Flowing Water Parallelism + Sunless Haven

Clark, G. 2025. Flowing Water Parallelism + Sunless Haven.

CreatorsClark, G.
Description

Drawing on the concept of 'Flowing Water Parallelism' in Chinese poetry, this special screening draws together works connected to ideas of water and liquid bodies. The programme features my film Sunless Haven, which uses the river Thames in London to explore entangled lives and histories, a new selection of 35mm reels from the ongoing Eyemo Rolls project and invited works by Barbara McCullough and Nguyen Thi Thanh Mai.

Inspired by travelling projectionists, the 35mm rolls have been shot in camera since 2011 to think about worlds within worlds and explore various borders and transient zones. This screening moves from London to the Philippines, Hokkaido to Hong Kong and includes rolls shot in Bangkok following the last Bangkok Experimental Film Festival in 2012.

Eyemo Rolls (2011-2024) 22 mins
by George Clark

Barbara McCullough, Water Ritual #1: An Urban Rite of Purification, 1979, 5 mins

Barbara McCullough's landmark work blends black feminism, experimental cinema and ritual. Working in collaboration with the performer Yolanda Vidati, Water Ritual explores the struggle to mark and create space within the blighted urban landscapes of southern Los Angeles.

Nguyen Thi Thanh Mai
Black landscape #6, 2018-20, 8 mins

Black landscapes #6 marks the locations of families who once lived on Tonlé Sap but that have been made to abandon their homes. The landscapes absent of humans stand in for the thousands of stories, memories and lives that are slowly fading away and into the mighty Mekong River.

Sunless Haven (2024), 32:00 mins
by George Clark

Year01 Feb 2025
2025
ProjectSunless Haven
Web address (URL)https://beffth.com/screening-guest-curators-programs

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Clark, G. 2020. True Journey is Return: On Detours and Returning in Ute Aurand's films. in: Ortega, G. and Palacios Cruz, M. (ed.) Meditations on the Present: Ute Aurand, Helga Fanderl, Jeannette Muñoz and Renate Sami Spain Punto de Vista.

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Clark, G. 2019. Ian White: Conversation between Ian White and George Clark. in: Reynolds, L., Perks, S and Balsom, E (ed.) Artists’ Moving Image in Britain Since 1989 Paul Mellon Centre.

Double Ghosts
Clark, G. 2018. Double Ghosts. National Taiwan Museum of Fine Art, Taichung, Taiwan 22 Sep 2018 - 10 Feb 2019

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Clark, G. 2018. Double Ghosts.

There is no motion in a motion picture
Clark, G. 2018. There is no motion in a motion picture. in: Johnston, C (ed.) Gavin Hipkins: The Domain New Zealand Victoria University Press.

Under The Earth
Clark, G. 2018. Under The Earth. in: Jungyeon Ku, H (ed.) Im Heung-soon: Toward a Poetics of Opacity and Hauntology Seoul, South Korea National Museum of Modern and Contemporary Art, Seoul.

Contact with the Polish Avant-garde Guaranteed: Modes of Exchange in the Workshop of the Film Form
Clark, G. 2017. Contact with the Polish Avant-garde Guaranteed: Modes of Exchange in the Workshop of the Film Form. in: Ronduda, Ł and Kuźmicz, M (ed.) Workshop of the Film Form Poland Fundacja Arton.

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Clark, G. 2017. A Peculiar Apparatus: Spectres of the Penal Colony. in: Zikri, M. (ed.) Arkipel Penal Colony - 5th Jakarta International Documentary and Experimental Film Festival Jakarta Forum Lenteng. pp. 125-134

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Clark, G. 2016. On Correct Colour: On Margaret Honda's films. in: Moshayedi, A and Walker, H (ed.) Made In LA: a, the, through, only Hammer Museum / UCLA.

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Clark, G. 2016. To Pour Milk Into a Glass: Film, Video and Conceptual Art in Britain 1964–1979. in: Wilson, A. (ed.) Conceptual Art in Britain 1964–1979 London Tate Publishing.

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Clark, G., Kidner, D. and Richards, J. 2012. A Detour Around Infermental. UK Focal Point Gallery.

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