Cinenova BFI Digital Access Project Project Manager Job Description Audio Version

Women appear, but on whose terms? In this recording from the 2015 London Film Festival Lucy Reynolds (artist, writer and Course Leader of MRes Art: Moving Image, Central Saint Martins) chairs a discussion on how women artists are represented in the histories of experimental film. 

Panellists include Charlotte Procter (Collections Manager of LUX & Member of the Cinenova Working Group), Maud Jacquin (independent scholar and writer) and Mark Williams (Director of CIRCUIT Artists' Film and Video Aotearoa New Zealand), and co-curator of the LFF screening Joanna Margaret Paul: I am an open window.

Introduction
0 – 4.35 Lucy Reynolds. Quote from Lis Rhodes’ essay Whose History? (1979).

Panel Presentations
4.35-13.10 Maud Jacquin on women film-makers working in the London Film-makers Co-Operative from the mid 1960s to the mid 1990s; alternative conceptions of the body, subjectivity and history

13.49-27.00 Charlotte Procter on Cinenova; a distribution agency formed in 1991 from merger of two feminist film distributors Circles and Cinema of Women; questions of archiving

27.26-37.10 Mark Williams on working with the collection of Joanna Margaret Paul (1945-2003), a New Zealand film-maker and artist working across disciplines whilst living in the geographical margins 

Panel Discussion
37:00 LR to MJ: Why show this work now? What drew you to the work? How to bring it into dialogue with contemporary artists? 

41.50 LR to CP: What are young practitioners finding in the Cinenova collection? 

43: MJ/MW: on inter-disciplinary nature of women working in the 1970s

44:42 LR: cites Guy Brett’s observation that for women the distinction between life and art is more porous

46:00 LR: On having to continually answer the question of why it was necessary to establish distribution and representation that was/is women only

47:40 LR: How to find women’s work? MW on working with Archives and issues with cataloguing 

48:50 LR: Why the struggle for institutional advocacy? Corresponding danger of work being subsumed into institutions. 

52:30 Is the museum a good space to show experimental film works? 

55:00 How does the contemporary art market support the preservation, distribution and accessibility to historical film works? How do female moving image artists feel about their relationship to the art market and the collecting institution? How does this differ from their relationship to self-determined (and feminist) models for exhibition and distribution? 

Audience Questions
58.30 (Question 1) How do we represent historical feminist work in a contemporary institutional context and innately embody feminism? 

52:00 (Question 2) With Joanna Paul’s work how do you release something so personal to the marketplace? MW on market potentially providing funds for restoring the Joanna Paul archive 

65:32 (Question 3) In the 1970s structuralist movement how did women extend the paradigm of experimental film? 

68:30 LR: What does contemporary feminist scholarship project on the past? 

73.00 (Question 4) How did women artists in the 1970s support themselves financially?

76:00 (Question 5) What other parallel histories and genealogies of Women’s experimental film-making await scholarship? 

79.30 (Question 6) Does exclusion from official histories and movements offer a kind of freedom from ‘the baggage’ of other histories? 

81.21 (Question 7) What kind of challenges are associated with archiving and preserving video as a medium? 

86:00 (Question 8) How do we prioritise what gets preserved? 

88:28 (Question 9) How do we introduce the work of older female artists to younger female practitioners?

93.30 (Question 10) What kind of writing accompanies the works and in what form, be it essays, cataloguing or other? 

101.00 (Question 11) What other contemporary resources exist for the promotion of film works by women? 

106:00 Ends

Thanks to LUX, The London Film Festival, Benjamin Cook and Stuart Heaney.


Episode 35: Writing Women's Experimental Film Histories

A conversation between Ciarán Finlayson, writer and member of the political education collective Hic Rosa, and Marina Vishmidt, Lecturer in Culture Industry at Goldsmiths, University of London. This event was programmed in association with Hannah Black's exhibition 'Some Context' at Chisenhale Gallery.

Recorded on Thursday 2 November 2017

Ciarán Finlayson and Marina Vishmidt in conversation

Figure Eight is Half of 4: The Augmentation, Automation and Abolition of Labour

A short talk by Marina Vishmidt presented as part of After Work: Life, Labour and Automation, a symposium exploring work and resistance through and against technology.

The event took place at University of West London, on 27 January 2018. It was organised by the Gender, Technology and Work research cluster at UWL, in collaboration with Autonomy, a thinktank focused on issues around the crisis of work, and wrkwrkwrk, an interdisciplinary feminist study group.

Image: Rowan Lear, She gestured meaningfully with the pistol, 2017

After Work: Life, Labour and Automation

Marina Vishmidt - Figure Eight is Half of 4

'Performing Womens Work: Investigating the ‘feminist performance score’'
by Irene Revell

Womens Work [sic]1 is a collection of performance scores2 by 14 women, self-published by Alison Knowles and Annea Lockwood in New York City in 1975. It includes the work of prominent figures such as Simone Forti, Pauline Oliveros and Mieko Shiomi though many contributors remain little known and this multidisciplinary publication has been rarely referenced and never considered in its own right. Yet it offers an invaluable counterpoint to the male avant- garde canon, evidencing a network of diverse artists relating their score-based practices to the feminist art movement of the 1970s that tended to focus on more traditional visual media.
Revell’s paper introduces Womens Work and argues that the feminist performance score presents a complex and entangled set of relations between the two-dimensional printed score, its previous performances, and those yet to come. Working with Karen Barad’s notion of agential realism it starts to develop a post-human performative understanding of the score’s materiality and meaning in it iterative becoming, with resultant curatorial implications.

