The artists commissioned to make film-based works for Frieze Film 2013 were: Petra Cortright, Peter Gidal, Patricia Lennox-Boyd, Oraib Toukan, and Erika Vogt.
Daily screenings and artist’s presentations took place in the Frieze auditorium, alongside the television broadcast of the films as part of Random Acts on Channel 4. Access to the Frieze auditorium was included in the admission ticket.
In collaboration with CPH:DOX, the CineMart of the International Film Festival Rotterdam (IFFR) and LUX, Frieze Film hosted New Partnerships Between Art & Film: a think tank and a panel discussion programmed by ART:FILM that explored the process and conditions of developing, producing, financing and distributing artist films.
A member of the Nasty Nets Internet Surfing Club, Loshadka Internet Surfing Club and Computers Club, Petra Cortright makes videos that intuitively play with online language and tropes, such as the representation of the physical body within the computer screen. DYI aesthetics characterise Cortright’s practice, which embraces and subverts the home-user’s attitude towards social media and technologies.
Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’.
Patricia Lennox-Boyd’s film Carl dis/assembling w/ self is composed of footage of a man self-recording the assembly and breakdown of a Dodge truck engine. The structure of the video - with credits placed at its mid-point - displays a circular, over-literalised logic that is often deployed in her sculptural work. Carl dis/assembling w/ self experiments with a performed language of handheld camerawork to play with and against the idea that gesture can be read as a transparent revelation of authorship.
Erika Vogt has described her commission for Frieze Film 2013 as working within the format of a television commercial. Using drawings and footage of friends collected throughout the preceding months, Vogt created episodic video compositions that were broken up by the editing process. This extended Vogt’s previous interest in circumventing the video signal as seen in her works Stranger Debris Roll Roll Roll (2013) and Temple Drawn – OFF (2013).
Oraib Toukan has an ongoing collaboration with artist Ala Younis on found film footage from the former Soviet Cultural Center in Amman. They have a working relationship with the digital builder Matthew Epler who designed a crowd-sourced database to globally identify 900 unknown film canisters in Amman. For Frieze Film 2013, Toukan presented Chapters 1, 2 & 3 ‘From the impossibility of one page being like the other’.
Oraib Toukan presents Google Gazing and the Soviet Film Archives / ART:FILM presents New Partnerships Between Art & Film, panel / Erika Vogt in conversation with Stuart Comer / Peter Gidal feature screening Upside Down (feature film)
In addition to commissioning five new works, the programme also explored the process and conditions of commissioning artist films with a think tank and a panel discussion in the Frieze London auditorium. Entitled ‘New Partnerships Between Art & Film’, the think tank and panel have been developed in collaboration with CPH:DOX, the CineMart of the International Film Festival Rotterdam (IFFR) and LUX, and are programmed by ART:FILM.
Wednesday 16 October, Frieze London auditorium, ‘New Partnerships Between Art & Film’, think tank (invitation-only): This think tank invited experts from the art world and film industry alike to discuss existing genres and markets as well as new possibilities for developing films in a hybrid financing landscape. The challenges of new types of ownership, exhibition and distribution were addressed, so as to develop and propose new ways of working across art and film.
Friday 18 October, Frieze London auditorium, panel discussion (3pm): Outcomes of the think tank of 16 October were presented and challenged through a public panel, including questions on film production, financial models, ownership and audiences. Questions that were addressed included: ‘How does the institutional context influence the creative process?’ and ‘How can film and art productions be integrated in the future?’