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Gallery Space 1

Asparagus Piss Raindrop Infesting Transmission

21 October - 22 November 2014

Asparagus Piss Raindrop is a multi limbed crypto-conceptual science-fiction anti-band formed from a dreadful, ever expanding pool of improviser/composer/performers.  APR composition arises from contingency; how can we do things otherwise? The music is never repeated and the same group of players never performs more than once.

Transmission have invited Asparagus Piss Raindrop to infest the gallery for a period of five weeks from mid October through to November. This period of work marks the beginning of a year long development for the group where they will produce a portfolio of new work for international and local performance in 2015. Their methodology is properly collaborative and pushes composition into new realms and forms. This methodology draws on anthropology, contingency, autonomous (and/or corruptible) spaces, ritual, forms borrowed from the animal queendom, arcane games, Miss Spent Youth, abduction cults, group behaviour turned in on itself.


1st November: performance of work in progress; the culmination of the first two weeks of the residency.
Part 1 runs from 4 – 6pm. Part 2 runs from 8pm and features APR offshoot Yoke of Blood.

8th November: an event still to be confirmed; a workshop, a discussion with previous members of the group …

15th November: performance of further work arising out of weeks 3 and 4 of the residency; an installation / symposium / performance / séance.


Gallery Space 2

Final Screening | Sport, Sport, Sport

22 October - 22 October 2014 6:30pm

A Screening Programme of Soviet-Era Cinema and Artist Moving Image

Isaak Friedberg, Little Doll | Phil Collins, Marxism Today

@ Transmission

The third in a series of four events, the ‘Sport, Sport, Sport’ screening programme is structured around three Soviet-era cinema works, all of which feature gymnastics: Elem Klimov’s ‘Sport, Sport, Sport’ [1970] VÄ›ra Chytilová’s ‘Something Different’ [1963] and ‘Little Doll’ [1988] from Isaak Fridberg. Rarely or never seen before in the UK, subtitled especially for the programme and all early works in the careers of the directors, the programme engages with the lack of critical material surrounding these works. This lack is mirrored in the absence of attention on sporting themes in artist moving image, and the programme as a whole draws upon the long-running ties between sport, the moving body and early experiments in film. Through the links between the works, the programme examines the relationship between sport in cinema and artist moving image, in tandem with the influence on this particular era of film-making and its aesthetics in contemporary art.

Set amongst the changes of perestroika, glasnost and the last years of the Soviet Union, this third event brings us to the ‘chernukha’ period of Soviet film, known for depictions of the dark and hopeless reality of the time. The programme features Isaak Fridberg’s 1988 ‘Little Doll,’ which follows the life of an elite USSR gymnast whose career is rocked by injury, as she struggles to adjust to a new life at home and normal schooling. The rare material items she has accrued as a result of her winnings have come at the cost of a damaged psyche, and she becomes increasingly manipulative, bullying those around her with tragic consequences.  ‘Little Doll’ is preceded by Phil Collins’ ‘Marxism Today’ [2010], an ongoing project that originated in tracing former teachers of Marxism-Leninism in Communist East Germany.

The film mixes contemporary interviews with the ex-teachers alongside archive material, in which snapshots of life in the old GDR are offset with the teachers’ own recollections of the time, and their contrasting experiences after the fall of the Berlin Wall in 1989. These include clips from the 1983 Leipzig Gymnastics and Sports Festival, which show the synchronised bodies of hundreds of athletes performing choreographed exercises inside the huge stadium. Yet of all the stories presented, the most poignant belongs to Ulrike Klotz, an Olympic gymnast, whose mother Marianne worked as teacher. At Ulrike describes her gruelling training regimen aided by series of handwritten schedules and childhood drawings, the lasting damage and anxiety resulting from the centralised training system are laid bare for all to see.

Curated by Tiffany Boyle in collaboration with Transmission Gallery and Birkbeck Institute for the Moving Image Presented in collaboration with Kinning Park Complex, GFT and the Gordon Square cinema.

Free & Refreshments Provided - All Welcome!


Gallery Space 3

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