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Monday, 30 September 2013

Dance + Politics: Performance & Discussion - Alexandrina Hemsley and Jamila Johnson-Small present O. @ Chisenhale Dance Space, E3. 5 October. £8

Alexandrina Hemsley and Jamila Johnson-Small present O

Years ago, a respectable music critic in Time Out was questioning the politic in his music album preview, ending severely about the equation art + politic = dodgy. Unfortunately, in that specific case, he was right. As a picture researcher for that album, that painful critic allowed me to revise my politics on politic = how to address a political issue in art. Not just throwing “crudely” something at people’s face!
What freaks me out at present is the formatting of the pseudo-political = using poverty, race, gender, mental health issues, drinking-drug abuse to obtain attention-money, and at worst sparkling über glam theories... A new genre of capitalism, more underground is being born, using the precarious conditions to discriminate!

Ok, it’s Monday, it smells of cold sun and PR just told me I can’t see Willis Earl Beal = too many journalists (and yet a few who actually bothered to write up) on press list + gig sold out = am fucked! That is the correct equation.

The good news is that little by little, I’m surfing on some right tracks. It takes time when you leave a place for so long to re-adjust and trust.
Saturday October 5 = Dance + Politics: Performance & Discussion - Alexandrina Hemsley and Jamila Johnson-Small present O - A duet exploration about being black, mixed and female addressing awkward and uncomfortable everyday experiences induced with choreography at Chisenhale Dance Space.

Putting sexual objectivity to bed with a bang”. And the show starts with a posture and then they dance and then they wonder if they are avoiding things?
Alexandrina and Jamila are dance makers using their bodies as political body language. They challenge the fact that as body mover women they/we have to justify what they/we do/create and why they/we do it. Possibly bearing a resemblance of Jan Fabre’s My Body, My Blood, My Landscape with a hint of Laura Mulvey // Peter Wollen’s Riddles of the Sphinx (see post on 19 September).
O invent, re-invent and deny ourselves, finding different ways of just Being.
O is an ongoing struggle that is scandalous, confused and joyous.

After the show there will be a discussion titled Feminism and Dance - have things improved? chaired by Jacky Lansley with guests Anna Furse, Charlotte Vincent and Alex and Jamila.

Also on October 5 & 12 Improvising Politics: An Exploration of Somatic Citizenship, workshops with Hamish MacPherson

Saturday 5 October 2013: 7pm. Ticket Price: £8. Please book in advance on: 020 8981 6617 // Email:

This is part of THE BIG 30 @ Chisenhale Dance Space - For more details of events, go to =    

Chisenhale Dance Space, 64-84 Chisenhale Road, London E3 5QZ.

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Thursday, 26 September 2013

Yeti Lane last night @ The Shacklewell Arms, E8

Yeti Lane
pic stolen from their FB page
Sonic Cathedral label

This morning I woke up with a yellow stain on my forearm. I freaked out. What kind of disease have I caught?
Eventually, when I remembered my name (no-I-don’t-drink-heavily-I-just-need-time-to-readjust-to-morning-jetlags), I realised I spent a few hours in Sonic Cathedral’s arms last night @ The Shacklewell Arms, E8.

Yeti Lane (another “abominable” name) came on stage. Lots of machines, a drum kit, a guitar and two male human beings. A shoe-gaze-psych-prog qui déménage = un truc furieux mais hyper bien foutu. (something hairy and furious but well made that (re)moves furniture in high speed).

It’s a bit like being a masochist = you wake up just after dawn in summertime, take the 106 bus from Clapton Library and ride to Finsbury Park imagining being chased while listening to Yeti Lane. Perfect synchro = high speed in narrow lanes = right, left, straight, red light. Right, right, straight... Finsbury Park station in no time. No injury. A great moment.

Some chases are so unexpected... Encore!

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Wednesday, 25 September 2013

Mexico in London. Lorelle Meets The Obsolette. Wednesday 25 September @ Shacklewell. £7 adv. Corsica Studios = 26 september

Courtesy of Sonic Cathedral label

This Mexican shoegaze/psych duo from Guadalajara Lorelle Meets The Obsolete play their debut UK show in a co-headline slot with Yeti Lane.

