A screening of artists’ film and video, expanding the themes of our Future Cities season, selected by our curatorial team. The ‘city’ has long been a subject, location and point of departure for artists working with moving image. This screening showcases a range of approaches to urban spaces and experiences, which explore how urban histories – and futures – can be reconsidered and reconceptualised. The screening will begin at 6PM.


Min Wei Ting – Hampshire Road (2019). 7 minutes

With one 7-minute take, the film examines the architecture of a single building in Singapore to underscore how space is constructed and utilised to monitor and channel migrant workers onto buses back to dormitories

William Raban – A13 (1994). 12 minutes

Ahead, the dark superstructure of the Canary Wharf complex looms over the western horizon. It is blacked out, save for the pulsing strobe of the air navigation lights, making it look like a ship in the ocean. A13 is the second part of Raban’s visually dramatic trilogy that investigates the social and architectural structures of Londons East End.

David Blandy and Larry Achiampong – Finding Fanon Part 2 (2015). 9 minutes

Finding Fanon Part Two collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition. The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. Throughout the series, Achiampong and Blandy negotiate Fanon’s ideas, examining the politics of race, racism and decolonisation, and how these societal issues affect our relationship amidst an age of new technology, popular culture and globalisation.

INTERVAL (5 Minutes)

Alice May Williams Dream City – More, Better, Sooner (2016). 16 minutes

Dream City – More, Better, Sooner is a meditation on the changing face of London’s landmark Battersea Power Station – smokestack energy colossus of yesteryear now rapidly transforming into an upscale lifestyle playground of tomorrow. Combining archive footage of the building in its industrial heyday with computer-generated projections of the form it will soon inhabit (or what, if things had been different, it might otherwise have become), Williams’ film concentrates our attention just as firmly on the present moment – on the rumble of construction and the grumbles of disruption that currently characterise the site. This heightened focus on the here-and-now functions as the heartbeat of an extended monologue where, as if watched from an open window, a flotilla of images passes before our eyes, in allusive, associative procession. At times, within this gathering stream of words, Williams evokes the language of mindfulness, with its warnings of succumbing to memories of the past, and of the distractions of speculations about the future.

Beatrice Gibson A Necessary Music (2008). 25 minutes

A Necessary Music is a science fiction film about modernist social housing. A musically conceived piece, referencing the video operas of Robert Ashley, the film explores the social imaginary of a utopian landscape through directed attention to the voices that inhabit it.