation and found sounds. 

On the Saturday, NY-based multidisciplinary artist and KYE label curator Graham Lambkin returns to OTO, alongside Irish artist Vicky Lanagan - whose vulnerable, emotionally charged performances envelop audiences in an often troublingly intense aura of dark intimacy, and Mark Harwood's project Astor - whose works encompass a wide variety of sources and techniques as a means of exploring audio that rubs shoulders with narrative, the visual and the hallucinogenic. 

Solus/EFS Screening at Filmbase, Dublin

An Evening of Experimental Film With

Solus Film Collective & Experimental Film Society

Tuesday September 9th, 6.30 pm, €7,
Filmbase, Curved St., Temple Bar, Dublin 

Solus presents Masha Godovannaya's
'Objects In Mirror Are Closer Than They Appear

Experimental Film Society presents
Forbidden Symmetries’ & ‘Tangled And Far’ 

Solus is an independent film collective. It has the dual aim of showing Irish short and avant-garde films abroad and international short and avant-garde films in Ireland. Experimental Film Society is a not-for-profit entity that promotes, archives and produces work by a dozen experimental filmmakers operating in several different countries. 

The screening of Objects In Mirror Are Closer Than They Appear is the third installment of the Solus 2014 tour, covering USA, Russia and Ireland. It is curated and presented by Alan Lambert. For information on the film, please visit:http://www.soluscollective.com/ 

The Experimental Film Society section of the programme consists of: 

Tangled And Far (Vicky Langan/Maximilian Le Cain, 2013, 12 mins) 
This video is the most recent in the ongoing collaboration between Vicky Langan and Maximilian Le Cain. Drawing on footage of Langan’s performances over the past two years, as well as scenes specifically shot for this video, it foregrounds the overlap between intimate domestic detail and its reflection in Langan’s performance work. The private and public projections of her presence and actions collapse into each other in this phantasmagoric continuum of alternate selves and self-images to form a fractured dream portrait. 

Forbidden Symmetries (Dean Kavanagh/Maximilian Le Cain/Rouzbeh Rashidi, 2014, 97 mins) 
This collaborative feature is an ostensibly science fictional trip, arranged in three half-hour ‘phases’, one by each director. They are three witnesses to the invasion giving three accounts. Are they observing the same thing? Were there any warning signs? And, after all they’ve seen and heard, are they even competent to offer a reliable report? The purpose of this film is to demonstrate that an effort to construct functions known not to exist may on occasion produce interesting frauds. (Please note: this film contains intense strobing effects.)

Rouzbeh Rashdi, Dean Kavanagh, Vicky Langan and Maximilian Le Cain will be present to introduce their films. 

Searching For Nick Drake


Exhibition at Droichead Arts Centre, Drogheda, Co. Louth.

This exhibition entitled ‘Searching for Nick Drake’ features a series of multi-media artworks and performances inspired by Nick Drakes’ work.  This exhibition touches upon themes of loss, the inevitable fragility of memories and the tenuousness of recollection.  Works range from lens based works to the DIY aesthetics of the Nick Drake fanzine.  The exhibition will feature work from the following artists;

A Lilac Decline, A Radience Enemy & Loner Deluxe , Ruth Beale, Burrows, Gavin Bush, Cubs, Jade Gilbert, Francis Heery, Johanna Lecklin, Danny McCarthy, Maeve McElligott and Lisa Barrett, Jonas Mekas, Benn Northover, Mick O’Shea, Tim Pope, Phantom Dog Beneath the Moon, Brigid Power-Ryce, Gavin Prior, Raising Holy Sparks and Vicky Langan, Michael Tanner, the Lonely Anchoress and Yawning Chasm.

About Nick Drake

Following a period of deep depression, the musician Nick Drake died on the 25th of November, 1974 of a prescription drug overdose. Nick failed to find the recognition he had so desperately sought during his lifetime. No moving image documentation of the adult Nick Drake exists. Nick emerges as an enigmatic figure layered by tales and experiences of others who tried to draw him into their lives. As his father, Rodney, said of Nick,

“And I remember in one of his reports towards the end of the time at his first school, the headmaster gave him a very good report, but said at the end that none of us seemed to know him very well. And I think that was it.  All the way through with Nick. People didn’t know him very much.” 

The exhibition will open on Wednesday 6th August at 7pm and will feature performances by Loner Deluxe, Cubs, Phantom Dog beneath the Moon and Gavin Prior. It will run until the September 28th 2014
web: www.droichead.com

Please support Maximilian Le Cain's Cloud Of Skin

My collaborator Maximilian Le Cain is embarking on his debut feature film and needs your support. 

Ghost love in a haunted landscape: a challenging and darkly poetic experimental feature film.
— https://www.indiegogo.com/projects/cloud-of-skin

Max Le Cain has made more than eighty short, medium and feature length experimental films and videos over the past decade. He is also a film critic and editor of Cork Film Centre’s online experimental film magazine Experimental Conversations. He regularly programmed experimental film for the Cork-based experimental music/film event Black Sun and has presented avant-garde film events in collaboration with, amongst others, Cork Film Centre and Cork Film Festival, involving filmmakers such as Peter Tscherkassky, Pip Chodorov, James Fotopoulos, Abigail Child and Vivienne Dick.

He is currently working in creative partnership with sound/performance artist Vicky Langan. He collaborates with artist Esperanza Collado as ‘The Consecutive Impostors’ in the multi-disciplinary art project Operation Rewrite and with composer Karen Power on the sound / film / performance project Gorging Limpet. He is a member, with Rouzbeh Rashidi and Dean Kavanagh, of the Cinema Cyanide noise project, and of the Experimental Film Societycollective. In 2011, he received an Irish Arts Council bursary award to develop his practice from video to film-on-film work.

