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Swandown & Edgeland Mutter (plus Q&A)

FRI 27 FEB | 7.30PM

Swandon 1Swandown, a film by artist and filmmaker Andrew Kötting and writer Iain Sinclair, follows the duo as they pedal a swan pedalo from Hastings down the River Thames to Hackney.

The duo’s short film Edgeland Mutter, described as a ‘reminisce and flawed celebration’ of Hastings, will open the evening.

The screenings will be followed with a live Q&A with Kötting and Sinclair.

No rating

Tickets £5/£4 conc./£3.50 members


The Sea Interlude film series presents an eclectic selection of films that explore the theme of the sea. This project is supported by Film Hub South East with National Lottery funds distributed by the BFI Film Audience Network (FAN).

Link to event page:

The Vindicatrix soundtrack for the film Ruin Value

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The fifth release by ‘liberated film banner’ PURGE, and preempting the imminent release of Sinclair’s 70×70 special edition book, is the soundtrack to Schtinter’s shot experimental 2014 film Ruin Value (AKA Berlin Alexanderplatz: 14 Boxes), composed and produced by Vindicatrix, featuring the voices of Iain
Sinclair and Martin Mueller (sound recordist for Rainer Werner Fassbinder, Wim Wenders and many others).
Last few copies in an edition of 37 are available now on gold cassette, stamped and numbered, with metre-long receipt insert (images and text from the film), presented in a black box via the PURGE website:
Listen to a sample of the recording here:

At the Tonbridge School/Society

Screen Shot 2015-02-04 at 18.19.38


More info click here

Swandown at the IFFR on 28/01/2015 – Rotterdam

Swandown will be at the International Film Festival in Rotteram on Jan 28th.

Click here for more info.



Ian Breakwell important works from the ‘60s and ‘70s

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30 years ago, on April Fools Day, Anthony Reynolds Gallery presented the first exhibition in its cavernous Old Street basement space: New Work by Ian Breakwell. The series of monumental paintings on display were far from what his many followers anticipated; but then Breakwell was an artist whose championship of the extraordinary in the ordinary was always unexpected. As the late, great commentator Tom Lubbock put it: ‘he was a painter, diarist, film-maker, fiction writer, photographer, and broadcaster. His work was a series of one-offs and each one is a surprise…a heartening affirmation of unfathomable ongoing ordinariness’. Breakwell was indeed all these things and more, a great polymath artist with a roll-call of heart-and-soul-mates that included James Joyce and Robert Walser, Schubert and Thelonius Monk, Goya and Magritte, Ingmar Bergman and Buster Keaton, and who, in the words of Felicity Sparrow, was ‘the champion of the underdog. The unseen, the unloved. And the unlovely.’

Breakwell was and is a unique and hugely influential figure, one of the greatest exponents of the visual language of word and text. Surrealism, Letterism, Fluxus, Happenings, Systems, chance and order are all part of his make-up; even the Kitchen Sink School, but without any of the turgidity. Out of these and his working class Midlands background Breakwell fashioned a brilliant and utterly singular oeuvre. There is certainly a dark side to his work which frequently verges on the repellent but its essential humanity and surreal humour always triumphs. His texts and images weave together the slight with the profound, digging nuggets of gold out of the mud of the everyday. ‘Reassuringly familiar starting points, i.e. clichés, are the deliberately chosen basis of most of my artwork, whether writings, drawings, paintings, films or videotapes. Then the way is clear to test and turn that familiarity into unexpected forms which hopefully disturb complacency.’

Ten years after his death in 2005, Anthony Reynolds Gallery is presenting a selection of major works from the first two decades of Breakwell’s career. The exhibition includes the most comprehensive expression of Breakwell’s major diary pieces, The 1974 Diary. This massive work has not been seen complete in London since his ICA exhibition in 1977. The show also includes important and rarely seen works from the 60’s, among them the apparently gruesome diptych, The Kill (1969) and the remarkable Description of a Picture (1968) which is a long distance forerunner of countless descriptive ‘word pictures’ of more recent years. Further exhibits include two rare studies for the Walking Man Diary of 1975-78 (Tate Collection) a unique large-scale work derived from an early performance piece, Buffet Car News (1967), and a series of three sexually challenging collages from 1971.

Breakwell’s last major work, BC/AD, is included in the exhibition Self: Image and Identity: Self-Portraiture from Van Dyck to Louise Bourgeois at the Turner Contemporary in Margate from 24 January to 10 May.

Please be advised this exhibition contains images of a sexually explicit nature.



Abandoned Goods will be at Sundance on Jan 24th, 27th,28th and 29th.

Check this page for more info.