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Configure Crude Complexities(2019) /
Configure Crude Complexities
2-channel looped video installation
Joseph Cutts is interested in the aesthetics and intricacies of bespoke manufacturing, and the moments when automated mass-production processes are interrupted or augmented by human intervention to produce unexpected outcomes. Filmed in Sheffield Forgemasters International and Lumsdale Glass Studio in Matlock, each highly specialised centres of production, Configure Crude Complexities considers the material properties of both heavy and fragile industries.
The work focuses on the monotony of automated processes involved in the transformation of raw materials through metal forming and glass blowing. Rendering the processes of melting, boring, forming and reshaping as abstract frames on screen, the work explores the unexpected formal and rhythmic qualities within manufacturing itself, through a carefully choreographed sequence of observations.
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Trigger Happy Discipline(2015) /
Trigger Happy Discipline
2-channel looped video installation
Trigger Happy Discipline focuses on the revolving properties of a range of drill bits, from steel earth augers to zinc coated, helical plaster mixers, and their formational arrangement, somewhat mimicking methods of Ikebana in tolerance of construction, assemblage and setting.
Encompassing a purposeful, slow action approach, a controlled trigger dictates the speed of matter in material resulting in a series of singular methodical movements. More than simply following a revolving part, Trigger Happy Discipline empathises with other areas of the tool, such as it’s ‘stem’ and ‘leaves’ as the camera profiles the mundane to the elaborate, given in the unconventional application of the subject matter.
Subsequently the spiral play becomes an auxiliary, as scale, form, collection and aesthetics determine the curated set, with stature forming the natural order of existing artefacts on this platform.
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Light Behaviour Series(2014) /
Light Behaviour Series
Looped projection
Light Behaviour is an ongoing series of video works formed from an orchestrated repetitive process devised as a means to channel an outcome. The works are created through a reverse method of projection. The setup is of a projection beam positioned to screen a form of moving image. Face on; the beam of light draws in the camera lens and requests to be recorded. As a result of the beaming light, a reading is formulated. These rhythmic readings contain uncontrollable visual responses that help form a contrast to the rigorous technical process.
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Inscribed(2011) /
Inscribed
Looped projection, metallic film loading platter
Utilising a 1960s American film platter as a backdrop to convey a fragment of the history of film in a physical sense, accentuating the purely orbicular and material aspects of its appearance. Addressing the shape and movement of water, its fluidity out of both the viewer and videographer’s control, one can only observe the glimmer moving over the graceful medium.
In Aguaespejo Granadino (1955), Jose Val del Omar exploited the elegant flow of water by very rarely moving the camera, leaving the subject matter to explore the possibilities of motion and velocity. Adopting a similar method here, Cutts, whilst remaining still is carried by the undulation.
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WELCOME TO TOKYO(2011) /
WELCOME TO TOKYO
Looped video
Cutts’ video is constructed out of moments in cinema that feature images of neon lights in downtown Tokyo. Influenced by the stereotypical representation in film where the use of this iconic imagery depicts the adjournment to the “Bright Lights, Big City” ethos. Winking seductively, the gaudy facade is the embodiment of crass modern culture where the suggestion of excitement and expectation attempt to mask the grim realities within.
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Occupe(2011) /
Occupe
Looped video
Occupe is an adaptation of the final scene from Claude Chabrol’s 1970 film, Le Boucher. The camera draws towards an elevator button, a simplistic flickering red light, repetitive and constant with a predictable outcome, yet one is fixated by the hypnotic quality. Initially occupied until the light goes out, now vacant, and with a feeling of apprehension, we are left to contemplate nothingness, emptiness.
