This pre-launch event celebratesÂ Unlicensed Preaching: A Life Unpacked In 70 FilmsÂ - the book documenting Iain Sinclair’sÂ 70×70 film seasonÂ (his selection of 70 films to mark his 70th year).
Published on 23 October 2014, this is an advance opportunity to get your copy of a radically inventive and deftly realised furtherance of Sinclair’s monumental film curation.
Contributors include Alan Moore, Chris Petit, Colin MacCabe, Barrie Keeffe, Gareth Evans and Andrew KĂ¶tting.
To observe the occasion, recently unearthed never-before-seen footage will be screened fromÂ Subversion In The Street Of Shame, a convocation of London’s literary underground held over three days in 1994 at the Bridewell Theatre, off Londonâs Fleet Street. It documents the last public readings of Robin Cook/Derek Raymond and Kathy Acker, as well as the very first âMoon and Serpentâ performance by Alan Moore; other performers include Sinclair, Chris Petit, Brian Catling, John Healy and Stewart Home. Petit and Sinclair will be present to add their unique memories of the event.
Following this will be a rare screening ofÂ Marine Court Rendezvous(directed by Chris Petit/Iain Sinclair; soundtrack by Susan Stenger).Originally presented in 2008 in Londonâs Sketch Gallery as a 12-channel video installation,Â Marine Court RendezvousÂ comprises a series of documentary-fictions shot in and around Marine Court, St Leonards-on-Sea – a 1930s crumbling modernist building in the style of a Cunard luxury liner. In essenceÂ âa film that was never madeâ, it creates a half-world of intertwined narratives, combining fragments of new footage with exiled characters and disembodied voices from diverse cinematic sources. When presented as a grid of surveillance-camera images rather than on 12 separate screens, it echoes Marine Courtâs array of windows while peering voyeuristically inward and gazing wistfully outward.
Petit, Sinclair and Stenger will speak about the making ofÂ Marine Court RendezvousÂ before the screening.
Street of ShameÂ andÂ Marine CourtÂ will be preceded by the three minute shortÂ Iain Sinclair: 70, 16mm footage taken by Stanley Schtinter and Susu Laroche on the morning of Sinclair’s 70th birthday.
Seven frames from the original negative of this film will be included in each book on the night.
The event (in brief):
Iain Sinclair: 70
Subversion In The Street Of ShameÂ - In two parts, with live commentary by Iain Sinclair and Chris Petit
Marine Court RendezvousÂ - Preceded by a talk by Iain Sinclair, Chris Petit and Susan Stenger
The follow message from the aliens at Purge
appeared in the mailbox today:
THE 70X70 BOOK WENT TO PRINT TODAY.
PUBLICATION DATE AND OFFICIAL LAUNCH AT LONDON REVIEW OF BOOKS ONÂ 23RD OCTOBER
. BUT WE’RE HAVING A PRE-LAUNCH
WHERE FOLK CAN GUARANTEE 7 FRAMES FROM THE NEGATIVE OF HIS BIRTHDAY FOOTAGE INSERTED INTO EACH ADVANCE COPY – AVAILABLE AT THE SAME PRICE.
SEPTEMBER 28Â AT ICA.
Abandoned Goods is a short essay film about the extraordinary collection of artworks created by patients detained in Netherne psychiatric hospital between 1946 and 1981. The artworks were created in a pioneering art studio in the hospital run by the artist Edward Adamson. Today around 5,500 pieces survive, assembled together as the Adamson Collection, one of the major bodies of British âasylum artâ. The film is narrated by an unseen cataloguer, voiced by Iain Sinclair, who comments on key works in the Collection and provides glimpses into the lives of their creators. Blending archive, reconstruction, 35mm rostrum photography, interviews and observational footage, the film explores the transformation of the objects in the Adamson Collection, from clinical material to revered art objects, examining the lives of the creators and the changing contexts in which the objects were produced and displayed, to provide a moving impression of the unseen history of postwar asylum life in the UK.
Abandoned Goods was made with the help of Dr David OâFlynn and the Adamson Collection Trust and the support of the Wellcome Trust and the Maudsley Charity.
Abandoned Goods has been selected for the Pardi di domani competition at Locarno Film Festival 6th-16th August 2014!
HARK new issue contains James Bruce May’s poem dedicated to Iain: “Oh Herons’ Wings”.
Here is the long interview to Iain Sinclair by Chuck Mertz on This is Hell! Radio from May 2014.
Now edited and partially transcribed by Ed Sutton on Antidote, this is the full version.
From This is Hell! website:
Jack Kerouac might have laid down the road, but the path Americaâs original freaks took â inward and Westward â survives today, in glimmers and traces. Iain Sinclair traveled to America to walk in the footsteps of the Beat generation, and he shares stories of his trip through memory and imagination, from the cultural ruins of Olympic London, through Albert Speerâs phantom tracks, to end up watching Wayne Rooney on television somewhere in Oregon.
Iainâs book American Smoke: Journeys to the End of the Light is out now from Faber & Faber.
Writer and filmmaker Iain Sinclair is a self-described âBritish writer, documentarist, film maker, poet, flaneur, metropolitan prophet and urban shaman, keeper of lost cultures and futurologist.â He is also the editor of London: City of Disappearances.
Ed Sutton on the Antidote blog has published a partial transcriptionÂ of the Chuck Mertz interview on This is Hell!
Our âeditionâ narrows the scope of the discussion, which centered on a latter-day exploration of the Beat Generation and their haunts, to just haunts. That is, we found the portions of Chuck and Iainâs conversation that centered on place, cities, and our place in cities to be most complementary to topics we cover on Antidote. Further, much of the discourse about the gentrification and commercialization ofâand our alienation and expulsion fromâurban landscapes lacks the poetic and emotional sensitivity that this conversation contains. We find this fresh, humane approach both affecting and appropriate to the real pain that underlies our objections to the neoliberal âdevelopmentâ of cities we call homeâa pain that can be expressed in the question, âWhy doesnât the city I love, love me?â
Â Read the transcription on Antidote