house lights images

House Lights Edinburgh Sculptue Workshop 19 July 2007

at 7.45pm, please call to reserve a place, very limited engagement and audience number. Starring ALEX HETHERINGTON, JANIE NICOLL, FINN HOBSON AND LORNA SHIELDS

the devil what the devil what do i care if the devil is there

house lights

countdown to the performance; worked on the sound at Banana Row today.

Thanks to Finn Hobson and Janie Nicoll

Rio

Day For Night; Carrie Car Wreck/White NIght Riots Car Wreck

Samson Crash Protest Bound To Fail

Notes on Kill the CCA

Dan White/Carrie White

Ferre

Goodbye Ferre. Rest in Peace. So much beauty we will remember.

Ferre

Get well soon Gianfranco Ferre!

Carrie Endless

Janie Nicoll, Associates at the Embassy Gallery, Edinburgh

Documentation of "Carpe Diem", wall painting, and "We Are All Prostitutes", installation of 500 hand cut and laminated digital prints.

Prom night/White Night Riots

Catherine Sullivan review, Map Magazine

LA-based video artist's show at CCA, Glasgow
Review online at MAP MAGAZINE
Alex Hetherington

Notes on a new film CARRIE HARVEY MILK

Notes on a new film

Late in 1978, Supervisor Dan White, an acrimonious political opponent of Milk's, resigned from the Board of Supervisors. His resignation meant that Moscone would choose White's successor, and thus could tip the Board's balance of power in Moscone's favor. Recognizing this, those who supported a more conservative agenda talked White into changing his mind. White requested that Moscone re-appoint him to his former seat.

Moscone originally indicated a willingess to do so, but more liberal city leaders, including Milk, lobbied him against the idea, and Moscone ultimately decided not to re-appoint White. On November 27, 1978, White went to San Francisco City Hall to meet with Moscone and make a final plea for re-appointment. When Moscone refused to yield, White shot Moscone to death, then went to Milk's office and also shot Milk to death.

White later turned himself in at the police station where he was formerly an officer. Even though he had carried a gun, 10 extra rounds, and crawled through a window to avoid metal detectors, White denied premeditation.

Thousands attended a spontaneous candlelight memorial vigil the night of Milk's funeral. Video of candlelight vigil, accompanied by a message Milk recorded preemptively "to be played only in the event of [his] death by assassination". Milk had foreseen his risk of assassination and had recorded several audio tapes to be played in that event. One of the tapes included his now-famous quote, "If a bullet should enter my brain, let that bullet destroy every closet door."

Carrie White is a shy young girl who doesn't make friends easily. After her class mates taunt her about her horrified reaction to her totally unexpected first period one of them takes pity on her and gets Tommy Ross, her boyfriend and class hunk to invite Carrie to the senior prom. Meanwhile another girl who has been banned from the prom for her continued aggressive behaviour is not as forgiving and plans a trick to embarrass Carrie in front of the whole school. What she doesn't realise is that Carrie is ... gifted, and you really don't want to get her angry. Written by Mark Thompson {mrt@oasis.icl.co.uk}

The story of Carrie White, a girl brought up, almost in isolation, by her psychotically religious mother Margaret. After an embarrassing incident in the showers causes her fellow pupils to tease Carrie ruthlessly, her teacher Miss Desjardin disciplines them severely. Determined to have revenge, the other students hatch a plot against Carrie, which turns horribly wrong when Carrie's strange mental powers are unleashed during the school prom. Written by Goth {brooks@odie.ee.wits.ac.za}

Carrie White is the outsider of her class. She's a mousy girl, all of her classmates hate her, and her mother is a religious fanatic who walks around in a black cape. After she unexpectedly has her first period, she is teased by the girls more ruthlessly than before. The gym teacher punishes the girls that were involved and one of them, Sue Snell, feels sorry for what she did and asks her boyfriend to take Carrie to the prom instead of her. But another girl that has been banned from the prom, Chris Hargenson, isn't so forgiving and hatches an evil plan with her boyfriend that involves Carrie and a bucket full of pig's blood. But what none of the students realize is that Carrie has the power of telekinesis, the power to move things with your mind, and that when you make her mad, she transforms from an innocent girl to a rage-filled monster. And this is gonna be a prom no one will ever forget

Samson, notes on destroying a gallery

The centerpiece of the exhibition is one of Burden’s most important post-performance sculptures, the gallery-destroying apparatus Samson from 1985.