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The Sound Intervention Service(Curatorial) /
The Sound Intervention Service
17 Oct 2020 - 24 Jan 2021
Digital Cultures: Imagined Futures, Adam Mickiewicz Institute, Warsaw, Poland (Online)The Sound Intervention Service is a programme of six provocative audio and sound artworks that act as a user's guide, offering tools to support your daily routine. This collection of artworks entails field recordings, forms of ASMR, as well as meditations and direct methods of engagement. The programme welcomes two new commissions from artists Karolina Breguła and Katarzyna Krakowiak, alongside artworks from Rebekah Ubuntu, Zorka Wollny, Erin Gee & Sofian Audry, and Diana Lelonek & Denim Szram.
In Despair, Hope and Healing: Three Movements for Climate Justice, Ubuntu composes a contrast of sound samples, field recordings, vocal activism and advocacy, that acts as a dedication to the unique, fragile and imperilled equilibrium of our planet’s ecosystem.
In Quiet Rush, Wollny has created a composed sound situation that reacts to the specific spatial, historical and natural conditions of mines hidden under the Earth's surface.
Gee & Audry’s of the soone, is an intimate setup of encounters with a soft female voice that comes to whisper a script written by a machine learning algorithm, showcasing each stage of the "learning" process as the algorithm slowly learns to "speak".
Lelonek and Szram’s Melting Gallery highlights the recordings of the three melting Alpine glaciers: du Rhone, Aletsch and Morteratsch, composed into a song, that acts as a symphony of disappearing glaciers, highlighting the slowly trickling catastrophe.
For more information click here
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Ethics & Strategy in Digital Art Practice (just because you can, doesn’t mean you should)(Masterclass) /
Ethics & Strategy in Digital Art Practice (just because you can, doesn’t mean you should)
27 Nov 2020
Noviembre Electrónico, Buenos Aires, ArgentinaMasterclass Lead:
Joseph Cutts (Artist & Curator)In an age of rapidly developing technology and hybrid exhibition platforms, an artist or curator may find themselves beholden to trends as a means to remain current, if not socially engaged. In the world of contemporary art, immersive theatre or film, do the technological advancements of today eclipse the power of the subject matter and form? And do new online exhibiting platforms support an artist's work in the most appropriate way?
As an artist we must ask ourselves what are the key elements of an artwork we wish to be highlighted? And how and where do we wish for our work to be seen?
This masterclass looks to address the very modern trends in today’s exhibition formats and the ethics of utilising developing technologies as supporting mechanisms for displaying artworks in both an online and physical exhibition world. It will highlight what can be perceived to be a trend in today’s climate and where that trend has stemmed from. It will also provide case studies and examples of how to protect the authenticity of an artists work.
In this programme, artists will learn about:
- Timelessness vs trends in art forms and in the industry;
- How to protect their artwork in today’s climate (online & physical);
- How to distribute their work appropriately and plan an exhibition strategy; - The value of exhibiting their work;
- Longevity in their work;
This masterclass is open primarily to anyone working in VR, AR, Video & Sound/Audio Art, in the early to mid stages of their artistic career. Although those who are not artists but work with these art forms, are welcome to attend.
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Ghosts & Apparitions(Curatorial) /
'Feel My Metaverse' (still), Keiken, George Jasper Stone, 2019
Ghosts & Apparitions
13 - 26 Nov 2020
Sheffield Doc/Fest, Sheffield (Online)Ghosts & Apparitions is an online series of audio, video and XR performative artworks by UK and International artists and collectives which explore current realities, a dramatised reality and an alternate reality.
The programme reflects on societal movements, sonic warfare and planetary health, through alternate and ghostly channels of communication and interaction.
The online portal is a gateway to a series of works conducted by audio, video and CGI, with elements of participation that are suggested through various levels of metaphorical and physical prompts, as well as narrative driven provocations.
Since the first glimpses of the moving image, ghosts were haunting our imaginations, including those yet to be. A ghost from then meets a ghost from now – histories and collective memory are born.
The perception of a ghostly identity or object might be apparent but not in a physical sense. Without material stimulus, we’re invited to question what is real vs what is preconceived, generated from fear, desire or otherwise.
