Is the site of the exhibition or cinema crucial to the scale of a production i.e. its value and impact? What are the rules and transgressions in such a space, and is the benefit of working in ‘artist’ moving image simply a greater sense of autonomy/experimentation compared to TV or cinema? How can artists successfully transfer to such a popular audience without falling into the trappings of auteur conservatism or studio system politics?
Join David Panos and Matthew Noel-Tod for a discussion/screening around scale and distribution for film and video, presenting rough cuts of their own work and others.
Matthew Noel-Tod (born 1978) Selected exhibitions and screenings include: The Politics of Amnesia II, CGP London (2015), A Season in Hell 3D, Banner Repeater, London (2014) Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, Tate Britain, London (2013). As a Director of Photography, Noel-Tod has worked on many artists’ films, including works by Anja Kirschner & David Panos, Melanie Gilligan, Laure Prouvost, Rachel Reupke, David Lamelas, Sturtevant, Grace Schwindt and Elizabeth Price.
David Panos is a London-based artist who produces videos, installations and music. He has frequently worked in collaboration with Anja Kirschner and they were the winners of the Jarman Award in 2011 for their long form narrative video works that use historical and cinematic material to explore the relation of art and culture to class, political economy and power. Recent solo shows include: Albert Baronian, Brussels, 2015, Liste, Basel 2014, ICA, London 2014, Neuer Berliner Kunstverein, Berlin, 2013; Secession, Vienna, 2012; Artist Space, New York, 2012; castillo/corrales, Paris, 2011; Staatsgalerie Stuttgart, Stuttgart, 2011; Kunsthall Oslo, Oslo, 2011.