The four projects selected to receive development and production support through the forth round of FLAMIN Productions were:
Dream English Kid 1964-1999AD
by Mark Leckey
Mark Leckey's autobiographical film started with a piece of found bootleg documentation of a Joy Division gig that he attended in 1979, and the realisation that many of our personal memories and experiences can now be found online. From there, 'Dream English Kid' attempts to create a record of all the significant events in Leckey's life during the late 20th Century through found traces of film, adverts and popular music- Benjamin Cook, LFF
Official Selection BFI London Film Festival 2015 - Experimenta Strand
London-based Mark Leckey is a Turner Prize-winning artist known for his work with found art and found footage. Mark has recently exhibited at Venice Biennale (2013) and has curated The Universal Addressability of Dumb Things, a Hayward touring exhibition which has travelled to Nottingham Contemporary (2013); Bluecoat, Liverpool (2013); and De La Warr Pavilion, Bexhill (2013). Solo exhibitions include: Manchester Art Gallery (2012); Walter Phillips Gallery, Banff Centre, Canada (2012); Serpentine Gallery, London (2011); Gavin Brown's Enterprise, New York (2010); Institute of Contemporary Arts, London (2009); Guggenheim Museum, New York (2008).
UR Feeling will be the third part of a trilogy that began with Carlton (2006) and moved on to Louis Ghost Chair (2012). This film is a move away from the isolated object of contemplation into the flow of situations, events and contexts. If Carlton begins the trilogy by concentrating on a single object, Louis Ghost Chair produces a mise-en-scene, a place where various objects might be located and discussed. UR Feeling will go on further to explore these ideas but this time the emphasis is on the scenario - the possible uses, affects and modalities of a situation. UR Feeling is about apprehending the world with the body, a move to the felt place, the unknowable object and inexplicable image.
Simon Martin graduated from the Slade School of Fine Art in 1989. He has had solo exhibitions at White Columns, New York (2005); Counter Gallery, London (2005); The Power Plant, Toronto (2006); a solo show at the Chisenhale Gallery, London (2008); a solo show at Kunstverein Amsterdam (2010); a solo show at Camden Arts Centre, London (2012); a solo show at Northern Gallery for Contemporary Art, Sunderland (2013). He was the recipient of a Paul Hamlyn Award in 2008 and was shortlisted for the Jarman Award in 2009. Martin took park in the British Art Show 7, In the Days of the Comet shown at Hayward Gallery, followed by venues in Glasgow and Plymouth. Simon Martin is represented by MOT International.
Near Real Time
by Gail Pickering
Gail Pickering's film uses an imaginary of the collective, taking social and historical sources as a starting point to speculate on notions of temporality and presence. The work addresses the physicality of the projected image in the narrative, mirroring and fictionalising the collective viewing space within the film itself. Taking place within an infinity room, it echoes both a television studio and black box theatre, in which the occupants take on multiple roles as audience, protagonist and narrator. A single voice ricochets through all the characters as they mouth a shared monologue. Their claustrophobia is further compressed as a hallucinatory composite of projected images suspended in and around them, a spectral body of an unidentified transmission.
Near Real Time is also supported by the Elephant Trust and Goldsmiths, University of London, through the Department of Art Research Support Awards.
Gail Pickering is a London-based visual artist primarily working with time-based media including performance, video, installation, live transmission and text. The work can be seen as a layering of performed fictions, constructed and sourced through specific sites as well as historical and political events and material. Recent exhibitions, performances and screenings include: Not Yet No Longer, Arnolfini, Bristol and Institute of Contemporary Arts, London (2012); The Whole World is Watching, Magasin, France (2012); British Art Show 7, In the Days of the Comet, Hayward Touring (2010-11); Volatile Dispersal / Performance, Whitechapel Gallery, London (2009); Mad Masters, South London Gallery (2008); Here We Dance, Tate Modern, London (2008); Neither Either Nor Or, Kunstverein Stuttgart (2008); Gail Pickering, Gasworks, London (2008).
The film revisits discussions that Grace Schwindt witnessed during her childhood, surrounded by leftwing individuals in Frankfurt, Germany, and in particular the argument that "only a free individual can create a free society". An interview that the artist recorded over the phone, with a political activist who was part of the student union movement in the 60s and 70s, forms the basis of the script. It appears in various forms throughout the film. Paper sets will be placed in a park overlooking a city and a group of dancers carry out a tightly scripted choreography that has a strict rhythm between stillness and movement. All elements of the production are understood within a choregraphic schema; set, props, costume, lighting, sound, camera movement. Each element is equally important and should be read together as a melody with a strict rhythm that comes through a script that might be better described as a score.
Only a Free Individual Can Create a Free Society is also supported by Filmfoerderung des Landes Hessen (HFF Land); Jerwood Charitable Foundation; Arts Council England; The Showroom; Eastside Projects; Contemporary Art Gallery Vancouver.Biography
Grace Schwindt is a German artist based in London. She is represented by Zeno X Gallery in Antwerp and distributed by Argos Centre for Art and Media in Brussels. She studied Photography at the University of Westminster and Fine Art at the Slade School of Fine Art in London. Recent solo exhibitions have been held at White Columns Gallery in New York, Collective Gallery in Edinburgh, Void Gallery in Derry and Wiels - Centre for Contemporary Arts in Brussels where she was also part of a one year long artist in residency in 2012. Performances and screenings have been presented at the Institute of Contemporary Arts in Glasgow amongst others. In 2012, Schwindt received the Grant to Individual Artist for Performance Art and Theatre from the Foundation of Contemporary Arts in New York and in 2013, an ArtsAdmin Artists Bursary.