As we investigate further into the roles of both the antagonist and protagonist, Ghosts & Apparitions welcomes the audio and visual works of Maria Court and Trinidad Piriz in The Burst of Things, a recount of stories based on two of the main objects that were integral to Chile’s most recent social outbreak; Kitty Clark in The Experiment, inspired by research into the Philadelphia Experiment, a short audio drama in which contact with an unknown force is attempted through esoteric means; and Paula Albuquerque in Overhead 21, through the immersive sounds of surveillance and weaponised drones, commonly used by Western States as a form of strategic stress-inducing intimidation.
Complimenting this setup, we welcome the work of Keiken in Metaverse Messenger, a one off XR performance that explored how our communication is adapting due to COVID-19 and how it will change in the future, as audience members invited to interact in real-time with an avatar from the future in a virtual world.
Parallel to this programme, we have invited each artist and collective to share insights into the research material, process and theories that inform their practice, in their continuing Artist Spotlight series.
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How art institutions welcome the notion of degrowth?(Panel) /
How art institutions welcome the notion of degrowth?
23 Oct 2020
Digital Cultures: Imagined Futures, Adam Mickiewicz Institute, Warsaw, PolandA series of informal presentations and a panel discussion that looks at the cycle, processes and research of arts institutions, festivals, hybrid online organisations and their approach to sustaining an increasingly ecological and organic setup.
It will specifically highlight various models of environmentally friendly approaches in arts organisations, while looking at curatorial research, exhibition platforms, resource and travel. At the same time we will discuss the current barriers towards public engagement and the social transformations.
We will explore areas of how to develop as an organisation but aim to remain ethically balanced and distance ourselves from global capitalist systems.
Panelist(s):
Diane Drubay (Museum Strategist & Founder, We Are Museums)
Jagna Lewandowska (Curator, Museum of Modern Art , Warsaw)
Christoph Platz (Head of Curatorial Affairs, steirischer herbst)Chair:
Joseph Cutts (Artist & Curator)For more information click here
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What AR Can Do for the Visual Arts(Panel) /
What AR Can Do for the Visual Arts
11 Sep 2020
MUTEK CA, Montreal, CanadaThe events of the past months have accelerated certain developments, in turn creating new opportunities for artists, galleries, and museums to reach audiences and stimulate art market dynamics. This process has been propelled by augmented and mixed reality technologies and fuelled by the power of digital platforms and applications. Examples include Acute Art, Eyejack, and Collectionner, which was developed in Montréal by AGAC.
Panelist(s):
Joseph Cutts (Artist & Curator)
Cheryl Sim (Managing Director & Curator, Phi Foundation for Contemporary Art)Chair:
Sarah Spring (Parabola Films)For more information click here
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Art House - online residency programme(Curatorial) /
Art House - online residency programme
18 May - 31 Aug 2020
Adam Mickiewicz Institute, Warsaw, Poland (Online)Some territories may find their circumstances different to others with regards to government issued lockdowns and the re-strategising of arts funding. As there’s an uncertainty surrounding when physical art and exhibition activities will take place publicly. Numerous organisations launch online exhibitions and programmes. Wanting to ensure that the authenticity of a project is maintained, and not simply lifted from once part of a physical exhibition platform to now an online one, resulting in a loss of depth, we will look further into commissioning and understanding artist’s needs
The last few months have undoubtedly changed artistic practice. Until now, artists could exist in studio/residency territories, lab’s editing suites, as well as cafes to limit the costs of their activity. Today, during covid-19, an artist could find themselves in a position of struggling, re-strategising or thriving (due to new demand), and considering how they can make work in this time of lockdown. Most of them have been deprived of their working spaces, playing such an important role in their creative process. Many of which may now be facing the challenge of finding their place in the new normal, and shifting their work into their homes.