Irene Revell is a curator whose work seeks out new contexts and connections for practices with challenging social and political implications. Recent projects include the exhibition ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE with Karen Di Franco (Chelsea Space, London, 2018); “These Are Scores” workshop series (ZHDK, Zurich, CNEAI, Paris et al, 2017-ongoing); and monthly Now Showing screenings with Cinenova Working Group (LUX, The Showroom et al, London, 2015 -ongoing). Much of her work since 2004 has been with the London-based curatorial agency Electra of which she is co-director. Recent writing has appeared in journals including Sound Studies, Cesura//Acceso (with Annea Lockwood), On Curating (with Lina Džuverović). Since 2014 she has been Visiting Curator and Lecturer on the MA Sound Arts at London College of Communication where she now holds an AHRC TECHNE award for doctoral research.

***

The Women in Conceptual Art symposium presented new research in performance, scores, film and happenings emerging from female artists’ conceptual art practices: artists’ work to be addressed will be drawn from but not limited to the following: Christine Kozlov, Eleanor Antin, Lee Lozano, Deborah Hay, Dorothea Rockburne, Hanne Darboven, Ann Hamilton, Pip Benveniste, Carlyle Reedy, Marie Yates, Annabel Nicolson and Anne Bean.

Convened by Dr Jo Melvin and presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.

24 May 2018
Chelsea College of the Arts

Women in Conceptual Art | Irene Revell - Performing Womens Work

The 'Women In Conceptual Art' Afternoon Q&A featured Kate Doyle and curators Karen Di Franco and Irene Revell.

Kate Doyle specializes in the study of experimental music and sound in visual and performance art. Her interdisciplinary work draws from a background in musicology, art history, and communication theory. Kate presents at international conferences and public forums on arts and culture, and her essay on composer Pauline Oliveros will be published in the forthcoming Analytical Essays on Music by Women Composers, Volume 4 from Oxford University Press.

Karen Di Franco is a curator and PhD researcher with Tate Britain and Reading University researching forms, strategies and contexts within artists’ publishing. Current projects include the group show, ORGASMIC STREAMING  ORGANIC GARDENING  ELECTROCULTURE (co-curated with Irene Revell), at Chelsea Space, London.  She has written on Lee Lozano and Carolee Schneemann (Art Review and Art Monthly) and curated exhibitions on Carlyle Reedy, Annabel Nicholson and Marie Yates, (Flat Time House and Chelsea Space). She has recently completed an AHRC research fellowship at the Archives of American Art (Smithsonian), Washington DC. Other projects include Book Works online archive and publication Again, A Time Machine (2010-12).

Irene Revell is a curator whose work seeks out new contexts and connections for practices with challenging social and political implications. Recent projects include the exhibition ORGASMIC STREAMING  ORGANIC GARDENING  ELECTROCULTURE with Karen Di Franco (Chelsea Space, London, 2018); “These Are Scores” workshop series (ZHDK, Zurich, CNEAI, Paris et al, 2017-ongoing); and monthly Now Showing screenings with Cinenova Working Group (LUX, The Showroom et al, London, 2015 -ongoing). Much of her work since 2004 has been with the London-based curatorial agency Electra of which she is co-director. Recent writing has appeared in journals including Sound Studies, Cesura//Acceso (with Annea Lockwood), On Curating (with Lina Džuverović). Since 2014 she has been Visiting Curator and Lecturer on the MA Sound Arts at London College of Communication where she now holds an AHRC TECHNE award for doctoral research.

***

The Women in Conceptual Art symposium presented new research in performance, scores, film and happenings emerging from female artists’ conceptual art practices: artists’ work addressed was drawn from but not limited to the following: Christine Kozlov, Eleanor Antin, Lee Lozano, Deborah Hay, Dorothea Rockburne, Hanne Darboven, Ann Hamilton, Pip Benveniste, Carlyle Reedy, Marie Yates, Annabel Nicolson and Anne Bean.

Convened by Dr Jo Melvin and presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.

24 May 2018
Chelsea College of the Arts

Women in Conceptual Art | Afternoon Q&A with Kate Doyle, Karen Di Franco and Irene Revell

Listen to a radio conversation between Emma Hedditch and me about the Hospital for Self Medication and the Critically Ill meeting that took place the weekend Aug 17 - 18 2019. The meeting involved Eva Egermann (editor Crip Journal, Vienna), Tine Tvergaard (psychotherapist and artist, Copenhagen), Emma Hedditch (Artist and feminist self carer, New York), Birgit Bundesen (Psychiatrist, Copenhagen), Anders Remmer (Musician, Copenhagen), Josh Middleman (Artist and expert in self medication, Copenhagen), Sophie Carapatian (artist & sectioned revolutionary), Jakob Jakobsen (founder of Hospital for Self Medication), and more.

Hospital Prison University Radio

Conversation with Emma Hedditch about Hospital for Self Medication and Critically Ill meeting

Ima-Abasi Okon is joined in conversation with Marina Vishmidt to discuss her new commission at Chisenhale Gallery. Marina Vishmidt is a  writer, editor and Lecturer in Culture Industry at Goldsmiths, University of London.

Ima-Abasi Okon in conversation with Marina Vishmidt

Cinenova is a volunteer-run charity preserving and distributing the work of feminist film and video makers. Cinenova was founded in 1991 following the merger of two feminist film and video distributors, Circles and Cinema of Women, each formed in the late 1970s/early 1980s. Cinenova currently distributes over 300 titles that include artists’ moving image, experimental film, narrative feature films, documentary and educational videos made from the 1920s to the late 1990s.

Cinenova BFI Digital Access Project Project Manager Job Description Audio Version

Cinenova Feminist Film + Video