MIKE LEGGETT: expanded screen, performed film, structural film 1970-1981

mike leggett screening at acp

[update – there is a review article of this event at Realtime magazine here.]

Teaching and Learning Cinema presents:
MIKE LEGGETT: expanded screen, performed film, structural film 1970-1981
Saturday 28 April 6.30pm-10pm

[view installations of Unword and Vistasound from 6pm-730pm, film screenings from 730pm-9.30pm]

Australian Centre for Photography (ACP)
257 Oxford Street, Paddington NSW 2021
T: 02 9332 1455
F: 02 9332 6104

The TLC continues its work drawing out the primary sources in artists’ film in Australia with an evening with Mike Leggett. Linking Sydney to the heady days of seventies London where he was a founding member of the London Filmmakers’ Co-op, this event explores Leggett’s 1970s structural films, his 1980s media-performance works and his ongoing interactive art research in Sydney.

More Information: louise[at]teachingandlearningcinema[dot]org

read below for full info…
Continue reading “MIKE LEGGETT: expanded screen, performed film, structural film 1970-1981”


Last night down at the ourmedia film screenings, they played some excellent “remoscopes” by a Japanese collective. The idea of remoscopes is to follow the “lumiere rules”:

Lumieré Rule (six conditions)
no effect
no edit
maximum 1 minute
fixed camera
no zoom

Some beautiful works came out of it, full of consciousness of time passing and the beauty of the ordinary. I’d love to see more, and it’d be so easy to organise a night of home grown remoscope!


tlc this time flyer

The Teaching & Learning Cinema invites you to “THIS TIME“, a film screening this Sunday, April 1st, 2007 6.30pm for a 7pm start at ˜Sydney”, Cleveland St (next to Fatima’s) (see http://officialsydney.com)
The screening follows along from a residency that Lucas Ihlein and Louise Curham have been doing in the majestic Track 12 at Performance Space’s new home at Carriageworks.
Continue reading “THIS TIME: TLC Screening at SYDNEY”

Mike L: notes from Long Film

long film image from mike L

A few folks who we invited to experience our private “screening” of Long Film for Ambient Light have begun to filter back with their thoughts after the event.

Mike and Deborah visited in its last half hour, late Saturday morning the 17th of March.

Mike sent us these thoughts: Continue reading “Mike L: notes from Long Film”

Flemo: notes from Long Film

lucas and flemo
[Lucas and Flemo about 9pm on Friday 16 March, photo by Peter Shaw taken from outside Track 12]

A few folks who we invited to experience our private “screening” of Long Film for Ambient Light have begun to filter back with their thoughts after the event. First cab off the rank is Flemo.

Thanks for the invite to say something, although – at this stage – I’m unsure I have anything to say except thanks for the invite to say something. I was serious, by the way, about the idea of a “natural screensaver.” As much as applications have progressed, screensavers are still about the most interesting things computers do. Arriving late at night (-or late for me, a confirmed father and nerd), didn’t seem to bear out the screen-saver intuition. Perhaps this would have been different were I to have come during the day. So what of the film(ing), as I saw it? The experience of being in the space seemed to have an almost-sedating effect on me: there was something chruch-like – simply in the size of the space, the darkness I found quietening (and provided a kind of ‘cover’: a way of being non-selfconsciously alone with other people present); there was, I think, a kind of alteration of time and space that I can’t quite describe… or perhaps I don’t have the patience, now
mindful of having to leave my computer and get somewhere else soon.
Continue reading “Flemo: notes from Long Film”

Long Film Dream

Long Film for Ambient Light related dream, 23 march 2007, 5.30am:
This bizarre dream popped up about 5 days after we did our experiment with Long Film. Talk about mental residue. Remember, all characters are fictional and their resemblance to any person living or dead etc…xx Lucas

We’re in New York and Anthony McCall is putting on a new show, including Long Film for Ambient Light. I’m in the gallery as LFFAL is being set up, it’s completely different from our understanding of the work. This version involves a long piece of perspex set into the wall high up towards the ceiling. On the perspex are printed representations of empty film frames. Behind the perspex film panel an area of wall has been removed, and light filters in from here. I ask Anthony where the light comes from – “the outside of the museum via the air conditioning duct,” she says. Yes, Anthony is a woman. A youngish one, too (although at the start of the dream she was a man, still quite young, and with a full head of hair, far more resembling McCall’s photos from the early 70s, than what I imagine he looks like now, balder and more statesmanlike in appearance.)
Continue reading “Long Film Dream”

Lucas: notes from Long Film for Ambient Light

16 march 2007

noon (written at 1.30pm)

I pressed go on the timer. Set it to 23 hours 59 minutes. But we still were setting up, so didn’t really take the moment to just be here. Kat was still vacuuming. The space felt clean and neat, there was a “coming into clarity” about the whole thing. But we weren’t quite there yet. I was aware of being slightly stressed with regards to this. Would have been better if we were ready in advance, but I was also quite amused that the film starts whether you are ready or not. In some sense, the film is kind of indifferent to my responses. It doesn’t care if I “attend” to it or not. On the other hand, the film needs me – without me, it is nothing. Maybe.
Continue reading “Lucas: notes from Long Film for Ambient Light”

Curham: Long Film for Ambient Light 2nd commentary

14:40 Ground of my body, quite high tension, I am noticing the ‘base’ settings hence the description ‘ground of my body’. Column thoughts [feedback sheet had columns, used by no one except me and Walty unwillingly]. Strange how use of someone else’s specificity is having the effect of making us be present in this here and how (McCall’s specificity of this work in 1975). Continue reading “Curham: Long Film for Ambient Light 2nd commentary”

Louise’s Commentary on Long Film for Ambient Light

12 pm Fri Mar 16 to 12 pm Sat Mar 17E-mail to Cynthia today with some thoughts on the Long Film:

The Long Film was a very intense experience – my head did very strange things. It was unrelentingly social which I found very, very difficult. The intensity of such focus on a single space over such a time span was intense in the
extreme. Interesting that the 24 hours McCall framed was darkness book ended by light.

My best discovery was a very clear mental image of the sun in the sky acting like a bellows creating these fluctuations in the room [so in the end for me, this is a landscape film, how curious!]

I found the light bulb almost intolerable, it came to invade the room, a ‘tense object’ as one visitor described it even in daylight. At night, it felt like an attack. There was a sense at about 1am of being in solitary confinement without the benefit of being alone. I sat outside the room for many hours there – still in the building but just outside, trying to keep myself calm and as present as possible.
Continue reading “Louise’s Commentary on Long Film for Ambient Light”

Lucas: Expanded Cinema Residency March 12th

Digging around old notes collected during research in london, found an interview with William Raban from the “illuminations” series. I had watched these interviews, with raban and also guy sherwin, while sitting in the office of the british artists film research unit at central st martins college. Stephen ball emailed me the raw transcriptions. There are a few statements in there by William which shed light on our work in trying to nut out two minutes forty five.
Continue reading “Lucas: Expanded Cinema Residency March 12th”