The Adam Mickiewicz Institute is announcing an open call for proposals for Art House – online residency programme, inviting Polish digital and visual artists to reflect on adapting in the times of the new normal. For two months, without the need to leave their homes, 20 Polish artists in residence will be developing their artistic concepts for new projects, while consulting mentors who work for top institutions in the world, such as Serpentine Gallery, and V&A. The mentors will help the artists pave their way to creating a prototype of their work, providing them with their expertise during their biweekly consultations. The mentors are: Sandra Gaudenzi (University of Westminster), Julia Kaganskiy, Maya Dvash (Design Museum Holon), Kay Watson (Serpentine Gallery), Janina Prudenko, Bregje Benecke (International Film Festival Rotterdam), Katharina Meissner (MUTEK), Hussain Currimbhoy, Christopher Turner (Victoria & Albert Museum), and Katrin Bucher Trantow (Kunsthaus Graz).
For more information click here
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Welcoming New Art Forms (I was trendy once)(Masterclass) /
'Another Dream', Tamara Shogaolu, 2019
Welcoming New Art Forms (I was trendy once)
28 Sep 2019
Digital Cultures: Living Archives, Adam Mickiewicz Institute, Warsaw, PolandMasterclass Lead:
Joseph Cutts (Artist & Curator)In an age of rapidly developing technology, an artist or curator may find themselves beholden to trends as a means to remain current, if not socially engaged. In the world of contemporary arts, theatre or film, do the technological advancements of today eclipse the power of a subject matter and form?
As an artist we must ask ourselves what are the key properties of an artwork we wish to be highlighted? and where do we desire for our work to be seen? As a programmer or curator, shouldn't we welcome, if not, accept artworks that have taken advantage of modern advancements in technology such as VR, AR, Facial Recognition etc. and ensure that subject matter and form is at the forefront of why it is to be exhibited.
This masterclass looks to offer insight into what can be perceived as a trend by virtue of its currentness, where that perception has come from, and what worlds welcome and are beginning to welcome such art forms.
For more information click here
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Construction House: Radical Materials(Exhibition) /
Construction House: Radical Materials
6 Oct 2018 - 20 Apr 2019
S1 Artspace, SheffieldConstruction House is a six-month programme of commissions, exhibitions, events and activities by S1 Artspace studio holders, which will explore the role, possibilities and responsibilities of collective artistic activity today. The programme will reflect on the philosophy and relevance of the influential Bauhaus movement for today’s practicing artist and their relationship with society. The Bauhaus – which celebrates its centenary in 2019 – was the most influential modernist art school of the 20th century, whose approach to teaching, and understanding art’s relationship to society and technology, had a major impact in Europe and the United States long after it closed.
Construction House includes newly commissioned work by artists Alison J Carr, James Clarkson, Joseph Cutts, Natalie Finnemore, Vicky Hayward, Ashley Holmes, Peter Martin & Jon Cannon, Emily Musgrave, Lucy Vann and Roanna Wells. The programme will focus on experimentation and the Bauhaus philosophy of ‘unlearning’, transforming S1 Artspace into an active space of research, production and display.
A literal translation of the term ‘Bauhaus’, Construction House will reflect on the work and ideas of a number of influential Bauhaus Masters and Teachers, from Oskar Schlemmer, László Moholy-Nagy and Marianne Brandt to Gertrud Grunow, Johannes Itten and Paul Klee. Construction House includes archival Bauhaus material, photographs, film and original design objects, and, over the course of the six-month programme, will explore three core aspects of Bauhaus philosophy in relation to contemporary artistic practice:
Order & Limitationslooks at the creative possibilities of patterns, sequences and rules. The relationship between theory and artistic practice was fundamental to Bauhaus teaching, conveyed through a set of principles that could be applied to the production of visual art and design. Paul Klee produced instructional guidelines from his Bauhaus lectures in the Pädagogisches Skizzenbuch [Pedagogical Sketchbook], which included a series of dynamic conceptual exercises for artists to follow, some of which are reproduced in the exhibition. Inspired by Klee’s approach, Anni Albers used the strict grid of the loom as a basis for the abstract designs of her weavings and later prints and drawings, such as Do III (1973), included in the exhibition. The application of geometry and mathematical systems to choreography implemented by Oskar Schlemmer was famously realised in the Bauhaus Dances, delivered as a series of lecture dances between 1927-29, documentation of which is also included.
