| Single
Shot
Lumen | 21 March 2007
Further
information »
Super 8 films and performance by John Porter
Lumen | 6 February 2007
Further
information »
Cinema of Prayoga
Lumen | 2 December 2006
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information »
Big Screen launch event hosted for Cornerhouse by Lumen
Lumen | 13 September 2006
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information »
Gastronomy
Lumen | 13 February 2006
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David Lamelas: Time is a Fiction
Lumen | 21 January 2006
Further information »
Something of the Night: Five film screenings curated by Lumen
Leeds City Art Gallery | 22 October
- 26 November 2005
Further information »
Found Footage
Leeds Central Library | 3-13 November
2005
Further information »
Lillian Schwartz: A Beautiful Virus Inside the Machine
Ocularis, New York | Lillian Schwartz
in person | 18 September 2005 | Further
information »
3 Films by Stan Brakhage
Leeds Central Library | 13 August
2005 | Further information
»
3 Films by Michael Snow
Leeds City Art Gallery | 30 July
2005
Further information »
LoVid at Lumen
Lumen, Monarch House, Queen Street,
Leeds | 19 July 2005
Further information »
Patrick Keiller:
The City of the Future
24 May 2005 | The Leeds Club
Further information »
Karen Mirza / Brad Butler / no.w.here
23
April | Leeds Central Library | 7pm
Further
information »
Margaret Tait:
Subjects and sequences
20 & 27 March 2005 | Leeds
Central Library
Further information »
Reverence: The films of Owen Land
25 & 26 February 2005 | Leeds
Central Library
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information »
Lillian Schwartz:
A Beautiful Virus Inside the Machine
21 January 2005 | PureScreen, Salford
Further information »
Antenna by Robert Whitman
29/30 October 2004 | Leeds
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information »
Evolution 2004
1-6 November 2004 | Leeds
Further
information »
It's all here and now and the future
5 March 2004 | Leeds
Further
information »
Evolution 2003
9-11 October 2003 | Leeds
Further
information »
Artists talk: Bill Fontana
22 May 2003 | Leeds
Further
information »
|
Single
Shot
21 March 2007 | Lumen (Monarch
House, Queen Street, Leeds, LS1 2TW) | 7-8.15pm (booking essential)
| £2/3
Still from Beach Jam by Tula Parker and Anna Weatherston
Single Shot is a collection of specially commissioned film and video
pieces by well-known artists and new talent.
The distinguishing feature of the project is that all the works
are shot in one single take. While the Single Shot pieces demonstrate
a wide diversity of approaches, what they share is a desire to create
a work of power and complexity from the most basic of cinematic
elements - the single, unedited shot. Whether humorous or poignant,
seductive or disturbing - or indeed all of these things - what each
work attempts is to catch the viewer's eye and hold it, unblinkingly,
until the end.
This one-off screening provides the opportunity to see all the Single
Shot films in one 60 minute screening programme.
Single Shot is the first product of a major new collaboration between
the UK Film Council's New Cinema Fund and Arts Council England.
http://www.single-shot.co.uk/
Places are limited and booking is
essential. Please email info (at) lumen.org.uk to reserve a seat.
Map/directions to Lumen: www.lumen.org.uk/information
Films/videos:
Automotive Action Painting,
George Barber, UK, 2006, 6min 20 secs
Observed from an overhead camera, a man stops by the roadside one
morning and empties the contents of a number of large cans of paint
over the tarmac. As the light rises, along with the level of traffic,
the cars spread the paint along the surface of the road, creating
an abstract smear of vibrant colour.
Bittersweet, Hyewon Kwon, UK, 2006, 2 mins 8 secs
To the list of easy-to-play piano melodies that can be readily performed
with two fingers can be added Francis Lai's sugary 'Theme from Love
Story', Here, the twist is that the pianist (who has the congenital
condition ectrodactyly, or split hand/foot malformation) actually
only has two fingers on each hand. This single-take close-up of
them caressing the keys is both disconcerting and deeply poignant.
Pomegranate, Ori Gersht, UK, 2006, 3mins
In a carefully composed scene reminiscent of a Juan Sanchez Cotan
sixteenth century still life, a pomegranate fruit stands out from
a muted, theatrical backdrop. After a few moments, this highly symbolic
fruit is exploded by a high-velocity bullet; seeds spilling from
its disintegrating carcass in extreme slow-motion, and with an eerie
and terrible beauty.
