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The perfect gifts for the discerning reader: 70×70 limited editions

A selection of (very) limited editions of 70×70 materials (video, audio, written word) released by Volcano publishing.

These are beautiful items which would be perfect for the coming festive season as a gift for your loved ones.

Or for yourselves, just because you need to have them.

Click on the image below and head to Volcano Publishing 

70x70-book-cover

I need one of these beautiful objects of desire!

 

Iain Sinclair: A Life in Film by Daniel Marc Janes in the Los Angeles Review of Books

Click on the screenshot to read the full story.

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70×70 Finale @ The Barbican

Last minute update from PURGE:

http://us4.campaign-archive1.com/?u=c6f1444e1ee08f268635fc69e&id=24997667cf&e=cea5b7ed78

70×70: a season of 70 films curated by Iain Sinclair to mark his 70th birthday, will end at The Barbican this weekend.

Programme additions include Brian Catling, Susan Stenger, and Chris Petit with Iain Sinclair performing London Orbital.
———————–
June 7, 2pm. Director Iain Sinclair
Introduction with Iain Sinclair, Brian Catling and Susan Stenger. Chaired by Gareth Evans.
They (Dublin) (with Tom Baker). 1964 – world premiere
Ah! Sunflower (Allen Ginsberg in London) (with Robert Klinkert) 1967
Hackney Diary 8mm Films. 1969 – 1975
Maggid Street. 1974
———————–
June 7, 5pm. Talking head Iain Sinclair
Iain Sinclair is joined by Paul Tickell to introduce the second programme.
Vessels of Wrath (AKA Downriver). Directed by Paul Tickell. 1989
Docklands. Directed by Mary Harron (with JG Ballard). 1991
———————–
June 7, 7pm. Iain Sinclair and Chris Petit (part 1)
Iain Sinclair in conversation with fellow writer and filmmaker Chris Petit, introduced by Brian Catling.
The Cardinal & The Corpse. Directed by Chris Petit. 1992
The Falconer. Directed by Chris Petit and Iain Sinclair. 1998

———————–

June 8, 2pm. Iain Sinclair and Chris Petit (part 1)
Iain Sinclair in conversation with fellow writer and filmmaker Chris Petit.
London Orbital. Performance by Chris Petit and Iain Sinclair.
Asylum. Directed by Chris Petit and Iain Sinclair. 2000
Marine Court Rendezvous. Directed by Chris Petit and Iain Sinclair. 2008
Berlin Alexanderplatz: 14 Boxes (Ruin Value preview). Directed by Stanley Schtinter. 2014
Iain Sinclair’s 70th birthday footage. Directed by Stanley Schtinter and Susu Laroche. 2013
———————–
June 8, 4.30pm. Iain Sinclair & Andrew Kotting (part 1)
Iain Sinclair in conversation with fellow writer and filmmaker Andrew Kotting.
In The Wake of a Deadad. Directed by Andrew Kotting. 2006
This Our Still Life. Directed by Andrew Kotting. 2011
———————–
June 8, 4.30pm. Iain Sinclair & Andrew Kotting (part 2)
Swandown. Directed by Andrew Kotting. 2012
By Our Selves. (preview from a forthcoming project by Kotting and Sinclair, 2014)

Tickets can be booked by clicking here

BE THE FIRST TO RESPOND TO THIS MAILOUT AND WIN A WEEKEND PASS FREE COURTESY OF PURGE & KING MOB
MUST BE BEFORE MIDDAY (FRIDAY 6TH)

On 7 and 8 June, The Barbican will host the grand final for the 70×70 celebrations. The events are:

For booking and complete info, please follow the links.

Interview: ‘A Living Memory’: Iain Sinclair On Life At 70

Today the Google Search fishing net returned this catch, an interview with Iain by Tim Burrows  “ahead of his 70×70 Finale”.

Read it clicking on Stanley Schtinter’s photo, reproduced without permission (hope you don’t mind Stan!)

 

 

 

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Last Writes: 70×70 @ The Barbican

Here is a short piece written by Iain Sinclair for the 70×70 grand final.

According to the Psalmist: ‘The days of our years are threescore and ten; and if by reason of strength they be fourscore years, yet is their strength labour and sorrow; for it is soon cut off, and we fly away.’

Thanks to Paul Smith (for the original and unworkable notion) and to Stanley Schtinter (for working it), my first bonus year after that biblical allotment has been about flying, bunker to coop, Hackney Picture House to Elephant and Castle, talking about (and sometimes staying to view) a catalogue of 70 films. On a number of occasions, Chris Petit has stepped in for me, and improved the day with his insights into the current state of play; the era of decommissioning, films without film, museums of loneliness. Gareth Evans is always somewhere at hand, melting down defunct projects and alchemising them into something new.

The party comes to an end at the Barbican this coming weekend, June 7 & 8. Footfalls are welcome.

On Saturday we will screen a bunch of films rarely if ever seen (never in public places). The show begins with a 16mm piece made in Dublin in the early ‘60s, with Tom Baker (of future Witchfinder General fame), and continues, by way of a 1967 documentary about Allen Ginsberg, to 8mm diary records (in the spirit of Jonas Mekas) recording communal life in Hackney. Maggid Street,a fictional extension of this activity, was cooked up with the collaboration of the sculptor/poet/performance artist Brian Catling. And later finessed with graphics by Dave McKean. Catling, now a celebrated international artist, and author of The Vorrh (sold to major publishers in USA and UK), will be present. And there will be discussions with Chris Petit and Susan Stenger, whose compositions and sound retrievals form a major component in several of the films.

On Sunday, there will be a programme of more public features, television and sponsored film commissions. Three of the films, not available on DVD, were made in partnership with Petit: The Cardinal and the Corpse, The Falconer, Asylum. They will be followed by films made by Andrew Kötting, which will include the collaborative pedalo voyage from Hastings to Hackney, Swandown. And a trailer for the latest Kötting/Sinclair madness, By Our Selves, a tramp in the footsteps of the poet John Clare, Epping Forest to his home village, north of Peterborough. Clare is inhabited by Freddie Jones. Kötting is hidden inside a Straw Bear. There will be further dialogues, debates, with participants. As well as predictably unexpected bonus items.

One of the final 70×70 shows – a great triple bill – drew an audience of four people (three participants and a single outsider). I was not discouraged. Indeed, that afternoon felt very much like the best obituary for a certain kind of cinema and for the whole concept to travelling across London to locate the special places where films are curated.

The Barbican gathering won’t happen again, not for me. Most of these films will disappear into lock-ups and insecure vaults. (Apart from the Kötting pieces, which will be vigorously and constantly promoted by the performer/artist. And available at the touch of a website.) I look forward to finding out what happens. As the last chapter of this fiction of listing and (mis)remembering.