Clio Barnard is a filmmaker engaged in the relationship between documentary and fiction. She often constructs fictional images around verbatim audio and vice versa.
SERPENTINE GALLERY, SKETCH & PICTUREHOUSE CINEMAS presented
Clio Barnard and Andrew Kötting
The screening was followed by an open discussion with both directors.
Hermaphrodite Bikini, 1995 (Beta SP transferred to DVD. 5 mins, Maya Vision)
Random Acts of Intimacy, 2002 (16mm transferred to DVD. 15 mins, Maya Vision)
Road Race, 2004 (2 screen film/video installation Super 16mm and DV transferred to DVD, Hopscotch Films.)
Dark Glass, 2006 (8 min mobile phone transferred to DVD, Film and Video Umbrella.)
Clio Barnard is a filmmaker engaged in the relationship between documentary and fiction. She often constructs fictional images around verbatim audio and vice versa. She is currently in production on a feature length artists film with Artangel and Channel 4. Her recent installation Road Race (exhibited at Platform Gallery, London 2005 ) focuses on the usually unseen gypsy traveller tradition of horse racing on motorways; whilst her short film Dark Glass — constructed around a session of hypnosis — interrogates the instability of memory and the subjectivity of recollection and is currently touring the UK as part of Single Shot screenings at Tate Britain and Museum of Modern Art in New York. She was awarded the Paul Hamlyn Award for Artists in 2005. Her film/video installation Hermaphrodite Bikini was included in a retrospective exhibition at Tate Britain, A Century of Artists’ Film and Video.
Previous films have screened at many international film festivals including: Flood, in competition at Berlin Film Festival and broadcast on Channel 4. Random Acts of Intimacy (BFI New Directors ’98) received a Special Jury mention at Edinburgh Film Festival 1998. It was released theatrically and screened on Channel Four. She graduated with a first class BA Hons with distinction in Fine Art and received a postgraduate diploma in Electronic Imaging with her video Dirt and Science, which toured internationally as part of the ICA Biennial of Independent Film & Video curated by Tilda Swinton. (1988).
Klipperty Klöpp, 1984 (12 mins, Super 8 & 16mm transferred to DVD)
Hoi-Polloi, 1990 (10 mins, Super 8 & 16mm transferred to DVD)
Jaunt, 1995 (5 mins, Super 8 & 16mm transferred to DVD)
Smart Alek, 1993 (18 mins, 16mm transferred to DVD)
Ivul (The Pilot and trailer), 2009 (16mm transferred to DVD)
Andrew Kötting (b. in Kent, 1959). Studied BA Fine Art at Ravensbourne College of Art and Design, London, 1984, and MA in Mixed Media, Slade School of Art, London, 1988. In 1989 Kötting collaborated with Leila McMillan in setting up BadBLoOd & siBYL studios in the French Pyrenees. Today’s screening begins with one of Kötting’s first films, the short Klipperty Klop (1986). Over the next 10 years, he directed a number of experimental shorts, often produced via the London Film-Makers Co-op and his work has been shown extensively throughout Europe and America as installations, screenings and retrospectives. Awards and commissions include FilmFour, Channel 4, The British Film Institute, the Wellcome Trust and the AHRB research board. He is a Senior Lecturer in Time Based Media, KIAD, Maidstone. Last year Kötting returned to working within the gallery context with In the Wake of a Deadad, which led to his being shortlisted for the Derek Jarman Award 2008.
In 2009 Kötting makes his long-awaited third fiction feature Ivul. An intimate and eccentric family story about Alex (Jacob Auzanneau) and his older sister Freya (Adélaïde Leroux). When the pair are caught playing taboo games, Ivul’s father is furious and tells his son never to set foot on his land again – an order the boy follows literally, taking to the trees and living a life off ground. Ivul shares the kind of visual and sonic mixing familiar from the director’s first feature-length movie Gallivant, 1996, and his second feature, This Filthy Earth, 2001. Loosely adapted from Émile Zola’s novel La Terre, the film is set in a rural community somewhere and sometime in the north of England. Kötting summed up his aim as ‘trying to show the landscape in its full beauty and brutality’.
Serpentine Cinema is a series of monthly artist film screenings, performances and discussions at The Gate, which give an opportunity to view rarely seen artists’ films in a cinema context. Presented by Victoria Brooks & Nicola Lees and in association with the Serpentine Gallery, Sketch and City Screen Picturehouses.
Serpentine Cinema: CINACT – Taking its name from Henry Flynt’s 2007 abstract cinema manifesto, each programme focuses on two artists who investigate and experiment with the medium of cinema with a new dynamism and ‘tradition-less language’.