Leisure Time examines the potential of physical activity and play to encourage experimentation and unleash creativity, based on Johannes Itten’s teaching methods at the Bauhaus. Itten emphasised the importance of spiritual, psychological and physical wellbeing, introducing meditation and gymnastics classes into the curriculum. Movement, dance and sport were seen as methods for outwardly expressing internal experiences. Gertrud Grunow lead the ‘theory of harmonisation’ course which considered the relationships between sound, colour and movement, whilst Karla Grosch taught women’s gymnastics based on Constructivist principles, leading classes on the Bauhaus roof. Grosch’s classes are captured in the famous photographs of Bauhaus student T. Lux Feininger, a selection of which are included in the exhibition.
Radical Materials focuses on the practical workshops held at the Bauhaus, which brought together creativity and experimentation with materials with industrial manufacturing processes. The Bauhaus was founded on the principle that good design could revolutionise everyday life to create a new and better world. Workshops including carpentry, ceramics, glass, metal, graphics, photography and weaving were at the curriculum’s core. Some of the most iconic Bauhaus design objects were produced in the metal workshop led by Marianne Brandt under the guidance of László Moholy-Nagy, including the desk set, tray and coaster holder which are displayed in the exhibition. Moholy-Nagy’s experiments with materials and the movement of objects and light through space are included in the exhibition in his only abstract film, Ein Lichtspiel: Schwarz Weiss Grau [A Lightplay: Black White Gray] (1930).
100 years on from the inception of the Bauhaus, which despite its lasting influence only existed from 1919-1933, Construction House will consider how Bauhaus ideas can be applied to a fundamentally changed world. Over six months the studio holders will programme a series of participatory activities and events – including talks, performances, film screenings and practical workshops – to look at these ideas in relation to their own practice and interests in collaboration with other artists, designers and specialist manufacturers across Sheffield.
At a time when the role of artists and cultural organisations is becoming ever more important in presenting original ideas and independent thought, Construction House provides a framework for artists to explore their work and approach to artistic practice in relation to this influential movement through connections and collaborations across a broad spectrum of creative activity.
Construction House is part of Making Ways, a programme supported by Sheffield Culture Consortium through Arts Council England to showcase, celebrate and develop the exceptional contemporary visual art produced in the city. Additional support has been generously provided by The Fenton Arts Trust and The Finnis Scott Foundation.
For more information click here
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H2O (Human Horizons Observatory)(Residency) /
H2O (Human Horizons Observatory)
19 - 26 Feb 2019
Bariloche/Buenos Aires, ArgentinaH2O is organized by British Council, Centro de Investigaciones en Arte y Ciencia Universidad Nacional de San Martín, Secretaría de Cultura de Argentina, Centro Cultural San Martín and Fundación INVAP with the support of Fundación Williams.
This international summit will gather scientists, artists, thinkers and cultural managers from UK, Argentina, Switzerland and the Americas to frame, discuss and empower the field of cooperation, programs and projects bridging arts and sciences, with the aim to outline a network of ideas and collaborations between individuals and institutions around the world.
For more information click here
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Prototype 001: Akasa, jhud, R. Lyle(Curatorial) /
Prototype 001: Akasa, jhud, R. Lyle
5 Aug 2017
Millennium Galleries, SheffieldPrototype 001 is the first in a series of live performance events, featuring music and moving image works contributed by nationally and internationally selected guest artists and DJs.
Prototype invites audiences to encounter and enjoy visuals, music and performances and challenges conventions of screening, exhibition and display.