The artist describes Samson as simply “a museum installation consisting of a 100 ton jack connected to a gear box and a turnstile. The 100 ton jack pushes two large timbers against the bearing walls of the museum. Each visitor to the exhibition must pass through the turnstile in order to see the exhibition. Each input on the turnstile ever so slightly expands the jack, and ultimately, if enough people visit the exhibition, Samson could theoretically destroy the building. Like a glacier its powerful movement is imperceptible to the naked eye. This sculptural installation subverts the notion of the sanctity of the museum (the shed that houses art).”

In forcing the spectator to pass through the turnstile, Burden assigns them equal culpability in the destruction of the gallery space. The art lover becomes complicit in the destruction of the “temple” that holds the precious objects. This sinister joke, however, is actually embedded in a larger, multi-layered dialogue Burden has been engaged in from the very first performance, namely questioning the necessity of the art object and the role of the artist and the art viewer in contemporary society. The fact that Samson is clearly informed with the minimalist aesthetic that preoccupied Burden’s sculptural work as a student in the late 1960s, is not lost on the historian, nor is the preciousness of the velvet-lined vitrines that encase the relics. As fleeting as the performances were, the objects and documentation Burden gathered, organized and made available to us are thoughtfully preserved.

Call for video works

http://www.visual-memory.co.uk/amk/doc/0105.html
Call for short video works Deadline 1 August 2007 A video screening selected by Janie Nicoll & Alex Hetherington

Short video works by international artists invited to submit
works dealing with split screens, the montage and the interstice
We are especially interested in video works that use these techniques to
explore gender, the body, violence, trauma, sexuality; and would be very
interested in work that uses found materials and extracts from recent cinema
We are looking for work that reveals the different pace between the body and
the brain and the double composition, between the physical and intellectual

Formats accepted: DVD Length: Maximum 5 minutes
Location, Glasgow, venue to be confirmed
Screenings in August
Send submissions with artists name, duration, country of origin, year
of production and a short statement/biog, contact information, SAE for return to:
The Consequence, Alex Hetherington, 2/1 250 Dumbarton Road,
Partick, Glasgow G11 6TU Great Britain
Information: email - alexander.hetherington@virgin.net

Carrie Sissy Spacek drawing

Carrie Interstice split screen Carrie// Carrie noosphere

Suggestions for split screen in cinema please?

Notes:
The Cinema of the Interstice: Jean-Luc Godard's Prénom Carmen and the Power of Montage

it will be defined ideally by a reversal where the image is unlinked and the cut begins to have an importance in itself. The cut, or interstice, between two series of images no longer forms part of either of the two series: it is the equivalent of an irrational cut, which determines the non commensurable relations between images. It is thus no longer a lacuna that the associated images would be assumed to cross; the images are certainly not abandoned to chance, but there are only re-linkages subject to the cut, instead of cuts subject to the linkage.
----------------------
In short, the three cerebral components are the point-cut, re-linkage and the black or white screen. If the cut no longer forms part of either of the two series of images which it determines, there are only relinkages on either side. And, if it grows larger, if it absorbs all the images, then it becomes the screen, as contact independent of distance, co-presence or application of black and white, of negative and positive, of place and obverse, of full and empty, of past and future, of brain and cosmos, of the inside and the outside. It is these three aspects, topological, of probabilistic and irrational. which constitute the new image of thought. Each is easily inferred from the others, and forms with the others a circulation: the noosphere.

house/lights

With Finn Hobson and Lorna Shields, other contributors TBC. June 2007, date TBC.
Plus drawing for a sculpture
With Mr Viper.

Carrie Remake; proposal for Site Platform #3

Sissy Spacek as Janie Nicoll as Carrie White as Susan Hiller;
trailer for a remake of Carrie

Team Casino; proposal for Site Platform #2

Alex Hetherington as Nicolle Kidman as Michael Clark

Seance with hamburgers

Fur & trauma; proposal for Site Platform

Janie Nicoll as Nicole Kidman as Diane Arbus

Leathermen & Chanel for KILL THE CCA

KILL THE CCA

JOIN THE CAMPAIGN TO KILL THE CCA
_______________________________
My anti Creative Lab residency at the CCA is
to close the CCA as a non-relevant art space.
Please email messages of support, texts, images
and idea to
alexander.hetherington@virgin.net
Together we can close this deception.
________________________________
________________________________

You are PSYCHO-DELIC... my friend.......

Image to follow..............

No wonder