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Non-linear: Magnets

screenings by Victoria Sin, Rachel Reupke, Charles Lofton, Evan Ifekoya, Sebastian Buerkner and Nazli Dinçel with a public reading by Rachal Bradley,  curated by Shama Khanna
Victoria Sin, Narrative Reflections on Looking (2017), video, sound, total duration 11'

Non-linear: Magnets

5 September 2017
7.30 pm
Close-Up Film Centre London

Magnets addresses different identities in production, specifically in relation to others around us. Many of the works take physical props and real-time interactions as their points of focus; and we watch how these enhance dynamics of attraction, contradiction and confluence.

The Non-linear series imagines collaborative processes and erotic immersion in place of mounting egos, overpowering criticality and fantasy futures. These latter tropes can be read as symptoms of individualising structures of control which have come to involve media making mediums of its users.

Featuring works by Victoria Sin, Rachel Reupke, Charles Lofton, Evan Ifekoya, Sebastian Buerkner and Nazli Dinçel with a public reading by Rachal Bradley.

Nazli Dinçel, Her Silent Seaming (2014), 16mm, image-sound, 10' 30”

Victoria Sin – Narrative Reflections on Looking (2017), video, sound, total duration 11′

Narrative Reflections on Looking is a series of films on the experience of identifying with images and power dynamics in looking. Magnets presents 3 parts from the series; Preface / Looking Without Touching; Part One / She Was More Than the Sum of My Parts; Part 3 / Cthulhu Through the Looking Glass.

Charles Lofton – I Like Dreaming (1994), video, sound, 6′

I Like Dreaming is a confession about the pleasures of cruising straight acting, straight appearing men. Structured around the retelling of an (autobiographical) story about a public sexual encounter, I Like Dreaming seeks to make observations about the relationships between race/class/cultural identity.

Nazli Dinçel – Her Silent Seaming (2014), 16mm, image-sound, 10′ 30”

“A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless (2011), motifs of the “feminine” alluding to Jack Smith’s Flaming Creatures (1963) and of reconstruction of a pomegranate. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Obscured images clear out while the hand scratched text becomes harder to read with each section. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.” – Nazli Dinçel

Sebastian Buerkner – Rhinoceros (2016), video, sound, 3′

Moving in together confronts a couple with inevitable adjustments to their personal autonomy. The dialogue employs the poetic verse structure of the pantoum, which imitates the entanglement of their commitment and acts as the language of a joined organism: a relationship.

Rachal Bradley – CRITICAL PRACTICE, public reading with sound, 10′

Originally commissioned by Piper Keys.

Rachel Reupke – Liberty Bums (2017), video, sound, 3′

“Made in memory of my friend Ian, this short film recalls a morning spent together watching the wedding of Prince William and Kate Middleton – an oblique rumination on monarchy and citizenship, friendship and loss.” – Rachel Reupke

Evan Ifekoya – Ebi Flo (WEAREFAMILY) (2016), video, sound, 4′ 26″

Am I

You me

Or are we?

WE ARE FAMILY

WE ARE FAMILY

WE ARE FAMILY

I got my sisters with me

Bios

Rachal Bradley was born and raised in Blackpool and is now based in Nottingham, where she lives with her partner and son. Bradley is a lecturer in the Fine Art Department at Nottingham Trent University. Recent solo presentations include, Of Sex, Galerie Gregor Staiger, Frieze, London (2016); Foreign Press, Galerie Gregor Staiger, Zurich; and Only for Loving Medium, Present Future, Artissima, Turin, selected by Fatima Hellberg (both 2015). Selected group exhibitions include, TG, Nottingham at SUNDAY art fair; Le Bourgeois, 3236RLS, London; Neo-Pagan Bitch Witch’, curated by Lucy Stein and Franc-Lise McGurn, Evelyn Yard, London; Je Suis Feministe, Penarth Centre, London (all 2016); Repeating, Westfälischer Kunstverein, Münster; and CLINIC, a two-person exhibition with Patricia L Boyd, YEARS, Copenhagen (2014).

