Video Apathy | Toby Huddlestone | 2010 | 07:24 min.

Part history lesson, part political campaign, Lecture Apathy is a lecture performance that studies a 20th Century history of dissent/disobedience and subversion and identifies the 1990’s as the moment where the more overt and polar version of dissent (sticking your fingers up to authority) becomes outmoded or antiquated, which in turn leads to the suggestion of apathy as political aggressor/voice. The scripted performance is backed-up with fast-paced slides showing these moments of dissent leading to images of apathy and protest apathy. The performance becomes more apathetic as it continues towards an apolitical stance.

Toby Huddlestone is a practicing contemporary artist currently based in London who also works on curatorial projects, continuing to focus on a practice of practices in which curating, collaborating, organising and communicating form main areas of discussion and production. He has exhibited worldwide through solo, group exhibitions and residencies, and has work included in numerous journals and publications. Recent projects include public commissions Exchange Radical Moments for Latvian Centre for Contemporary Art in Riga, Iteration:Again in Tasmania, solo exhibitions at Market Gallery (Glasgow), Enclave, Deptford (London) Engine Room (Wellington, NZ) and ROOM Gallery (London) and group projects at Carrol / Fletcher (London), Turner Contemporary (Margate), Videonale (Bonn, Germany), South London Gallery, 176 Zabludowicz Collection (London), Pratt Institute (New York) and Bookworks/Spike Island (Bristol). For more information visit
Transmissions from Alphaville redux | Meena Nanji & Tommy Gear | 2012 | 21:00 min.

Transmissions from Alphaville references the Free Speech Movement of the 1960’s in Berkeley, USA as well Jean Luc Godard’s Alphaville in this exploration of the curtailing of the freedom of expression, speech and even ideology in the post 9-11 landscape of USA. Delineating the USA Patriot Act of 2001, which codified and extended a wide range of surveillance techniques by government on ordinary US citizens, the FISA ACT of 2008, and the recent permission of the use of drones by local and state police, the piece explores the shrinking space of privacy and “un-surveillance” within a rhizomatic structure.

Meena Nanji is known for her experimental and documentary work that has been recognized by the Rockefeller Foundation, the National Endowment for the Arts, Paul Robeson Fund, Pacific Pioneer Fund, The American Film Institute Grant for Independent Film/Video, NAATA, among others. Her work has won numerous awards and has screened at film/video festivals internationally as well as broadcast on PBS stations throughout the US, and on European television. She has curated and coordinated various film/video festivals and screenings in Los Angeles and San Francisco including the L.A Festival and Outfest. She has been a juror on grant-giving organizations and for film festivals.

Tommy Gear, a seminal figure in Los Angeles' punk rock music scene of the late 1970s, has since served as creative consultant and artistic collaborator on numerous projects, including most recently the concept/design of monographs featuring the photographic work of Lyle Ashton Harris in conjunction with Anna Deavere Smith (published 2004) and Okwui Enwezor (published 2010).
Pledged | Celeste Fichter | 2012 | 02:46 min.

Using audio extracted from YouTube videos of children reciting the Pledge of Allegiance and imagery sourced from the Internet, ‘Pledged’ is a video about the dubious effectiveness of the indoctrination of children too young developmentally to comprehend the concept of patriotism.

Celeste Fichter was born in New Jersey in 1965 and holds an MFA in Photography and Related Media from the School of the Visual Arts in New York City. She has had solo exhibitions at the Point of Contact Gallery at Syracuse University, Go North Gallery (Beacon, NY), PH Gallery (NYC), and the Boyden Gallery at St Mary's College, MD. Her work has also been in group exhibitions at the Aldrich Contemporary Art Museum, Islip Art Museum and the Bronx Museum of Art. Her work has been reviewed in the New York Times and the Village Voice. She lives and works in Brooklyn.
Excavation No.2 | Nicola Bergström Hansen | 2009 | 05:07 min.

Excavation No.2 consists of a video loop showing YouTube clips of men and women shooting, seemingly arbitrary into the forest. Accompanying these video are fragmented sentences that change with every gunshot. The sentences are all written by John Muir; A romantic naturalist and the father of Yosemite national park. Muirs overly romantic view on nature contrasts the violent video clips but they both speak of our relationship to nature. Excavation No.2 originates from a dusty shelf in the library as well as from the dynamic, and shifting archive of YouTube.

Nicola Bergström Hansen, born 1983, is an artist living and working in Stockholm, Sweden. She has a BFA from the School of Photography in Gothenburg and graduated 2012 with a MFA from Konstfack University College of Arts, Crafts and Design in Stockholm. Much of her work relies on the use and appropriation of public archives as a creative tool to examine historical events which many try to forget or erase. Bergström Hansen is particularly interested in how we attempt to categorize, understand and define violence, trauma and difference. By methods of deconstruction, sampling and remixing she attempts to find new ways of seeing and understanding.
The DUD Effect | Deimantas Narkevicius | 2008 | 16:00 min.

The 'dud' is a bomb which does not explode. The film is made on abandoned former Soviet bases in Lithuania. During the Cold War there were located nuclear missiles R-12, which were aimed at the West. Some archive photo materials from the time are used in the film alongside with shots from half destroyed base and vast catacombs beneath it. The main character Evgeny Terentiev is a former officer, who has served in such a regiments in Lithuania, is performing the launch of R-12 nuclear missile. He still remember commands by heart. Besides quite precise fictional re-creation of the launch, the work is still more about filming this quite large territory of nature (with the remains of the base) with the intention to convey psychological perception of consternation of such a possible act and its outcome.

Un Archipel | Clément Cogitore | 2011 | 11:00 min.

"On 22 October 2010 "HMS Astute", the Royal Navy’s largest and most modern nuclear-powered submarine ran aground off the Scottish Isle of Skye."

After studying at the Fresnoy-National Studio of Contemporary Arts Clément Cogitore develope an artistic practice halfway between cinema and contemporary art. Combining film, video, installations and photographs his work questions the modalities of cohabitation of men with their images. His films have been selected for numerous international festivals (Cannes, Locarno, Lisbon, Montréal...) and won several awards. His work has also been screened or presented in various art centres and museums (Palais de Tokyo Paris, Centre Georges Pompidou Paris, Haus der Kultur der Welt, Berlin). Born in 1983, Clement Cogitore lives and works in Paris.
I'm Not The Enemy | Bjørn Melhus | 2011 | 13:30 min.

Home is a place of comfort, of security and peace. Delve into the world of a Post Traumatic Stress Disorder suffering war veteran however, and such notions drastically become perverted and uneasy. The home becomes alien and family members come to encapsulate the demons against whom the veteran has to fight. Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, I'M NOT THE EMEMY cuts open the ways in which a society engaged in war deals with the guilt of problematic returns. In a society that has such little interest in the faraway Afghan war that is fought in its name, how then is the war veteran ever to find any degree of acceptance?

Bjørn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. Originally rooted in an experimental film context, Bjørn Melhus`s work has been shown and awarded at numerous international film festivals. He has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris, amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum among others.