An intensive two-day series of seminars, presentations and discussions exploring curating, programming and working with artists’ moving image, led by curator, writer and artist George Clark. Taking place as part of the LUX/ICA Biennial of Moving Images, the course drew from the experience of a range of international curators, artists and other Biennial participants.
Over the two days, the course responded to the unique context of the LUX/ICA Biennial of Moving Images, and explored the various curatorial propositions manifested in the Biennial as well as the broader practice of curating artists’ film and video in the contexts of the cinema, festival, gallery and museum.
The course was structured around two day-long seminars, taking place on Wednesday 23 and Thursday 24 May 2012 in the ICA Theatre (the Biennial opened to the public on the evening of 24 May 2012). Each day featured contributions, discussions and presentations from curators and artists who reflected upon their own practice and engaged in discussions with the group around a range of key contemporary issues. In addition, participants were encouraged to contribute to group discussions and workshops.
———-
Biography:
George Clark is a writer, curator and artist based in London and Los Angeles. He was one of the curators of the 6th Bangkok Experimental Film Festival (2012) and curated the Lav Diaz focus at the AV Festival (2012). Other curatorial projects include Infermental for Focal Point Gallery (2010) with Dan Kidner & James Richards, and No Wave: New York 1976-1982 (Glasgow Film Festival, Worm, Rotterdam & Cinéma Nova, Brussels, 2011). While at the Independent Cinema Office between 2006 and 2008, his projects included Essentials: The Secret Masterpieces of Cinema (Tate Modern and touring, 2008) and the curatorial course that he’s presented across the UK and internationally. His writings have been published in Afterall, Art Monthly, Mousse, Senses of Cinema and Sight & Sound. He is currently collaborating with Luke Fowler on The Poor Stockinger and previously co-wrote the script for The Future’s Getting Old Like The Rest of Us (2010) with Beatrice Gibson.