NME recently described it as sounding like “Stereolab getting wasted on Walter White’s finest blue crystal and pretending to be Queens Of The Stone Age”. BabyLondonOrbital adds: “the baby bottle was filled with Echo and the Bunnymen...”

On Monday 23rd September the band releases their new single ‘What’s Holding You’ on limited edition blue vinyl 7″. It comes backed with ‘Medicine To Cure Medicine Sickness’, their incredible contribution the ‘Psych For Sore Eyes’ EP. Both songs were recorded by Cooper Crain (Cave) and mastered by Sonic Boom. Listen below.

Soundwise, click here - video posted on twitter today
Label responsible for... this =

Sonic Cathedral presents: Lorelle Meets The Obsolete + Yeti Lane
Wednesday 25 September @ The Shacklewell Arms, London
Doors open @ 8pm
£7 in advance
71 Shacklewell Lane, Dalston, London, E8 2EB

Thursday 26 september @ Corsica Studios

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Monday, 23 September 2013

Pink Martini. Get Happy. Album release today on Wrasse Records. Gig = 18 October @ Royal Festival Hall with the von Trapps

Courtesy of Wrasse Records

From Harvard to Pink Martini... 1994 = Thomas M Lauderdale + China Forbes decide the world should be a better musical space. They give birth to Pink Martini and breastfeed it with a concoction of pop-rétro, jazz, 40’s-50’s Hollywood music-hall, French cabaret with a hint of global spice. The US is taken by storm and so is the rest of the world. The baby speaks 15 languages instantly.
Pink Martini is a la vez festif and tambíen it recognizes a great amount of tristesse in the world.

Today, they release Get Happy on Wrasse Records. The album contains 16 songs and is as varied as usual // singing in French, Spanish, German, etc. // covering songs from jazz to cabaret-esque styles. Guest artists include semi enfant terrible Philippe Katerine, Meow Meow, Ari Shapiro, the von Trapps, Rufus Wainwright and the late Phyllis Diller.

Smile, originally by Charlie Chaplin, was recorded in North American actress Phyllis Diller (1917–2012)’s living room in Los Angeles.

Get Happy is a cocktail of local pop songs from all corners of this planet. And if you want to be part of their carnival... get happy quickly coz only some seats left in rear stalls and balcony @ Southbank Centre. = Pink Martini will be performing with the Von Trapps at the Royal Festival Hall on 18th October.

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Friday, 20 September 2013

Sergei Loznitsa. Blockade, Revue and Landscape. A New Wave Films DVD release. 23 September

Courtesy of New Wave Films

Blockade. Landscape. Revue // three films by Sergei Loznitsa.

Landscape =
The film opens on a “steady” landscape with a house in the background. From the next scene, the camera pans nonstop on what seems to be a merry-go-round on a slow motion. Narrowing the snowy streets to the landscape of faces. Faces of Russian people waiting for a bus in Okulovka. While the bus is late, we observe those faces spanning through different generations in today’s life. In the background, we hear conversations without seeing their faces; a woman is too hot as she is wearing everything she has in the wardrobe, adding there is nothing left at home to steal. On some other traits, we hear a group of women being concerned by their drunken husbands. Vodka is a real scourge in Russia. As the queue is growing, we hear about the government cutting benefits on those affected by Chernobyl, some others being in Chechenya, too young! One hour later, the bus arrives. The usual battle (wherever in the world) to get in. The bus goes; a man is pushing his wheelbarrow. No music to manipulate our emotions.

Blockade =
900 days between September 1941 and January 1944. Leningrad under siege. Hitler’s attempt to starve a three million soviet people. Rarely seen footage found in Soviet archives, Blockade opens on a march. A group of men surrounded by gunned men, themselves surrounded by a growing crowd throwing and (unheard) swearing at the un-gunned men. A reminiscence of Jean-Gabriel Périot' work (see clip on BLO’s tweet). The film moves on to a bus/tramways cemetery, corpses lying in the snow, people on a road to somewhere/nowhere, people digging snow to drink dirty water. Despite the horror of the conditions, we observe beauty in this mosaic of landscapes. Fireworks explode on blurred images of happiness. 5 January 1946. A truck with men. Some of them with a rope. The truck leaves, a huge crowd around the poles. Sentence was carried out...

