Visual Deflections is a showcasing opportunity for new and emerging artists working in film/video/moving image. The project aims to stage screening(s) to provide an opportunity to engage with contemporary artists working with the moving image
Work will be selected around the idea of Visual Deflections, which infers the disruption of a straightforward linear story through distortions of the time, movement and space of the film/video. The concept may also suggest an interruption of the gaze where desires and identifications are intrusively reflected back to the viewer.
Requirements
• Short films - 5 min approx
• Format preferably DVD, also accept .mov, .avi files etc on CD
• Max 3 pieces of work per artist
• Artist’s statement and CV
Visual Deflections
100 Angell Rd
London
SW9 7LQ
UK
Inquiries to visualdeflections@hotmail.co.uk
Info at www.visualdeflections.blogspot.com
Deadline: Friday 13th April 2007
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Sensor (2009)
Projection Affection: in progress (2009)
A compilation of lens-based contemporary artwork from a select group of international artists
Artists 2009
Artists: Piplotti Rist, Clint Enns, Ted Sonnenschein, Tessa Garland, Katherine Nolan , Eleanor Lawler, Jonathan Gilhooly, Jan Hakon Erichsen, Ciara Scanlan, Victoria Melody, Anders Weberg, Theo Tagholm,Lisa Flynn, Mathew Guillford , Alan Magee, Jeremy Newman, Saskia Vermeulen, Angelo Picozzi , Liam Herne, Sarah Breen Lovett, Ella Bertilsson , Lia Chavez, Vanessa Daws.
Forthcoming.....
Eleanor Lawler and Katherine Nolan at Super-Saturated 24th August at Mobius, Boston US
Curator: Eleanor Lawler
Sensor (2009)
Curator: Katherine Nolan
Projection Affection: in progress (2009)
About Me
- Visual Deflections
- Curated by practicing artists Eleanor Lawler and Katherine Nolan, Visual Deflections arose out of a desire to showcase the best of contemporary video and performance. The concept of the project resonates with the core concerns of their own work. Lawler often employs the granular qualities of Super 8 and SVHS in her work, evoking the emotional profundity of the home as a readymade theatre or playground, which surfaces through the video as a cathartic game. In Nolan’s ludicrously seductive performances, she uses the viewing apparatus as her plaything. Disrupting the conventional spaces of the performer, camera and viewer she playfully and provocatively manipulates the gendered gaze.
Roxy 2007: Artists
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