Grey Hound Cryme
Andrew Holmes, Duncan Marquiss & Ernst Fischer
Curated by Tomas Poblete
Part of Strangelove Timebased Media Festival 2019
Saturday 23 March 2019, 12:15 – 3:15pm
CT20 Projects Space, 73 Tontine St
HOP Projects CT20 presents Grey Hound Cryme, Ultra Culture & Moving Image: a curated series of short films by three artists as part of Strange Love Timebased Media Festival 2019.
Andrew Holmes : Remake One 1987
Robert Rauschenberg said a work of art could be made by collecting material within a block of where he lived. I said it could be made without leaving your room or even your chair. I was trained as an architect. When watching a movie I was as interested in the interior of the room that the action took place in as the actors. In movies rooms are not backdrops or abstract spaces for the characters but reinforcements to, and reflections of their personalities. I set out to explore this in a series of what I called Remakes by sitting at the centre of, and close to the screen of a projected film. I pointed my VHS camera in telephoto auto mode at the uninhabited parts of the screen, and recorded. The result was not re-edited. A new soundtrack was added, a movement from Darius Milhaud’s Quartet for the End of Time. Sound as in all movies changes the meaning of the images.
Andrew Holmes : Night Stalker preview 1988-2019 & a 30 second film (bonus)
It is said that popular culture merely reflects contemporary society. Little is said about the consequences of such a belief. There are destructive attitudes in the most seemingly benign and innocent imagery available to children. The effects are central to and seen most intensely in the notorious case of The Nightstalker. This film combines images of hands from 100 frames of Mickey Mouse comic books made in 1988, with a film noir soundscape composed in 2019. The film was then cut according to the rules and techniques suggested by famous editor Walter Murch.
Duncan Marquiss : Collision Index, 2017, HD, 12 minutes 38 seconds. (commissioned by the McManus Museum Dundee 2017)
A random walk through the collection of the McManus museum in Dundee. A selection of objects ranging from natural history specimens to social history ephemera are reorganised into a new analogical composition that tests unexpected relationships between things.
“Marquiss’ Collision Index, 2017, probes a spectral, inky depth where objects humdrum and exotic shared a screen-space both familiar and uncanny. The film’s sum is as obscurantist as its parts, drawn from the collection of the McManus Museum in Dundee: happily so, as the looseness of touch with which Marquiss approaches the task makes room for speculative and ludic object-affinities which a more linear archive would miss.”
Adam Pugh, review of Experimenta, BFI London Film Festival 2018, Art Monthly #421, November 2018.
Ernst Fischer : The Book Of Sand
Gallery image credits: Stills from films ‘Remake One’, ‘Night Stalker’ and ‘Collision Index’
Born in 1947 in Bromsgrove, Worcestershire, Andrew Holmes moved to London in 1966, and attended the Architectural Association.
He is best known for a series of 100 realistic pencil drawings exploring the apparently anonymous mobile infrastructure of cities. In addition however his work encompasses printmaking, photography, film, and design. The work offers not the unique quality of handicraft, but the elements of three traditions: that art is evidence, and of an ability to select significant objects, things from experience; that art is the residue of engaging the existing systems with particular mechanical techniques and processes; and that art provides the possibility of fabricating new versions of reality.
These procedures he organises as Messages, Arrangements, and Nonuments under the principles of Informalism.
The work in all its forms has been exhibited, and published widely for forty years. Holmes was Professor of Architecture at Oxford Brookes University, Guest Professor at the Technische Universitaat, Berlin, and a Visiting Scholar at the Getty Research Institute. He lives and works in London.
Duncan Marquiss (born Scotland 1979) is an artist based in Glasgow who works with video, drawing and music. His work explores fuzzy areas in between the natural and the artificial. Marquiss graduated from the MFA at Glasgow School of Art in 2005 and undertook the LUX Associate Artist Programme in 2009. Recent exhibitions include Stalking The Image: Margaret Tait & Her Legacy, GoMA, Glasgow, 2019 and Copying Errors, Dundee Contemporary Arts, 2016.
Ernst Fischer is a German-born performance artist, whose practice explores gender identities and notions of the Uncanny, extending beyond the staging of subversive acts to the construction and investigation of temporary and fluid communities.
Ernst wrote his PhD thesis on “the queer space of living-room theatre and domestic performance at Roehampton University, London (2004), where he was, until 2017, employed as Creative Research Fellow. He is a member of DARC (Documentation Action Research Collective), as well as artistic director of LEIBNIZ performance company, and of D:NA (Dust: Narratives & Artefacts), a domestic performance space and archive, originally based in South London, but now – since his move in 2017 – relocated to his new home and gallery in Folkestone.
Strangelove festival celebrates the diversity of time-based media with a curated programme of exhibitions, screenings, talks and performances responding broadly to the 2019 festival theme of Duration. Strangelove is a kind of nomad project spanning 180 miles and five weeks opening at the Photographer’s Gallery London, moving to Turner Contemporary in Margate to Brighton and finally for five days in various locations in Folkestone. The festival uniquely bridges the gap between moving image genres, from art videos, experimental film and conventional cinema, including sound and performance works, exploring how different art forms share often common media platforms and language as well as different histories.