Revue =
A kaleidoscope of Soviet life in the 50’s and 60’s from researched footages. Revue combines a perspective on propaganda films with TV shows and theatre celebrating labour in the farm. People are happy. So it seems. So they believe. A view through a keyhole in the U.S.S.R’s society, politics, arts and culture.

Sergei Loznitsa. Another genre of Jean Rouch. More brutal. More poetic.

Blockade, Revue and Landscape are feature-length films made between 2003 and 2008. The release of this special DVD set will allow viewers to discover three much revered but mostly unseen documentary films by Sergei Loznitsa.

More info =

RELEASE DATE:                      23rd SEPTEMBER 2013                        BBFC:              E
CATALOGUE NO:                     DVD NW053                              SRP:               £19.99

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Thursday, 19 September 2013

Róisín O sings...

Róisín O

A few days ago... an email from Ireland. A manager who likes my blog and with lots of promises... (unkept though) Anyway, a video. Róisín O sings “A small spark can ignite the light and hold it in your heart, But a small thought can put it out and hold you in the dark... and your fingertips are Screaming let go... Hold on, please, hold on.”
Pure crystal voice. nice to hear.

I wrote back. Will post it exceptionnally as BLO is about “stuff” happening in London one way or another... but then again... it’s good to have a break from London. 

Hopefully, London will have the privilege to welcome miss O if the manager moves his finger off his ass!

Watch the video for Róisín O’s song ‘Hold On’ somewhere...

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Laura Mulvey // Peter Wollen. Riddles of the Sphinx (1977). Music by The Soft Machine’s Mike Ratledge. A BFI DVD release on 23 September + film screening = 4 October // Q&A with Laura Mulvey

Riddles of the Sphinx by Laura Mulvey & Peter Wollen
Courtesy of BFI

Laura Mulvey // Peter Wollen.  Riddles of the Sphinx (1977). Music by The Soft Machine’s Mike Ratledge. A BFI DVD release on 23 September + film screening = 4 October // Q&A with Laura Mulvey

Laura Mulvey and Peter Wollen's visually accomplished and intellectually rigorous Riddles of the Sphinx (1977), featuring music by The Soft Machine’s Mike Ratledge, is one of the most important avant-garde films to have emerged from Britain during the 1970s. (Another wonder of avant-garde films in the 70’s is the work of Jane Arden - available on BFI).

Chapter I // Opening Pages vs Chapter VII // Puzzle ending = the logical & mythic of the book echoing two mercury balls being moved around a handheld wood toy maze // layers of labyrinth and traditional structure.

Chapter II // Laura Speaking vs Chapter VI // Laura listening = Laura Mulvey speaking about mother and child, the voice of the Sphinx; a questioning voice; a voice asking a riddle. Motherhood as mystery and with resistance as patriarchy... echoes Laura listening to her recording.

Chapter III // Stones vs Chapter V // Acrobats = grainy B&W photographs of the Sphinx echoing two-tone tints footage of female acrobats.

Chapter IV // Louise’s story told in 13 tableaux = standing alone like a stoical Sphinx, this chapter is a series of thirteen 360-degree continuous circular pans of domestic, professional and public spaces including Malcolm LeGrice’s Kitchen & Stephen Dwoskin’s bedroom. Occupied by Louise, her two year old daughter Anna, her husband Chris, her mother and her female friend Maxine, we observe Louise’s alienation within those spaces. “Maybe Louise is too close to her daughter” we can read in the first sentence fragment. The chapter subtly draws around the myth of Oedipus’s encounter with the Sphinx mythology –a psychoanalysis observation on Louise “suffering” unconsciously her role mother imposed by 70’s Western society – hypnotised by a nagging music score. (Pipilotti Rist’ works seems to have been highly influenced by Mulvey/Wollen // from the main theme on women to the hypnotic sound and visual score– view clip on Twitter).