Supported by Museums Sheffield and Making Ways, as part of the programme for Everything Flows
For more information click here
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Everything Flows(Exhibition) /
'Come and Go' (still), Rose Butler, 2016
Everything Flows
7 Jun - 3 Sep 2017
Millennium Galleries, SheffieldEverything Flows brings together work by emerging and established Sheffield-based artists working with painting, sculpture, video, photography and sound. The works are each united, in different ways, by a sense of ‘flow’, from choreographed movement and kinetic motion, through to the fluctuations of narrative, and the movement of international finance and migration.
Curated by Jeanine Griffin, the exhibition includes work by Paul Barlow, Rose Butler, Joseph Cutts, Natalie Finnemore, Ruth Levene, Victoria Lucas, Peter Martin, and Ryan Mosley, along with screening programmes/ events curated by Annexinema and Joseph Cutts & Ashley Holmes.
Everything Flows forms part of Making Ways, a new programme supported by Sheffield Culture Consortium through Arts Council England to showcase, celebrate and develop the exceptional contemporary visual art produced in the city.
For more information click here
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I Can Read With My Eyes Shut(Exhibition) /
I Can Read With My Eyes Shut
20 Nov - 19 Dec 2015
S1 Artspace, SheffieldS1 Artspace is pleased to present I Can Read With My Eyes Shut; an exhibition of new commissioned work by four artists based at S1 Artspace.
In 2009, S1 Artspace established its Bursary Programme to support new graduates in their first year of professional practice. The four artists presented in I Can Read With My Eyes Shut were among the first selected and have since continued to develop their practice within the fold of S1.
Working predominantly in sculpture and collage, Emily Musgrave researches methods of display and composition. She often utilises low-value or discarded materials in works that explore their own permanence, value and substance.
Joseph Cutts examines the physicality of video medium, creating moving image works that are abstract both in their aesthetic and narrative form.
Natalie Finnemore creates sculptures that draw influence from the structural conventions of a space – line, colour and composition. The scale and volume of her works is suggestive of furniture or play-objects enticing the viewer to interact.
Working across sound and video, Peter Martin interlaces video sequences, found photographs and old TV adverts to highlight the subtleties that are integral to an overlying narrative and the constructs of our digital culture.
For more information click here
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Three Act Structure(Exhibition) /
Three Act Structure
12 Jul - 13 Sep 2014
S1 Artspace, SheffieldThree Act Structure brings together the work of S1’s Studio artists across three evolving exhibitions in the gallery over the space of nine weeks. For this project the fifteen artists have come together to re-examine the S1 Members’ show and to test out conceptual relationships inherent within the context of a group exhibition and outside the established parameters of S1’s open-plan studios. S1 artists Natalie Finnemore and David McLeavy have been commissioned for their first major collaborative work to produce a large-scale and adjustable structure that acts as a device to pull together and present new work by all the artists, including work made specifically for Three Act Structure.
The three act structure is a model commonly used in writing and storytelling that divides its narrative into three parts: the beginning, or Setup; middle, the Confrontation and the ending or Resolution.
In Act One we are introduced to the main protagonist (the modular Structure); its relationship to the other characters (the artworks); and the world in which it lives (the gallery). This exposition establishes the exhibition framework, creating a context through which each of the iterations will be read.
In Act Two the relationship between the Structure and the co-protagonists is expanded, works are re-installed with new works added, and the Structure is transformed.
The culmination presents itself in Act Three with all characters appearing simultaneously on set in their final encounter. Once again, there is a change of cast with all the artists now represented; relationships are re-visited and evaluated with the Structure adopting its final form for the Act of Resolution.
The model of the Three Act Structure allows for a re-casting to take place throughout the duration of the exhibition with visitors invited to return for the presentation of each act.
S1’s Studio artists have a diverse and distinctive approach to contemporary art practice and this exhibition therefore embraces a wide range of media including film, video and photography to installation, sculpture and performance.
Established in 1995, S1 Artspace has consistently provided affordable studio space in central Sheffield for contemporary artists at varying stages in their careers, from recent graduates to established artists working at an international level. The open-plan and shared studios allow artists to continually develop their practice in an environment that encourages and supports dialogue about contemporary art and the free exchange of ideas.
