Art Walk Porty arts festival

 


'Tracing the Tide'
FILM & FISH N' CHIP NIGHTS

SAT 7TH SEPT
THURS 12TH SEPT
9-10.15PM

By the site of Old Fun City,
area of Pipe Street/on Prom

Come and watch the films whilst having some Fish n'Chips from Oscars Kiosk on the Prom

 

 

 

Altered Landscapes

 




'Tracing the Tide'

 

A collection of artist silent film shorts alongside rarely seen archive footage, curated by Rosy Naylor.

‘Boy and the Sea' Sarahjane Swan & Roger Simian
'Groynes 41-42' Malcolm Glover
'Weir Lines 2' Andrew Payne
'Trawling' (extract)
'Altered Landscapes' Juan delGado
'Rural Shadow Walks' Sally Waterman
'Scottish Ploughman' Adam Malcolm
'Earnest Camouflage' Timothea Armour & Alima Askew
'Progress' Hayley Harrison
'Lothian PartII: Industries & Towns' (extract)
'The Glasgow Leopard' Leonie Mhari
'Waltham Forest Bath' Flora Bradwell
'Plane Window' Lynn Dennison
'February' Sally Waterman

FULL PROGRAMME BELOW




Thanks to support from Culture & Business Fund Scotland
and Oscar's Portobello.

 










Earnest Camouflage

 

FULL PROGRAMME

‘BOY AND THE SEA’ Sarahjane Swan & Roger Simian 4’58
Produced & directed by Avant Kinema (Sarahjane Swan & Roger Simian)
An intimate family portrait in Super 8, “Boy and the Sea” centres on one small boy’s sensory experience of the ocean. The film, by Scottish Borders based duo Avant Kinema (Sarahjane Swan & Roger Simian), was filmed in Ayr using long-expired Kodachrome 40 filmstock, home-processed using the Caffenol recipe.

‘GROYNES 41-42’ Malcolm Glover 11’25
supported by Arts Council England.
Groynes 41-42 is a collection of video portraits by photographer Malcolm Glover, made on two particular areas of the beach in St Leonards, East Sussex. In these ‘living breathing photographs’ sitters look into the camera for 30 seconds against the background sound of the beach at that moment.

‘WEIR LINES 2’ Andrew Payne 3’12
The film Weir lines 2 is a sequence of close-up shots of river water flowing over a weir. It shows the surface of the water marked by moving reflections of vegetation surrounding the weir and the footbridge crossing it.

‘TRAWLING’ (extract) 3’00
Footage from 1961 of a trawler setting out from Aberdeen, showing the physical work of being at sea.

‘ALTERED LANDSCAPES’ Juan delGado 13’07 (UK, Greece, France)
supported by Arts Council England
Altered Landscapes is a new body of work by Juan delGado which traces a personal narrative through the scarred vistas of Europe in the midst of the largest mass migration in living memory.In 2016 delGado travelled to Greece, Macedonia and Calais and recorded the journeys taken by refugees, many of whom are from Syria and northern Iraq. The artist did not film these ‘invisible’ people who proliferate our media, rather he chose to capture the traces of their existence: the fleeting moments and marks left on the land as they pass through to find safety.

‘RURAL SHADOW WALKS’ Sally Waterman 6’15
(From the ‘Waste Land’ project)
Waste Land re-interprets T. S Eliot’s 1922 poem to address the divorce of Waterman’s parents through its metaphorical landscapes. She adopts elusive modes of self-representation, appearing as an anonymous figure or a ghostly trace, employing subversive modes superimposition, speed adjustment and repetition that acknowledges the poem’s modernist context and bricolage structure.

‘SCOTTISH PLOUGHMAN’ 11’00
A 1950s film directed by Adam Malcolm showing the intricate detail of a day’s work ploughing the land shot at Mr Sommerville’s Smeaton Farm, on the outskirts of Dalkeith (still in operation). Jimmie Gemmell is the ploughman featured.

‘EARNEST CAMOUFLAGE’ Timothea Armour & Alima Askew 8’47
The Grey Heron and the gargoyle-like Grey Smudge make their way towards each other along the Water of Leith, from the Pentland Hills to Leith Docks. Hand-held footage shows playfully improvised responses to sites along the river and to each other, feeling, being with and becoming immersed in its narratives.

‘PROGRESS’ Hayley Harrison 2’26
Progress portrays a meditative act that undermines the very human notion of progress. A thrown rock attempts to shore up the land around us, and yet once released this act seems irrelevant. Hayley Harrison’s work examines our disconnection with ‘nature’ and each other - via discarded materials, performance, and video.

‘LOTHIAN PARTII: INDUSTRIES & TOWNS’ (extract) 5’40
Documentary from 1956 showing Lothian’s coastal industries, from the fishing ports at Granton and Newhaven and docks at Leith, to salt processing and soapmaking at Prestonpans.