Riddles of the Sphinx builds a complicité between the viewer-voyeur and the main character, Louise. She expresses her own opinions via a soundtrack of her voice (over) and at times in conversations with her female counterparts. The film reports the complexity of a woman via a schizophrenic – multiple personality’s scenario-society. The problems faced by women at the time of the filming (and still valid today) is emphasised by the silent movie era effect = reading emotional statement text cards prior to the next shots. The omnipresent tradition oppressing a developing society while viciously undermining women and keeping them... at bay.

Diane Tammes was the cinematographer for the film = the first woman cinematographer in the UK to be graduated by the union (p14 of the booklet) who went on to be a BAFTA award-winning.

Rob Young (contributing editor of The Wire, Sight and Sound writer, etc) gives a three pages statement on Mike Ratledge’s music score = “... a multitracked analogue synthetiser tones: shimmering, serpentine tapestries or meditative, oddly mournful electronic etudes...”

To watch a short clip, click here

To relaunch the Essential Experiments strand that explores the rich history of artists’ cinema, a pristine new digital print of Riddles of the Sphinx will be screened at BFI Southbank, followed by a Q&A with Laura Mulvey on Friday 4 October 18:10, NFT2please note – those with a hearing deficiency = Laura has a very fine pronunciation. 42 seats left as for now going BLO.
Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London.

Special features =
Presented in both High Definition and Standard Definition
Newly recorded feature length audio commentary with Laura Mulvey and academic Winfried Pauleit
Laura Mulvey in Conversation (2013, 15 mins): the filmmaker and academic discusses Riddles of the Sphinx and her other films
Penthesilea: Queen of the Amazons (Peter Wollen and Laura Mulvey, 1974, 98mins): trail-blazing avant-garde film exploring the image of the Amazonian woman in myth and popular culture
Illustrated booklet featuring new essays by Sophie Mayer, Laura Mulvey Michael Brook and Rob Young, and complete film credits.

Product details =
RRP: £19.99 / cat. no. BFIB1176 / Cert U. UK / 1977 / colour / English language (optional English hard of hearing subtitles) / 91 mins + 98 mins / Original aspect ratio 1.33:1

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Wednesday, 18 September 2013

THE BIG 30 @ Chisenhale Dance Space, E3 = A triple bill of works = Will Dickie/ Lisa May Thomas/ Dan Watson. 26 September. 7pm. £8 in advance

 Lisa May Thomas will be screening a re-edit of Shipwrecked

Once marshland and forest in the 16th century, Blithehale or Blythenhale became Bethan Hall Green (because of local pronunciation as Beth'n 'all Green) and by the 19th century, it changed to Bethnal Green, then part of East London.
An industrial steel structure brick building from around 1930 and located on Chisenhale Road  used to be a veneer factory and a brewery (Godson’s) before being left derelict and in a mess for a decade.

Chisenhale Dance Space (CDS) has been partly occupying this renovated building since 1983 and is now very well known for its boundary-pushing performances.
With a committed local audience, CDS aims to be a key organisation for artist led activities within the Tower Hamlets community, with a particular focus on providing activities for young people.

From 19 September to 23 November, London’s experimental Chisenhale Dance Space is launching The Big 30 — a three-month celebration including new commissions with a line-up of performances and workshops.

26 September = A triple bill of works.

Will Dickie’s Memories of Suburbia is a solo live art performance, weaving together physical responses to the built environment of suburbia with sound recordings of an elderly inhabitant. A piece about memory, place and existence.
Will Dickie is an emerging performance maker engaged with ongoing psychophysical training methods including Butoh, Kalaripayattu and Suzuki training.

Lisa May Thomas will be screening a re-edit of Shipwrecked giving audiences a peek at her research into placing her videowork into a live space.
Lisa is a contemporary dance artist working predominately with dance and movement for the screen. On previous projects, she has taken on the roles of writer, performer, improviser, researcher, developer, choreographer, director, editor and producer.

Dan Watson’s Jacket Dance is a duet about dancing ridiculously. There must be something seriously meaningful in the idea of ridiculous dancing.
Dan has worked with a variety of artists including Wendy Houston, Nigel Charnock, Stan Wont Dance and StopGAP. He has created two solo projects; Semi Detached and Precariously.