For more information click here
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Testing Ground: Master Class(Residency) /
'Elemina' (still), Doug Fishbone, 2010
Testing Ground: Master Class
30 Jan 2014 - 6 Feb 2014
Zabludowicz Collection, LondonBuilding on the success of its debut, Testing Ground: Master Class returns in 2014, and offers a unique and free opportunity for a small group of emerging artists to work closely with leading international artists to discuss and develop their studio practice. Over the course of a week, eight young artists nominated by a nationwide group of artist-run spaces will participate in an intensive series of tutorials, workshops, reading groups, studio and gallery visits and seminars led by artist Doug Fishbone and guest artists including Marcus Coates, Ben Rivers, Lindsay Seers and Hannah Starkey as well as Zabludowicz Collection curators. In addition, each of the established artists will present an evening lecture giving participants and public a greater insight into their practice. This year’s Master Class will focus on a critical consideration around ideas of staging in relation to performative aspects of contemporary art practice alongside the physical presentation and viewing of artworks.
The emerging artists participating in the initiative have been nominated by Castlefield in Manchester, Eastside Projects in Birmingham, The NewBridge Project in Newcastle, Collective Gallery in Edinburgh, S1 Artspace in Sheffield, Spike Island in Bristol and Studio Voltaire in London. Each space was asked to identify artists for whom the opportunity to work with these tutors would be both an opportunity to consolidate their practice and give it a significant boost. In addition to having unparalleled access to internationally renowned artists, the Master Class participants are also able to build a national network of peers.
For more information click here
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Art Sheffield presents: 'Be Seeing You' & 'Class of Struggle'(Curatorial) /
'Class of Struggle' (still), 1969
Art Sheffield presents: 'Be Seeing You' & 'Class of Struggle'
4 Nov 2013
Showroom Cinema, SheffieldArt Sheffield’s film programme continues through a proud partnership with Sheffield Doc/Fest and Showroom Cinema to present a double bill of films by Chris Marker and the notorious Medvedkin Group. The socially radical and cinematically imaginative Be Seeing You and Class of Struggle intimately bring you into the torn relationship between higher management and the agitated factory workers in 1960s France.
Be Seeing You (À bientôt, j'espère)
Dir: Chris Marker, Mario Marret / France / 1968 / 43 mins
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Class of Struggle (Classe de lutte)
Dir: The Medvedkin Group / France / 1969 / 39 MinsThe screening will be introduced by Dr Julia Dobson, Reader in French Film and Performance, University of Sheffield.
"One of the most radical films produced in an era defined by radicalism, Class of Struggle reflects this will to liberation."
For more information click here
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Art Sheffield presents: 'The Spirit of '45'(Curatorial) /
'The Spirit of '45' (still), 2013
Art Sheffield presents: 'The Spirit of '45'
4 Dec 2013
The Void Screening Theatre, Sheffield Hallam University, SheffieldArt Sheffield’s film programme culminates with Ken Loach’s most recent work, The Spirit of ’45 exploring the radical changes in postwar Britain under the Labour government of Clement Atlee.
The Spirit of ‘45
Dir: Ken Loach / UK / 2013 / 90 mins1945 was a pivotal year in British history. The unity that carried Britain through the war allied to the bitter memories of the inter-war years led to a vision of a better society. The spirit of the age was to be our brother’s and our sister’s keeper. Director Ken Loach has used film from Britain’s regional and national archives, alongside sound recordings and contemporary interviews, to create a rich political and social narrative. The Spirit of ’45 hopes to illuminate and celebrate a period of unprecedented community spirit in the UK, the impact of which endured for many years and which may yet be rediscovered today.
The Spirit of ‘45 is shown alongside a selection of socially radical and cinematically imaginative films from Chris Marker, The Medvekin Group and more. Presented by artist & programmer Joseph Cutts, the programme highlights controversial working conditions that have incited rebellious formations of our recent history. This is socialist cinema at its best.