Tea Leaves, Matthew Grinter, UK, 2006, 2 mins 29 secs
Doing the rounds of the tables in a crowded café, the camera
glides slowly past the assembled clientele. At the start of the
circumnavigation of the room, a customer spills his tea, setting
up a domino-effect of interconnected events, which builds to a conclusion
as the piece completes its circuit. An illustration of the principle
that what goes around comes around, you can read 'Tealeaves' as
a set of random actions or as a reminder of the inescapable role
of fate.
Automaton, Sean Dower, UK, 2006, 6 mins 20 secs
Using a motion-control camera rig most often used in the production
of special effects, Sean Dower takes the camera on a dynamic three-dimensional
journey round a full-sized drum kit. As the camera weaves around
the highly reflective black and chromed curves, it tracks the detail
of a complex and shifting drum solo, in which both drummer (Steve
Noble) and camera are locked together into a single resonant performance.
I've Been Single Too Long, Shane Davey, UK, 2006, 2 mins
36 secs
Whether a declaration of yearning or an admission of an overheated
imagination, the title of Shane Davey's single shot work offers
an insight into the scene being played out before us. Rising from
his bed, the listless male protagonist wanders through his house
and into his hammock in the garden, oblivious, it seems, to the
many young women - wearing only their underwear - lounging all around
him.
Dark Glass, Clio Barnard, UK, 2006, 6 mins
Shot on a mobile phone, 'Dark Glass' is a taut micro-drama that
visually recreates a spoken description of family photographs recalled
under hypnosis. Although the recollection appears incredibly compelling,
it also possesses an inherent instability, so that we are never
quite sure what we're hearing or seeing, something further emphasised
by the unsteady nature of the image itself, which lends an apparitional
quality to this apparent act of truth-telling.
Comb & Paper, Dave Richards, UK, 2006, 1 min 17 secs
As a kind of rude awakening to The Mamas and the Papas', 'California
Dreamin', three men, or rather three raggedy clones of another,
rather different relic of the Sixties, add their own impromptu solo
to this timeless and mellifluous pop classic.
Sunlit Dust, Paul Rooney, UK, 2006, 7 mins
Set on a commercial freighter mysteriously marooned within touching
distance of land, Paul Rooney's seven-minute handheld travelling
shot, restlessly circling round the deck of the boat, evokes a state
of personal limbo, whose rising anxieties are reflected in an elegantly
dissonant Brecht/Weill-influenced soundtrack and in a half-whispered,
half-sung monologue haunted by memory and history.
Vanished Point , Christian Krupa, UK, 2006, 3 mins 19 secs
Stretching the notion of a 'single shot' to its extreme, or at least
into a parallel, virtual dimension, Christian Krupa creates a fantastical,
almost futurist, architectural vision using a digital assembly of
images taken around London's South Bank Centre.
Birdcatcher , Mike Marshall, UK, 2006, 6 mins
Mike Marshall's short film consists of a mesmeric tracking shot
through a forest in India, its smooth mechanical movement contrasting
with the complex natural environment it explores. Suspended above
the verdant terrain, the camera is seemingly drawn along by an atmospheric
soundtrack of precisely orchestrated birdsong, modulating continuously
in time with the passage through the trees.
Glass Gun, Julie Hill, UK, 2006, 1 min 27 secs
A figure of a gun, formed out of glass and suspended in space, explodes
into myriad shards, light shimmering through the tumbling fragments.
Julie Hill's clever collapsing of cause and effect is a vivid reminder
of the fragility of things and of our underlying propensity for
violence.
Being There, Matthew Murdoch, UK, 2006, 4 mins 9 secs
In this charmingly self-referential cameo, the static camera zooms
out slowly to reveal a section of Hadrian's Wall. As it does so,
we listen to a taped phone conversation between the artist and his
father as they finalise their travel arrangements to go and see
England play Scotland at rugby in Edinburgh; a journey that involves
a stop-off en route to shoot the scene we are currently watching,
an entry for a 'single shot' project remarkably similar to the one
in which the piece is now showcased.
Beach Jam, Tula Parker and Anna Weatherston, UK, 2006,
2 mins 17 secs
A sample-heavy funk track provides the revving and screeching sound
effects for a toy car as it is 'driven' along a stretch of sea wall,
from the 'metropolis' of a snow-shaker past a 'Weekend' tail-back
of traffic before arriving, in the wheeltracks of Thelma and Louise,
at the breaking surf.
Surprise, Ben Dodd, UK, 2006, 1 min 24 secs
In this stylish short thriller with Hitchcockian overtones, a man
lies lifeless on a bath, while above him looms the figure of a woman,
a large knife lying at her feet. As the scene unfolds - running
backwards in time - our surprise at what has happened is perhaps
as great as those to whom it has.
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