Home > On the Big Screen: 3 – 23 February 2007 – Open Submissions 5

On the Big Screen: 3 – 23 February 2007 – Open Submissions 5

Selections have been made from the final Open Submissions round of last year and this February welcomes three discrete programmes drawn from those very entries.

Programme 01 includes Matthew Robinson’s experimental animation Eebeejeebee’s, Alistair Swenson’s Bermuda Triangle, Chris Parks’ Fluid Perspectives.

  • Matthew Robinson, Eebeejeebee’s:
    Urban graffiti animation.
  • Alistair Swenson, Bermuda Triangle:
    A film made about and for the Big Screen itself!
  • Chris Parks, Fluid Perspectives:
    Abstract artist, Chris Parks, creates an ethereal world through his dynamic fluid paintings which capture light, movement and depth in a totally unique way. Using mixed media within a liquid medium, Chris creates moving fluid paintings which continually change and develop over time and are captured at a particular moment in time through the use of photography and film.

Programme 02 showcases Philippa James’ In Tune, and Uriel Orlow’s In Concert.

  • Philippa James, In Tune:
    Through delicate chorography and the sound of the piano, three characters accidentally fall into a syncretistic sequence of cause and effect, driving a miniature musical journey to its climax.
  • Uriel Orlow, In Concert:
    In Concert shows a cellist and a pianist playing the first movement of Shostakovich’s Cello Concerto No 1 without their instruments. The music operates as a kind of ghostly mnemonic prompting their physically remembered gestures. In Concert explores the relationship between memory and the body, focusing on how memory is physically inscribed or embedded in habitual gestures. Music is a poignant example of this, as the rehearsal of a piece does not just result in it being memorised mentally but also corporeally.

Overnight MuteLoops welcomes Martin Hamblen’s Deefer Defence, Tal Amiran’s Untitled (fairground), and Patricia Walsh’s Pearls.

  • Martin Hamblen, Deefer Defence:
    The beach at Blackpool is illuminated by night-time diggers building a barrier. Sea defences to stop the ever-encroaching sea. The coast is our castle and the casinos are coming. The frontline in the war on Climate Change are the beaches we burn on.
  • Tal Amiran, Untitled (fairground):
    Untitled (fairground) shows two fairground attractions filmed at nighttime. We watch people sitting on a ‘Freak Out’ ride as it starts spinning and moving repetitively with its lights glowing in the dark. There is a feeling of a total suspension whilst the lack of sound dictates a sense of detachment and alienation.
  • Patricia Walsh, Pearls:
    Patricia Walsh states that her inspiration for this piece started with her mother; “My mother once owned a string of pearls, a double-string, with a fancy clasp. Glenn Miller gave some to his wife in the Hollywood film of his life. He wrote a score named after them. Mrs de Winter had secretly wished that when she was 36 years old she would wear a sting of them herself.”

Selectors: Louise K Wilson (Artist, Filmmaker and previously commissioned The Bigger Picture artist); Kathryn Dempsey (Programme Manager (Commissions), Collaboration Programme, FACT); Sarah Griffiths (Manchester Big Screen Manager); and members of the Cornerhouse team.

The Bigger Picture screens on the Big Screen in Exchange Square, Manchester, Monday – Friday, 9.00am, 12noon, 2.05pm, 5pm, 10.35pm, and at various times throughout the weekend. Overnight MuteLoops screens between midnight and 7.00am, Monday – Sunday. Schedule subject to change