Sebastian Buerkner (born in Berlin, Germany) lives and works in London. He completed an MA at Chelsea College of Art & Design in 2002 and was awarded their Fellowship Residency in 2003. From 2004, his art practice has shifted primarily to animation.
Recent solo shows include Kunsthaus im KunstkulturQuartier Nuremberg, Germany; Tramway, Glasgow; Sketch, London; The Showroom Gallery, London; Whitechapel Project Space; London and LUX at Lounge Gallery, London; Art on the Underground, Screen at Canary Wharf, London. He has also participated in group shows and screenings at Tate Britain, Tate Modern, London; Tate Liverpool; Site Gallery, Sheffield; Barbican, Whitechapel Gallery, South London Gallery, London and Kunsthalle Wien, Vienna. His film Purple Grey (2006) was broadcast as part of AnimateTV on Channel 4. His recent film The Chimera of M. won the Tiger Award for at the International Film Festival Rotterdam, and was also was shortlisted for the European Film Awards.

Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society.
Born in Ankara, Turkey, Dinçel immigrated to the United Sates at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary.
She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014).
In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions.”

Evan Ifekoya’s current work investigates the possibility of an erotic and poetic occupation using film, performative writing and sound, focused on co-authored, intimate forms of knowledge production and the radical potential of spectacle. Their ongoing project ‘A Score, A Groove, A Phantom’ explores archives of blackness, sociality and inheritance as they diffract through queer nightlife and trauma in the present moment. Ifekoya is an Art Foundation Fellow in Live Art for 2017.
Ifekoya’s recent work has been presented at: Embassy Gallery, Edinburgh, Wysing Arts Centre, Cambridgeshire; New Art Exchange, Nottingham (2017); Transmission Gallery, Glasgow; Serpentine Galleries, London; and Stevenson Gallery, Cape Town (2016). Recent performances include Jerwood Space, London and Whitstable Biennial 2016. Collaborative projects include Collective Creativity: Critical reflections into QTIPOC creative practice and Network11.

Charles Lofton (born 1962, Alabama, USA) has been making films since 1989. He was born into an American military family and grew up in Seoul, Korea and Frankfurt, Germany. His found footage reconstructions of queer identity, memory and history have been exhibited internationally, including screenings at Centre Pompidou, British Film Institute and European Media Art Festival. He studied engineering, physics and mathematics before escaping to New York City and immersing himself in experimental film. He was a member of artist/activist collectives ART+POSITIVE and ACT UP New York. He worked as studio manager for video artist Dara Birnbaum and production assistant for filmmaker Marlon Riggs. Among his sources of inspiration are filmmakers Derek Jarman, Isaac Julien, Stan Brakhage and Jordan Belson. He was artist-in-residence at the Experimental Television Center and received support from Film Video/Arts New York, Lyn Blumental Memorial Fund Chicago and Film Arts Foundation San Francisco. His work was awarded by the National Black Programming Consortium. He was guest curator for San Francisco Cinematheque and MIX Experimental Film/Video Festival. He taught a course on queer experimental film and wrote for Filmmaker Magazine. After living and working in New York City and San Francisco, Charles relocated to Amsterdam in 1997 where he continues to make films.

Rachel Reupke is a London-based artist and filmmaker. Recent solo exhibitions include Künstlerhaus Stuttgart, Cubitt Gallery, London and Tyneside Cinema, Newcastle (2015) and Cell Project Space, London (2014). Her work has recently been shown at Ullens Center for Contemporary Art, Beijing, China; Museum of Modern Art, Vienna, Austria; Wattis Institute, San Francisco, USA; Tate Britain, London; and the Museum of Modern Art, Warsaw. She was short-listed for the 2014 Jarman Award.

Victoria Sin is a London based artist concerned with the experience of the physical within the social body. Their work explores desire, identification and objectification within systems of looking and reification of ideal images within technologies of representation. They work across performance, moving image, writing, installation, and print, and use drag as a tool to challenge expectations and attitudes on femme identities and how images and iconography of femininity are produced, inscribed, and performed.
Their long term project, Dream Babes, explores speculative fiction as a productive strategy of queer resistance, invading existing narratives around naturalised states of sex, gender and race, imaging futurity that does not depend on existing historical and social infrastructure.