Quick blog update!
Latest dates for Screen Kiss Series screening on the ONE HUNDRED FOOT II tour are…
This Tuesday 1 July at the Jerwood Gallery, London, with a Q & A from the curator, Jim Hobbs.
And next Wednesday 9 July at the Star and Shadow, Newcastle… with live MC-ing from the legendary David Leister!
ONE HUNDRED FOOT II is the second gathering of artists’ 16mm ﬁlms which explore the us of this short, analogue format within the ﬁeld of moving image work. As an industry standard, 100 feet of ﬁlm (approximately 3 minutes) is the given length for a small spool of 16mm ﬁlm. This given/standard/restraint has been used by artists in the past and remains a pertinent form/format today. Utilizing this number, a ﬁlm can be conjured up within the parameters of two distant but speciﬁc points – 0 and 100. In understanding that ﬁlm, as opposed to digital, is measured in this tactile and physical form of length, the ﬁlmmaker/artist must address the issue of time through the measurement of a material length. For some, this constraint is seen as a time limit; for others, it becomes a ﬁnite amount of physical material in which to construct a work, similar to a sculptor’s material; and again, for others, their considerations may combine or reach beyond these deceptively simple approaches. The concerns around this issue are as idiosyncratic, subjective, and varied as the artists’ work itself – yet it is within this standardized and objective limit of 100 feet of ﬁlm, that each maker must compose their subject matter through an exercise of economy. Whatever the ﬁlmmaker’s or artist’s intent, there is no doubt that this speciﬁc measurement is an actualized consideration for any artist working with ﬁlm.
Holding true to this interest, and while still being open to interpretation, Jim Hobbs has collected 21 ﬁlms, all shown on 16mm, by artists and ﬁlmmakers whose work falls within the parameters of “One Hundred Foot”. Collage, found footage, handmade processes, ﬁlm manipulation, short sketches, ﬁnished works, end of reels, rushes, and cans that haven’t been off the shelf in years – these ﬁlms offer up a type of B-side mentality and a glimpse into many of the artists working process. Additionally, the works engage with ongoing debate around the role of analogue within a digital age – questioning its purpose, aesthetics, and intention in the realm of contemporary moving image works.