For an in-depth account of his work in the context of contemporary Irish experimental film, see New Voices in Irish Experimental Cinema, an article by Donal Foreman.

As a film critic, his writings have appeared in a broad range of international film journals, most notably Senses of Cinema, and in several books, including The Cinema of Roman Polanski: Dark Spaces of the World (Wallflower Press, 2006).

He is based in Cork City, Ireland.

Official website

EFS programme at Fronteira Festival, Brazil

Tangled and Far will play as part of an Experimental Film Society programme in the Fronteira - International Documentary and Experimental Film Festival in Brazil.

A programme of Experimental Film Society films will be screening at Fronteira - International Documentary and Experimental Film Festival. The first edition of FRONTEIRA - International Documentary and Experimental Film Festival, runs from the 30th of August to September 7th in Goiânia, Goiás - Brazil. FRONTEIRA is dedicated to films that resist to predominant ways of cinematographic language, questioners of prefabricated views of the world that offers new ways of seeing, thinking and experimenting the reality. The idea is reunite unseen films in Goiás and most of times unseen in Brazil, from a various places, in a significant panorama of the contemporary worldwide and Brazilian film. 

Special thanks to Toni D’Angela & Rafael Castanheira Parrode



Complete programme and line-up here.

EFS @ The Guesthouse Double Bill -The Avant Festival

July 17th, The Guesthouse. 7.30pm. Free

The Cork premiere of two films shot last year involving members of Experimental Film Society in which The Guesthouse is one of the main locations.

Tangled And Far (Vicky Langan/Maximilian Le Cain, 2013, 12 mins)

Tangled And Far (Vicky Langan/Maximilian Le Cain, 2013, 12 mins)


This video is the most recent in the ongoing collaboration between Vicky Langan and Maximilian Le Cain. Drawing on footage of Langan’s performances over the past two years, as well as scenes specifically shot for this video, it foregrounds the overlap between intimate domestic detail and its reflection in Langan’s performance work. The private and public projections of her presence and actions collapse into each other in this phantasmagoric continuum of alternate selves and self-images to form a fractured dream portrait.

Forbidden Symmetries (Dean Kavanagh/Maximilian Le Cain/Rouzbeh Rashidi, 2014, 97 mins)

Forbidden Symmetries (Dean Kavanagh/Maximilian Le Cain/Rouzbeh Rashidi, 2014, 97 mins)


Emerging from a Guesthouse residency, this collaborative feature is an ostensibly science fictional trip, arranged in three half-hour ‘phases’, one by each director. They are three witnesses to the invasion giving three accounts. Are they observing the same thing? Were there any warning signs? And, after all they’ve seen and heard, are they even competent to offer a reliable report? The purpose of this film is to demonstrate that an effort to construct functions known not to exist may on occasion produce interesting frauds.

View trailer here.

Irish Experimental Cinema in St Petersburg, Russia (July-Oct 2014)


Solus Film Collective, in collaboration with Loft Project Etagi, present the second stage of the American/Russian/Irish touring program of 2014. The show will run from July 4th until October 1st at Loft Project Etagi in St. Petersburg, Russia.

Solus & Guests

Exhibition №8

Curators – Masha Godovannaya and Alan Lambert

This video-show «Solus & Guests» presents a selection of new and recent film-works by Irish filmmakers and international collaborators with previous contributors to collective programs. It reflects a current circle that has emerged in recent years in Irish experimental filmmaking and art, particularly in the presence of the Experimental Film Society, many of whose members are represented here. The programme includes artists such as Maximilian Le Cain, Vicky Langan, Dean Kavanagh, Anthony Kelly & David Stalling, Michael Higgins, Esperanza Collado, Aoife Desmond, Rouzbeh Rashidi, Moira Tierney and Alan Lambert.

For full titles and programme info please check the Solus website HERE

For venue info and opening times please check the Etagi website HERE

Solus is an independent film collective and platform for filmmakers working in Super-8mm / 16mm and DV. It has the dual aim of showing Irish short and avant-garde films abroad and international short and avant-garde films in Ireland.

Opening Reception Screening:

Absences and (Im)possibilities: Traces of an experimental cinema in Ireland

This screening of Abscences and (Im)possibilitites is a condensed version of the full four-part programme.

This programme traces a tradition of experimental film-making in Ireland. It is curated by the Experimental Film Club and commissioned by the Irish Film Institute International. It features the work of artists such as the Lumiere Brothers, Norris Davidson, Vivienne Dick, Paddy Jolley, Barry Ronan, Dónal Ó’Ceilleachair and Jesse Jones.

More info HERE

This Solus event is supported by Culture Ireland, the Irish Film Institute and Dublin City Council.

IFI International is supported by Culture Ireland. The Irish Film Institute is supported by the Arts Council.

Langan/Le Cain Event at Microscope Gallery, NY

Still from 'Tangled and Far' -Max Le Cain & Vicky Langan, 2013

Still from 'Tangled and Far' -Max Le Cain & Vicky Langan, 2013

Am pleased to announce that Microscope Gallery in Brooklyn, New York, will be hosting a programme of work by Max Le Cain and me this Monday, May 12th. We will both be present for a Q&A after the screening. Full details here.


The programme is:

Evening Ascent
The Mongolian Barbecue
Tangled And Far


Australian International Experimental Film Festival 2014

Tangled And Far, my most recent collaboration with Max Le Cain, will play twice at the Australian International Experimental Film Festival this May, once in Melbourne and once in Perth:

Perth: 6pm, Sunday 3rd May
Replants, 96 Wray Avenue, Fremantle

Melbourne: 6pm, Sunday 18th May
Goodtime Studios, basement 746 Swanston Street, Melbourne
(hosted by Artist Film Workshop)