Tai Shani’s performance:
‘Screentest: R-R-Rhine Peacetime 82′
Friday 7 May
ICA – LIVE WEEKEND 1 – PERFORMANCE etc …
Produced by David Gryn
‘Screentest: R-R-Rhine Peacetime 82′
Performance: 7:30pm & 9:15pm Main Gallery (30mins)
On a sound stage, an actress is being filmed auditioning for a role in a fictitious film based on a strange, actual sequence of events that took place in West Germany in the hot summer of 1982. Over the course of 25 days in three unrelated, tragic incidents members of the US and UK peacetime army stole tanks and rampaged through various German towns and countryside leaving behind a trail of destruction, ultimately driving themselves over bridges and into trains to their deaths. The actress Maya Lubinsky is auditioning for the role of Katja Riemann, a young woman who gets run over by a tank driven by Private Charles S. Keefer, her boyfriend.
In this expanding screentest which occurs on a fractured timeline, the lives and fictions of Katja Riemann, Maya Lubinsky and Maya’s body double overflow and hemorrhage into each other creating a spiraling narrative told through film, heroines, anti-heroines, animated props, an overbearing narrator and a Neanderthal from a parallel universe.
The performance is accompanied by a live score by David J. Smith (Guapo, Stargazers Assistant and Amal Gamal Ensemble)
ICA Theatre Film & Video Screenings selected by Artprojx
2pm Jo Mitchell – Concerto for Voice & Machinery II
3.25pm Mark Leckey – Cinema-in-the-Round
ICA Theatre Film & Video Screenings selected by Tai Shani
Part psychedelic insurrection, part cartoon road show, they harness the energies of video artists who remix commercial imagery to the extent of anarchy and animate their way out of Sunday Morning Cartoons. Previous shows have included Paper Rad, Bruce Bickford, Takeshi Murata, and Shana Moulton, who have since been featured in the Whitney Biennial, the MOMA in New York, the Sundance Film Festival, and many others.
Symbiopsychotaxiplasm by William Greaves, United States, 1968, 75 minutes
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies.
Jen Wu – Half Light, 5mins 2009
The dead weight of a sleeper drifts between the syncopal darkness of the cinematic night and the waning daylight of a world that feels no less other. Shifting between modes of cinematic identification, inhabiting surrogate bodies and self obliteration in the face of the familiar Half Light sensitively makes manifests a mesmeric, recondite and affective territory.
Damon Packard – Spacedisco One, 2007, 58min
To sum it up. “Spacedisco One” will not only shatter your perception of reality as we know it, it will break it in half ad infinitum, pairs of two, so am I, pairs of two, so are you, until the soul’s binary code is revealed and, biting its own tail, destroyed in the blink of a serpent’s eye. You will melt like a marshmallow in the furnace of hell. And if everything has been said and if everything has been done, we still have the possibility to make a movie about it, a sequel to reality.
Jim Hollands – Here, 2007, 70min
(3D glasses will be supplied)
A hallucinogenic dissolution between the screen and the viewer forming a radical new art agenda for the 21st century. Here is a seventy-minute remix of a rarely seen existing work written by Joe Orton, called ‘The Erpingham Camp’. Originally screened on TV in 1966, it has been experimentally remixed in sound, image and words, with subtitles, and partly in anaglyphic (red/cyan) 3D. Large parts of the work operate under flicker frequencies of 8-13hz, and as such are viewable by epileptics or those prone to seizure at their own risk.
DJ set in Bar from 7pm
Owen Hills (of Wooden Spoon and Dollboy) . Kraut and cosmic musics
Tai Shani (1976) is an artist living and working in London. Fantastical and televisual, Tai Shani’s performances and films contain cartoon props and extravagantly costumed large casts of archetypes and pseudo-historical characters drawn from popular culture and counterculture mythologies. Referencing early science fiction, Greek tragedy and theatrical spectacle they are accompanied by voice over soundtracks reminiscent of radio plays that alternate between familiar fictional styles and narratives and self-reflexive texts that delve into the mechanics of simulatory channels and their agency. Often dramatising historical phenomena, Shani seeks to underpin the axis point of their transformation from historical to fantastical. Chaotic, a-historical and non-linear in form, Shani’s work explores fictional strategies, the cinematic corruption of memory as well as conflicting temporal structure in the ‘real’ and the mediated.
Recent Tai Shani exhibitions and performances include:
The Herzeliya Biennial, Israel; The Royal Academy, London; The Victoria & Albert Museum, London; Spike Island + Arnolfini, Bristol; A Foundation, London; Whitechapel Gallery, London; ARTIS Centre for Fine Arts Hertogenbosch, Stedelijk Museum Hertogenbosch; Liverpool Biennial 08; Artprojx at Rio Cinema, Dalston. She also writes and performs music as Cherry Mash Cherry.