‘THE GLASGOW LEOPARD’ Leonie Mhari 4’59
‘The Glasgow Leopard’ is part of a landscape design project, ‘BODYWORK’ which explores masculinity and obedience in the urban setting of Tradeston, Glasgow. It began a series of design-led experiments into the gendered and hyper-gendered nature of the post-industrial site, explored through the performativity of non-human actants.

‘WALTHAM FOREST BATH’ 4’30
a film by Flora Bradwell, original score by Phil McDonnell, narration by Boudicca Collins.
Every day Po takes the tube to work, returning home to reheated microwave tea. Her daily routine is interrupted when she reads about forest bathing. Breaking her routine Po goes in search of adventure in London’s Epping Forest. Maybe there will be unicorns grazing alongside the urban fox.

‘PLANE WINDOW’ Lynn Dennison 1’51
Filmed from a plane flying low over the Lincolnshire countryside, Plane Window maps the landscape, showing the uses the land is put to in this area, which is mostly given over to farmland. Seen from this perspective, the colours, shapes and textures of the fields passing slowly beneath are rendered abstract.

‘FEBRUARY’ Sally Waterman 2’57
(From the ‘Translucence’, project)
Music: ‘February’, Donna McKevitt, from ‘Translucence’, Warner Classics, 1998
Text: Derek Jarman, ‘Chroma’, Vintage, 1994
February traces the artist’s sea journey to the Isle of Wight to attend the funeral of a family friend, informed by Derek Jarman’s writing. The passing seascape becomes representative of her confrontation with loss, ending with the shadowy depths of the pier, emblematic of the ceremony that lies ahead.

 

The films will also be screened with audio at Bellfield on
SAT 14th SEPT 1-4PM + SUN 15th SEPT 11-1PM  

 

Juliana Capes & Ruth Barrie

 

OTHER SCREENINGS DURING ART WALK PORTY

'SUNSET REPORTS' & 'BE DIFFERENT TODAY'
Juliana Capes & Ruth Barrie

FILM SCREENINGS AT BELLFIELD
Sun 8th & Sat 14th Sept
Screenings: 11am and 12noon (duration 60mins)

Screenings of two interrelated films by local artist Juliana Capes and film maker Ruth Barrie.

These films have grown from Juliana's passion for equal access to the arts and her experience of working for 15 years as a Visual Describer in Scottish galleries. She considers Visual Description a creative practise akin to the making a painting and of equal benefit to visually impaired and sighted audiences alike.

“Sunset Reports” (2018) is a film that describes 52 minutes of sunset in a live monologue. This film speaks about the difficulties and responsibility of describing for others and the brokering of experience through language. Slowing down the process of looking, Sunset Report reaches for a vocabulary to describe the indescribable (such as colour, such as beauty, such as love, such as grief) and makes access inherent in the work from the outset. It operates on the cusp of personal and universal, a place Capes strives to occupy.

"Be Different Today" (2019) was filmed over seven visually described sunrises on Portobello beach in February 2019 in collaboration with filmmaker Ruth Barrie. It was made in response to a commission from LUX Scotland and BBC Scotland

 

Echo Tides

 


'ECHO TIDES'
anti-cool

BELLFIELD CAFE
Sat 14th & Sun 15th Sept
Screenings: 11am to 5pm (duration 15mins, screened regularly)

Earth, sea, air, conduits for the echoes and tides of memory, Echo Tides is an experimental investigation of the artist's ongoing fascination with the sea and the small communities whose lives are dependent on it. The film becomes an abstraction based on the power of memories linking the artist's home in a small Japanese fishing town with a fishing community of the south coast of Britain. The echoes of a past life are carried into a different yet similar present. As memories fad and are replaced by new experiences so are the environments and cultures of the past. Industry replacing community and long established working cultures such as the independent fishing communities within the film. The anxiety of adapting to an unfamiliar environment, while simultaneously finding comfort in the past; a dislocated body in a share culture of earth, sea and air.

 

Lindsay Perth

 

'JOHN AND JULIE'
Lindsay Perth

SAT/SUN 7TH/8TH/14TH/15TH SEPT 11am to 4pm
26 Bath Street

Artist Lindsay Perth re-edits the last film to be shown at the Victory Cinema at 26 Bath Street when it closed in 1956. The film, ‘John and Julie’ is a story of two children who run off from home to watch the Coronation in London. This road movie format is full of innocence and nostalgia for more simpler times. Perth reshapes the film into something much more unsettling, creating a version that becomes more damaged as it unfolds, with visual patterns, glitches and loops. From tampering with the characters, script and narrative, the film’s innocence is dismantled and deformed.

 

Art Walk Porty arts festival