Thursday 26 September 2013: 7pm. £8. Box Office Mon-Fri 10-6pm only

Please book in advance on: 020 8981 6617 // Email:

For more details of events, go to =   

Chisenhale Dance Space, 64-84 Chisenhale Road, London E3 5QZ.

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Tuesday, 17 September 2013

Glass Animals. New single ‘Psylla’. London date = 12 Nov

Glass Animals will release a new single ‘Psylla’ late 2013. The hypnotic track is the second single from the Oxfordshire quartet to be released on Paul Epworth’s new label Wolf Tone, following on from their previous much talked about AA-sided ‘Black Mambo’ / Exxus’ single.

The single marks a new phase for the band. Having previously recorded all their music in an isolated, home-built studio (“The Shed”), deep in the forests of Oxfordshire, Glass Animals vocalist and production dynamo Dave Bayley moved with the band to the more urban surroundings of Paul Epworth’s London studio to start work on their debut album (due for release early next year). The move has pushed the band’s sound . ‘Psylla’ is the first track to surface these sessions, mixing digital and organic sounds, future-facing electronics, dubby FX and sweetly soulful melody to hypnotic effect.

Following on from their recent sold out show at London’s Electrowerkz, Glass Animals have announced a new headline tour. The 9 date UK & European tour will feature support from Woman’s Hour in Sheffield and Liverpool, with full support line up’s to be announced shortly

You can hear ‘Psylla’ right now here:

Glass Animals London // UK Tour
12th November                          Concrete, London

12th October                              Simple Things Festival, Bristol
2nd November                           London Calling Festival, Amsterdam
3rd November                            In The City, Eindhoven
8th November                            Broadcast, Glasgow
9th November                            Bowery, Sheffield  (with special guests Woman's Hour)
10th November                          East Village Arts Club (upstairs), Liverpool (with special guests Woman's Hour)
13th November                          The Hope, Brighton
14th November                          The Jericho Tavern, Oxford.

 Glass Animals are: Dave Bayley, Drew MacFarlane, Edmund Irwin-Singer, Joe Seaward  

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Monday, 16 September 2013

BRiAN WHAR. COME DAWN. A 16mm film projection. 21st September. 7pm - 10.30pm. E5. Free

COME DAWN. Still from film by BRiAN WHAR.

6 September. 9 am. Checking the list of emails. One stands out. BRiAN WHAR. Subject matter = COME DAWN! An improbable name with an improbable matter sub-indicating that upon opening that email, my computer will explode setting a giant fire in Clapton Meridian Time area. Since I have never had the privilege to call the Fire Station, I succumb to the temptation and click open. Yes, yes, yes, I lead an exciting life!
BRiAN is a very good friend of a very respectable artist (who has set up his FB event on Earth). Reading his cosmic-press literature, I am decidedly intrigued and will definitely post about his film projections between 7 and 10.30pm held in Clapton Kingdom. He wants BLO’s address, so he can send me a copy of the film. He also mentions that Bill Drummond won’t be attending but he wishes him all his best. Mr What Time is Love // KLF himself wrote him up!

12 September. 9 pm. As I am drinking the usual glass of Leffe, the door bell strangely rings. Underwear’s on, I open the door. A strange bearded alien from outer space holding a brown envelop! Outer space because he lives two lights away from mine. We eventually opt for English language to sooth the understanding process. As I walk back up, I scrutinise the stamps (I used to collect stamps as... a child). These stamps are definitely collectors, made somewhere very far from Earth. The envelope too. I can even decipher my name on it. I decide to put the stamped envelope in a safe and sell it to Saatchi at a convenient solar eclipse time. The DVD player is fed with THE piece!

