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



Commissioned text, Authoring Agents by Donald Butler at Lux Scotland










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.












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 (40cmx50cm) exhibited Gotland KunstMuseum, Sweden and  Casa Victor Hugo, Cuba








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


Installation Five Years, London





Performance Five Years, London



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 ( air drying clay sculpture by Alice Rekab)







Installation, Temble Bar Gallery and Studios, Dublin

















People Test Cameras (2018)






Screened Cafe Oto, London as support act for Heretics





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