29 January 2004

January 29, 7PM [FREE] — FILM NIGHT: A programme of London Flaneur films and videos.

Oliver Payne and Nick Relph: “House & Garage”, 2000. A pseudo-documentary of London, UK focusing on its varied subcultures of music. Following video imagery, Payne and Relph use voiceovers to interject their own opinions and narrative experiences.

Mark Leckey: “Londonatella”, 2002. A music video by the London-based band Donateller is a collage of cliched images of London underscoring superimposed figures.

Patrick Keiller: “London”, 1994. A protagonist Robinson, played by Paul Scofield has returned to London after seven years in search of a lost love. Through this narrative, Kieller presents a narrated and visually disorienting, historical yet contemporary, journey through London, UK.

January 30, 9PM [$2.00] — One Plus: Performances by ina unt ina.

ina unt ina (Celina Carroll and Christina Zeidler) are an electronic duo who share a visual arts background and have dedicated many years to pursuing their musical and audio interests. In their present manifestation as ina unt ina they explore the boundaries of prerecorded electronic audioscapes and the acoustic resonance of guitar and vocalization. ina unt ina are a spectacle based electronic diva duo. In the studio, Christina and Celina experiment with computer based songwriting. On stage they take on the binary, twin personas of ina unt ina, animating the music for audiences through film, dance and live vocals. Part tongue-in-cheek, part aesthetic exploration, and all part of the scenery on the road to musical world domination, programmed by Kim Truchan.

as part of ACTIVATING SOUNDSYSTEM a schedule of events in conjunction with Mark Leckey’s exhibition Soundsystem.

Mark Leckey’s “Soundsystem” is a direct reference to the culture of Jamaican Sound Systems, which marks the beginning of the remix, dj crews, and live vocals over recorded music and is cited as the origin of rave and hip hop cultures. This referral and appropriation of the Jamaican Sound Systems isn’t a recontextualization of another genre into the gallery but is a way to look at the system of contemporary art production and exhibition. The sculpture itself becomes a means of representation in which Leckey’s own video and sound work and work by others, both historical and contemporary, are reconfigured.