BRiAN WHAR’s Come Dawn is a 20 minutes long invitation to consider the visceral feeling of precognitive primary experience. The film is accompanied by a hypnotic sound from Our Sleepless Forest.
Several projections will take place from 7 pm. The last projection will be @ 10 pm.
The work consists of two identical reels of 16mm film containing 27,930 frames and spanning 699 feet in length. The first reel is cut into equally measured lengths, suspended vertically and framed. Projected through this appropriated first reel, the second reel provides the illumination. Though treated differently, the two reels are mutually dependent in order for the piece to work. Minute in detail and grand in scale this new work seeks the moment of affect; the manifestation of the body’s internalisation of intensity. The film‘s new soundtrack is created by South London trio’ chilly post-rock vibe // OSF.

For dummy aliens = the piece is the 'screen' - the bright round image. The piece is a 699ft long reel of Super-16mm film chopped into 147 strips, hung vertically and framed, displaying 27,930 individual frames to form an image spanning 2.5 meters in width. A duplicate of the 239ft long reel left in its full form will then be projected through the framed piece from behind, to be viewed from the front bringing the thousands of frames to life as two separate entities of light stemming from the same source collide to become one illuminated image.

21 September = the last day of astrological summer. Between 7 // 10.30 pm. Kidnap some earthlings. Do come down quietly to the improbable MKII space shift before el maestro WHAR rockets off to some foreign galaxies... the space is located in the North Hemisphere of Earth = latitude = 51.4633; longitude = -2.7564.

Do succumb to the temptation to click open BRiAN WHAR’s website, look out for his alien-esque visions in photography.

BRiAN WHAR is an artist and photographer. He was a member of the art-interventionist collective CutUp and has exhibited in London, New York, Barcelona, Glastonbury festival and Tate Modern.
He is a graduate of Central St. Martins.

Free entrance to MKII , 71-75 Powerscroft Road, Clapton, E5 0PT. A new 16mm film projection by BRiAN WHAR. Screenings 21st September 7pm - 10.30pm. Bus 242 = first stop in Powerscroft Rd, coming from Upper Clapton, then walk down for two minutes).

Trailer =

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Friday, 13 September 2013

Sarah Morris’ Bye Bye Brazil. Marcian Galan’s Geometric Progression. WhiteCube Bermondsey. Until 29 September. Free exhibition

Sarah Morris. Rio. 2012
Beta digital, colour
Duration: 88 minutes 33 seconds
© Sarah Morris
Courtesy White Cube

Hoxton Square, N1. 2002 or 2003. The usual suspects always gathering at WhiteCube PVs. Thousands of suspects including Elton John. Reaching the first floor was always a bit of a “lucha”. There was a black curtain, some sound and a huge crowd. For some reason, I managed to sit on the bench. Sarah Morris’s Miami was on. My first encounter with her video work.

Since then, WhiteCube has moved to different locations in London and in the world, leaving Hoxton Square like others did = legendary Blue Note, Lux Cinema, Straight No Chaser Mag, Howie B’s PussyFoot. Bye bye!

Bermondsey is not exactly around my corner and yet, I have gone three times since the opening of Sarah Morris’s Bye Bye Brazil. Entering for the first time Morris Rio’s abstract-diagram colourful paintings, I am quickly drawn by a music score playing at the back. Her partner in crime, Liam Gillick is responsible for the score of Morris’ 89 mins’ eleventh film Rio (2012).
Sarah Morris continues her study on urban psychological landscapes = an immense city with its contradiction. Morris captures a hyper active metropolis where individuals and sites interact day and night = hospitals, the office of architect Oscar Niemeyer just before his death, the headquarters of the Mayor of Rio, Eduardo Paes, a dance party of highly sexualised children in the City of God, the famed talk show host, Regina Casé on a visit to a favela, football stadiums, the apartment of Bossa Nova muse, Nara Leão, the inside of the Brahma beer factory, Ipanema Beach. Rio ends with the infamous Carnival Winner’s Parade where the “joy” of the dancers is played on a slow motion while the music score is voluntarily lethargic.
There is a feel of Parreno-Gordon’s Zidane, a Twenty-First-Century Portrait juxtaposed with Martin Parr’s art work. An urban trance experience!

