t  h  e      H O L D
We Are Publication colloaboration
Stanley Picker Gallery 26 Sep - 14 Dec 2019
Upcoming Live Event: Wed 4 Dec 6-8pm


Installation view, Stanley Picker Gallery at Kingston University London. Courtesy the artists.
Photography Ellie Laycock.

www.uselesssplendour.com








We Are the Road (2017 - 2018 (01:55 extract of 10:15)



Commissioned text, Authoring Agents by Donald Butler at Lux Scotland
London International  Film Festival BFI, London 2018
Casa Victor Hugo, Havana, Cuba. October 2017
Gotland Art Museum, Visby, Sweden 2017










Internal Dissolve (2018)

Text and newsprint publication that proposes making  writing under the influence of the moving image by expanding upon an extract from Pier Paolo Pasolini’s screenplay, St Paul (1977), which did not secure funding to become a film.




newsprint 30cm x 38cm and 60 cm x 30cm
Dublin Art Book Fair at Temple Bar Gallery, Dublin, Ireland
Aquired by The National Irish Visual Arts Library as part of the Broken Diorama collection


The image of a boat far away, small, faded in the liquid ground.  A boat that might dissolve into the sea, be ingested by it, or pass so far away that vision reaches its limit, gives in and starts improvising. This open, bright image is inhaled by the internal dissolveinstruction -the internal of the lungs (who doesn’t breathe deeply when facing the sea?) or of the inside of the film. An accident of filmic jargon in proximity (a return, not even a new paragraph) to its forecast image. The boat is then dissolved, fizzing away to nothing. It has been consumed, used up as image and idea -for these purposes at least.

What would it be to dissolve internally, or to fade? Like a night of serious drinking I imagine, but I know this is Marseille and a population of fictional sailors -unpaid extras sharing cigarettes -are pressing in.

And while writing this I am also thinking of the Marcel Broodthaers film, A Voyage on the North Sea. Another boat and sea scenario, this time already fixed. Still shots of a photograph of a small sailboat, then of a painting of a larger sailboat and details of the painting, the sails, the water, the canvas interspersed with page numbers -and then another photograph, static and clear, of a small sailboat floating in front of a city. 

And then, in brackets, a statement in the future anterior (this will have happened) scaffolds the scenario, grounding it with the mechanics of how it will have been achieved. In this case by theft, a particular sort of extraction which casts filmmaking as a process of extraction in general. The mechanics of an imagined budget leading to the mournful intuition about what it costs, in all senses, to make anything at all.






Polygraph (2015)


RE: Send me WAVS! 
Broadcast, BBC Radio 3 Late Junction, Guest hosted by Hannah Catherine Jones










Studio (2017) Newsprint group


Newsprint collage group  exhibited Gotland KunstMuseum, Sweden and  Casa Victor Hugo, Cuba
(5 x 40cm x 50cm)









Two External Light Sources with Alice Rekab (performance and installation)


Installation Five Years, London





Performance stills and details from Five Years Gallery, London and Temple Bar Gallery and Studios, Dublin
( air drying clay sculpture by Alice Rekab)



Script v.1
(extract)

(In the gallery space, a light change from general exhibition setting to darkness except for the screens)
MUSIC begins to play loudly.

(Spotlight on RONALD and spotlight on THE CRAB as the dialogue, a bad natured interview, begins)


RONALD: So I notice that you are here with a crab, I think it’s a crab, I hope you will allow me to continue with my line of questioning even if I have misidentified the subject, it’s irrelevant to me. One thing can stand for another in a fairly imprecise way as long as you can be precise about the connection. So, perhaps I am taking a liberty by turning the crab thing into an algae thing, but that it crawls out of the water is the important thing, crawling out of the water and being in the sun...




Installation, Temble Bar Gallery and Studios, Dublin

















People Test Cameras (2018)






Screened Cafe Oto, London as support act for Heretics  (Anne-James Chaton, Andy Moor  and Thurston Moore)





VHS Library (2016)

Built in 1967, Hammars was Ingmar Bergman’s home until his death in 2007 and was designed to fit his needs precisely. It is now a workspace for invited artists, owned by an anonymous Norwegian benefactor who wishes the house to remain exactly as it was when Bergman inhabited it. This involves adhering to strict rules on shoes, where conversation is permitted, and where water may be drunk. The location of the house is kept secret by the islanders - it is not a public space but a discreet component of the industry that has sprung up around his legacy.

Our induction to Hammars was a mixture of its story and its rules given by a woman whose family had long been involved with Bergman and his island buildings. She talked us through the door/key/shoe protocol and then through the rooms, pointing out where he had written in thick pen on tabletops and doors–an edit of his nightmares–small sections kept for posterity and other sections painted over. She told us about the slipping problems with the linoleum that Bergman had put in the bathroom; it struck me as very NHS. The VHS library was a mustard carpeted shelf-lined room with a couple of comfy chairs and a big TV. The rest of the bungalow was pine-panelled and low-ceilinged, there were a couple of tapestries and a meditation room. A used cotton bud had been left on his bed, presumably not Bergman’s. Photography and filming are prohibited inside but we could write, talk and plan, she said. And we were not to let anyone in the building. If curious tourists or Bergman fans came up to the window and demanded to be let in, we should tell them to fuck off.

We felt unsettled in the house. We sat in the living room; I was on a large sofa where the children had been allowed to sit. It was damp and hard through age and the sun was shining straight into my eyes. All the windows were sealed to stop the snoopers and to protect the remnants of the man, but the result was an atmosphere like a sickly sweat. The Swedes in our group talked about patriarchy in Swedish culture, they recognised what sort of a man Bergman was from what they knew of his films and life as a Swedish icon, from men they knew like him, from his wealthy background, and the nine children by different women. It wasn’t unfamiliar to us English. We left, subdued and irritable with plans to return for a closer look at his VHS collection.

-2016, Fårö, Sweden, during residency with 0s+1s, The Bergman Estate.

 







The Grand Alliance (2016)  Quick Millions, London






The Grand Alliance is named after the consortium of Amrican companies brought together in 1993 for the purpose of developing an HDTV standard, a process as personal, political and commercial, as it was technological or aesthetic. The project responds to the libidinal, comedic and delusional impulses present in the archival material, thinking about what we attach to the promise of ever better images and how we imagine the process by which they are arrived at.

If you're not part of the steamroller, you're part of the road.
-- Stewart Brand (1988)

Throughout April, Jenna Collins undertook a residency within the online and physical space of Quick Millions, producing an unreliable history of HDTV in the form of a screenplay and associated material.














SWIM (2015)


Screenings include London International Film Festival 2015 
Art Bermondsey Project Space, London
Akbank Short Film Festival, Istanbul, Turkey
Intimate Space with 0s+1s, December. St Petersburg, Russia
Transart Institute Research, Berlin, Germany


PRE-2015 (various)


Demolition Tapes, with Paul Carr, Modern Art Oxford, 2014




Centrefold, SALT magazine Issue 4, publication. London


Table Grammar 2013, Goldsmiths MFA show