John Hansard Gallery’s presents an evening of artist’s films in partnership with Southampton Film Week.

Venue: God’s House Tower, 3 Lower Canal Walk, Southampton SO14 3GS
14. November 2017 | 7-9pm | FREE, booking required

Book your place HERE
The following films will be shown:

Shezad Dawood, Trailer, (2011), 15’00”
Uriel Orlow, Muthi (2016-17), 17’00”
Imogen Stidworthy, Barrabackslarrabang (2010), 9’13”
David Blandy, Child of the Atom (2011), 14’00”
Rosalind Nashashibi, Vivian’s Garden (2017), 29’50”

John Hansard Gallery’s presents an evening of artist's films featuring Shezad Dawood’s Trailer (2011), edited as a re-reading of the artists' feature film Piercing Brightness (2013). Based in Preston, UK, the film refers to Lancashire’s claim to the highest UFO sightings and largest Chinese population in the UK. Here Dawood uses science fiction as a tool to challenge notions of race, migration and identity.

Imogen Stidworthy’s Barrabackslarrabang (2010) takes us to Liverpool and Birmingham, where local communities speak an underground slang named Backslang. The language grew out of poverty, powerlessness and illegal trade, allowing individuals to speak without being understood by the authorities.

Uriel Orlow’s Muthi (2016), takes us to South Africa where the artist documents the infrastructure around traditional herbal practices in Johannesburg, the Western Cape and Kwazulu-Natal. Muthi is a comment on value and practice, whilst touching on the wider issues of the loss of indigenous knowledge and tradition, in the presence of modernity.

David Blandy’s Child of the Atom (2011), follows the artist and his daughter on a trip to Hiroshima, Japan. Blandy’s grandfather was held as a prisoner of war in Malaya and Taiwan from 1942, where the drop of the drop of the atomic bomb onto Hiroshima saved his Grandfather’s life. Owing his life to one of the most devastating occurrences in human history, the artist and his daughter travel back to the Japanese city to try to somehow come to terms with his and also his daughter’s existence and underlying guilt.

Rosalind Nashashibi’s Vivian’s Garden (2017), also presented at this year’s documenta, follows an artist daughter and mother Vivian Suter and Elisabeth Wild as they go about their daily lives in Panajachel, Gutemala. Here the couple have developed a matriarchal compound, where their extended household includes the local Mayan villagers.   

Book your place HERE

With special thanks to LUX, London