Ruins & Entropy Part 2
Part 2 of a two part programme curated by Aoife Desmond. Introduced by Dr. Declan Long (Co-director, MA Art in the Contemporary World, NCAD) 6.30pm / Tuesday 26 FebruaryIrish Film Institute - 6 Eustace Street, Temple Bar, Dublin.
EFC and IFI present Ruins & Entropy Part 2. Part 2 continues the
thread explored in Part 1 which focused on Robert Smithson’s art practice and
theory. Part 2 focuses on contemporary filmmakers; Emily Richardson, Ben
Rivers and Patrick Keiller and their exploration of decay and impermanence
within the contemporary landscape. A selection of four films from these
filmmakers combines architectural residue and history with a wandering or
drifting protagonist and his/her poetic overview. The locations range from
Hackney in London and Oxford Ness a disused military site in England to a wide
ranging European tour and a fragmented tour of Britain ending up in the Isle of
Mull.
Image courtesy of Emily Richardson and LUX London
MEMO MORI (EMILY RICHARDSON)
23
min, video, colour, sound, 2009
With
commentary and readings from Hackney, That Red Rose Empire by Iain Sinclair
Image courtesy of Emily Richardson and LUX London
COBRA MIST (EMILY RICHARDSON)
6
min 45 sec, 16mm anamorphic, colour, sound, 2008
The
soundtrack is composed by Benedict Drew from sound recordings taken from Orford
Ness by Chris Watson.
Image courtesy of Ben Rivers and LUX London
I KNOW WHERE I’M GOING (BEN RIVERS)
29mins, 16mm (anamorphic ratio), colour, sound (optical, UK 2009
“What
would be left of human action, human traces, human constructions, human
buildings and wider ripple effects of humans after that length of
time..¦assuming, that humans disappear in the geologically near future.”
A
fragmented road trip through Britain on the peripheries. Down empty roads, off
in the wilderness, a few lone stragglers. My first stop geologist Jan
Zalasiewicz, talking about the Earth in One-hundred millions years time.
Powell
& Pressburger’s heroine in their magical I Know Where I’m Going (1945)
knows exactly where she’s going, and she tries to get there with stoic
pig-headedness, but of course she never does. I decided to follow her lead and
make my destination the same as hers, but with every intention of getting lost,
following false leads, and trusting in the laws of serendipity, while winding
my way through an almost abandoned, devastated Britain, to the Isle of Mull. My
first stop was with Jan Zalasiewisz, a geologist who had been trying to imagine
the Earth in one-hundred million years, which seemed like as good a start as
any.
Image courtesy of Patrick Keiller and LUX London
THE END (PATRICK KEILLER)
18 mins, 16mm, B&W, sound (optical), UK 1986
"
Ex-architect PATRICK KEILLER brings a graphic and compositional sense of
landscape to this complex essay film following a conceited modern-day flaneur
who conjects ruminatively over images of a curiously ill-defined European
landscape. From within these images of construction, roadways and the
never-ending to-ing and fro-ing of Europe's numerous train stations, can be
glimpsed the visage of the old Europe, defined by borders, varied cultures and
a distinct sense of place. At one point the camera lingers accusingly upon the
dated futuristic symbol of the 1958 Brussels' World Fair.
Keiller's
film is book-ended by two extraordinary images echoing Europe's past. In the
opening sequence a boat rocks plaintively away from the white cliffs of
southern England, furnishing us with a longing look, graphically similar but
not afforded to the steely-eyed emigrants of Ford Madox Brown's epochal
mid-nineteenth century painting 'The Last of England'.(1) In the last images
the decaying footage of a group of tourists assembled in the Piazza Navona is
looped, slowed down and scored by Brahms melancholy 'setting' for Goethe's
'Winter Journey over the Harz Mountains'. These odd, layered, extremely moving
moments seem to almost stand in for the feeling of loss, displacement and
restlessness evoked by Keiller's less than celebratory gaze upon the landscape,
both physical and mental, thrown up by contemporary Europe." - Adrian
Danks