Not to be missed also is Marcius Galan’s Geometric Progression in the central 9×9×9 gallery. Galan has installed a giant ‘mobile’ sculpture composed from a series of suspended iron discs that descend in increments from the largest to the smallest, coin-sized piece. Naturally these varying weights counterbalance and contradict the very nature of a ‘mobile’ by statically hitting the floor in addition to subverting the vertical volume of the gallery.

WhiteCube @ Bermondsey. 144 – 152 Bermondsey Street, London SE1 3TQ. Opening times = Tuesday – Saturday = 10am – 6pm. Sunday = 12pm – 6pm. Free Entrance. Until 29 Septembre.
Sarah Morris’s channel = here

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Thursday, 12 September 2013

Michael Clark. A very rare screening. Hail The New Puritain. By Charles Atlas. @ Chisenhale Dance Space, E3. 21.September. £10

Photo Credit: Michael Clark by Charles Atlas, 
Hail The New Puritan 1985-88 
Courtesy Electronic Arts Intermix (EA) New York

This very rare screening has to be booked ASAP if you like dance, choreography and last but not least... if you worship Mister Clark... Michael Clark! This event is part of the Big 30 (see at the bottom)
BOOK NOW on 020 8981 6617

Directed by       Charles Atlas
Choreography   Michael Clark
Starring            Michael Clark, Leigh Bowery, Mark E. Smith, Brix Smith
Music by          The Fall, Glenn Branca, Bruce Gilbert, Jeffrey Hinton
Distributed by   Electronic Arts Intermix
Running time    85 minutes
Language         English
Year                1985-86
Produced by     Jolyon Wimhurst
Colour, sound
Saturday 21 September 2013: 7pm
Book in advance, Ticket Price: £10 with popcorn
Filmed by Charles Atlas in Chisenhale's main studio, the film will be shown exactly where it was made, complete with the original brick wall and maple floor.  Hail The New Puritan will be introduced by Ellen van Schuylenburch, a founder member of the Michael Clark Company

Charles Atlas shot Hail The New Puritain’s film as a faux-cinéma vérité. Depicting a day in the life of legendary Scottish choreographer Michael Clark, then 23 as he and his Company prepare for a performance of The New Puritans.
The mockumentary-docufantasy is backed by a raucous soundtrack from The Fall, Bruce Gilbert etc. following this exuberant and witty voyage. Atlas glimpses into the mind of a man who defined the choreographic extravagances of the 1980s post-punk London subculture.
The film focuses on Clark's flamboyant erotic postures and his provocative balletic performances from its surreal opening dream sequence to the final solo dance via his milieu of fashion, clubs and music. A journalist pops in to interview Michael Clark = how has he started dancing? Why did he come to London? What’s his interest in Scottish dance?
Clark, Mark E. Smith and Brix Smith appear on TV. Clark and Agis shoot a scene in a film. Clark shows up at Leigh Bowery’s who is getting ready for clubbing. Clarks has a date, heads to a club and goes home at pre-dawn where Agis is asleep. Clark strips and dances to Elvis's "Are You Lonesome Tonight?"

Clark is the “enfant terrible” in the world of contemporary dance and a genius of choreography. This is not an event I would advice you to miss for I have seen his collaboration with Vivienne Westwood, Jarvis Cocker, YBA’ Cerith Wyn Evans and Sarah Lucas.
Michael Clark studied at the Royal Ballet School in London, attended a summer school with Merce Cunningham and John Cage, worked with Karole Armitage, through whom he met Charles Atlas...

More info =

Xtra info = The Big 30 - September 19 - November 23
This Autumn, Chisenhale Dance Space celebrates 30 years of boundary-pushing performance via The Big 30 - A season of performances, workshops, events and talks as well as critical discussion, improvisation, family events, classes and coffee mornings. This auspicious anniversary looks curiously at the past and boldly towards the future, highlighting Chisenhale Dance Space's explorative history while showcasing exciting new artists at this influential East London venue.
The Big 30 launches on Thursday September 19 with a Dance Art Foundation workshop led by Louise Klarnett, followed by Cake - A special evening launch party performance from Eleanor Sikorski. 

Chisenhale Dance Space.  64-84 Chisenhale Rd, London E3 5QZ. Tel = 020 8981 6617

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See also Time Out paper from last week to today

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