AMBruno Limited Edition Prints: Stills

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Stills

AMBruno presented a collection of limited edition prints, Stills, at the London Art Book Fair, Whitechapel Art Gallery, London, 26-28 September 2014. www.whitechapelgallery.org/book-fair/the-london-art-book-fair

For the London Art Book Fair at the Whitechapel Gallery 2014, the new printmaking project took cinema as its theme. The brief set by John McDowall was ‘to produce an editioned print in response to the title Stills. The single instant of a cinema film still, re-materialised from the intangible and ephemeral experience of viewing and recollection, participants’ prints might be based on production/publicity photos or a captured frame, or perhaps more intriguingly, their own memory of a film or of an imagined one’.

AMBruno also showed the book collection Lists etc. at the London Art Book Fair, with books by Marco Calí, Kathryn Faulkner, Judy Goldhill, Barbara Greene, Jane Grisewood, Ingrid Jensen, Lydia Julien, Sharon Kivland, Philip Lee, Sophie Loss, John McDowall, Sumi Perera, Steve Perfect, and Anne Rook.

The Stills suite of prints was also shown at Berliner Liste 2014, fair for contemporary art, 18 to 21 September 2014.


AMBruno presented Stills prints by 12 artists:

Marco Calí, 54:44-54:47
As the camera pans, a recreation of a historical moment is shown in the 1968 film The Charge of the Light Brigade. Different time frames are present, that of the moving image, that of the film itself, that of the actors, the historical event being re-created, the setting used in filming, and so on.

Claire Deniau, 25th
A form of subliminal messaging involves the insertion of 'hidden' messages into movies for propaganda purposes. Modern theatrical film runs at 24 frames a second. The 25th image is known as the 'subliminal image'. 25th is a subliminal image, an inspiring propaganda, which conveys ideas of beauty, peace and lightness.

Kathryn Faulkner, After Tarkovsky
A seven minute pinhole exposure made at the spa town of Bagno Vignoni in Tuscany, the location for the penultimate scene in Nostalghia by Andrei Tarkovsky. A flickering candle records the journey from one side to the other in homage to the poet Gorchakov's last moments.

Judy Goldhill, All About Eve? All About My Mother
I have restaged my mother's favourite film, All About Eve, with my youngest daughter and mother, so as to create some effectual tension between them. Taking the film's theme where an apparent ingenue insinuates herself into the company of an established, but ageing actress I have re-imagined the film's narrative.

Jane Grisewood, The Dark and the Light (Homage to 'Nostalgia for the Light')
A poetic meditation on the past, time and memory, drawing inspiration from Patricio Guzmán's 2010 film, Nostalgia for the Light. Set in Chile's Atacama Desert and observatories in the Andes, where this photograph was taken, the film reveals light/memory parallels ... searching the past to seek answers.

Lydia Julien, 5A (The Temporary Object of My Affection)
In finding boxes of negatives over 20 years old, an obsession with characters are shown through still after still after still. Often totally seduced with the actor or actress, in shooting the image there was a thick layer of infatuation, yearning to be in the space next to them.

Sharon Kivland, Last Year: The garden and frozen figures with their shadows
A single still, the famous scene of the garden and the frozen figures with their shadows, from L'annáe dernière à Marienbad, from which I have erased the figures, leaving only the shadows of where they once may have been supposed to stand, last year.

Sophie Loss, Factum no. 24
In Jean-Luc Godard's film Les Carabiniers a cinema spectator attempts to touch the projected image, only to pull down the screen; both the screen and the paper are sites of collapsed illusion.

John McDowall, Eclipse field
The still image, from Michelangelo Antonioni's film L'Eclisse, is made visible solely by means of the shadows cast by the relief of the intaglio impression revealed, as in cinema projection, by light. The film's sparsely occupied urban spaces reflect an erasure of affect, which is, at the end, reduced to a white field of absence.

Valérie Mary, Re-Momentum
My print is based on a memory I have from the movie Stalker by Andrei Tarkovsky, when a girl stands in the middle of a staircase in a place that looks like a grotto. I wanted to re-capture the feeling of uncanny, suspended time I got when I saw it.

Steve Perfect, The Night Man
In A Touch of Evil (dir. Orson Welles 1958) there is a scene where a motel night manager, who calls himself 'the night man', is pursued outside and clings fearfully to a tree. After seeing the film the image remained in my mind. Subsequenty I found a photo of myself with a tree. The images became linked.

Anne Rook, Blackboards
Blackboards is based on a reconstructed memory of a still from the beginning of ‘The Blackboard’ by Iranian film-maker Samira Makhmalbaf. Itinerant teachers, fleeing from endless contradictory conflicts, carry the tools of their interrupted trade. The blackboards, crawling up a mountain, are knowledge, its transmission, its rejection, its erasing.

All About Eve? All About My Mother  by Judy Goldhill

Judy Goldhill, All About Eve? All About My Mother (2014)
C-type colour photograph


The Night Man  by Steve Perfect

Steve Perfect, The Night Man (2014)
Silver gelatin print


Last Year: The garden and frozen figures with
their shadows by Sharon Kivland

Sharon Kivland, Last Year: The garden and frozen figures with their shadows (2014)
Archival digital print on Hahnemuhle paper

54:44-54:47  by Marco Calí

Marco Calí, 54:44-54:47 (2014)
Screen print on 300gsm Somerset Rag

Blackboards  
by Anne Rook

Anne Rook, Blackboards (2014)
Linocut, printed on heavy-weight watercolour paper

The Dark and the Light 
(Homage to 'Nostalgia for the Light')  by Jane Grisewood

Jane Grisewood, The Dark and the Light (Homage to 'Nostalgia for the Light')
(2014) Gelatin silver print on Ilford matt fibre-based paper

After Tarkovsky  by Kathryn Faulkner

Kathryn Faulkner, After Tarkovsky (2014)
Pinhole photography / C-type print

Re-Momentum  by Valérie Mary

Valérie Mary, Re-Momentum (2014)
Copper plate etching and aquatint

25th  by Claire Deniau

Claire Deniau, 25th (2014)
Drypoint and embossing

Factum no. 24  by Sophie Loss

Sophie Loss, Factum no. 24 (2014)
Digital print and embossing

Eclipse field  by John McDowall

John McDowall, Eclipse field (2014)
Blind-embossed from an acrylic plate

5A (The Temporary Object of My Affection)  by Lydia Julien

Lydia Julien, 5A (The Temporary Object of My Affection) (2014)
Black & white photographic fibre print

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

AMBruno: Stills at London Art Book Fair, 2014

AMBruno: Stills at London Art Book Fair, 2014
Photo: Sophie Loss

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