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Unlicensed Preaching: A Life Unpacked In 70 Films

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This pre-launch event celebrates Unlicensed Preaching: A Life Unpacked In 70 Films - the book documenting Iain Sinclair’s 70×70 film season (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 Kötting.

To observe the occasion, recently unearthed never-before-seen footage will be screened from Subversion In The Street Of Shame, a convocation of London’s literary underground held over three days in 1994 at the Bridewell Theatre, off London’s Fleet Street. It documents the last public readings of Robin Cook/Derek Raymond and Kathy Acker, as well as the very first ‘Moon and Serpent’ 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 of Marine Court Rendezvous(directed by Chris Petit/Iain Sinclair; soundtrack by Susan Stenger).Originally presented in 2008 in London’s Sketch Gallery as a 12-channel video installation, Marine Court Rendezvous 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 essence ‘a film that was never made’, 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 Court’s array of windows while peering voyeuristically inward and gazing wistfully outward.

Petit, Sinclair and Stenger will speak about the making of Marine Court Rendezvous before the screening.

Street of Shame and Marine Court will be preceded by the three minute short 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 Shame - In two parts, with live commentary by Iain Sinclair and Chris Petit
Marine Court Rendezvous - Preceded by a talk by Iain Sinclair, Chris Petit and Susan Stenger


The 70×70 book went to print today

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 ON 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 28 AT ICA.
UNBELIEVABLE PROGRESS.
Iain70x70BookPURGEsite

ABANDONED GOODS – narrated by Iain Sinclair

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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 ‘asylum art’. 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 O’Flynn 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!

Link: http://flyfilm.co.uk/films/abandoned-goods.php

 

A poem dedicated to Iain

HARK new issue contains James Bruce May’s poem dedicated to Iain: “Oh Herons’ Wings”.

 

 

 

Iain on This is Hell! – May 2014

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 America’s original freaks took – inward and Westward – 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 Speer’s phantom tracks, to end up watching Wayne Rooney on television somewhere in Oregon.

Iain’s 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 “British writer, documentarist, film maker, poet, flaneur, metropolitan prophet and urban shaman, keeper of lost cultures and futurologist.” He is also the editor of London: City of Disappearances.

 

On the Road in Late Capitalism: Places, Journeys, and the Beats’ Legacy

Ed Sutton on the Antidote blog has published a partial transcription  of the Chuck Mertz interview on This is Hell!

 

Our ‘edition’ 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 Iain’s 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 of—and our alienation and expulsion from—urban 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 ‘development’ of cities we call home—a pain that can be expressed in the question, “Why doesn’t the city I love, love me?”

 

 

 Read the transcription on Antidote