25 September – 29 November 2015
Free to all
Treading the line between documentary and fiction, the filmmaker follows subjects who have in some way separated themselves from society.
Ben Rivers’ practice of using 16mm film cameras, the output of which he hand-develops, could be considered an art in itself. Indeed, the materiality of his work – crackling, tactile film with its rich textures and grains, illuminated as a flickering screen – is integral to its position as exposing and imagining worlds that exist somewhere between fiction and documentary.
Films such as the timeless Slow Action – which brought together footage from the micro-worlds of Gunkanjima, off the coast of Nagasaki, and Tuvalu, one of the world’s smallest countries, to create post-apocalyptic science fiction – illustrate the vast creative possibilities of 16mm film, and its ever-fragile but enduring resistance to fall victim to obsolescence.
In a second display, Rivers turns curator to bring together a group of artists who also explore withdrawal from the mainstream social narrative. Taking the title 'Edglands', it includes Robert Smithson’s Tour of the Monuments of the Passaic, and J G Ballard’s Concrete Island.