Cant Chant (Wegrewhere)
Vernon Ah Kee, 2007, 4:20 min, Australia
Athletic Indigenous ‘dudes’ re-appropriate a white surfers’ paradise while the ghosts of colonial history play across the underside of a surfboard bearing a photograph of Ah Kee’s grandfather captured by the anthropologist Norman Tindale in the 1920s. Ah Kee will represent Australia at the 2009 Venice Biennale.
The Ground, the Sky and the Island
Steven Ball, 2008, 7:45 min, UK
Image, sound and text gathered from journeys across Australia are reworked as an essay that becomes a discourse on being and landscape. The work addresses the problem of attempting to produce landscapes and the uncertainty of representation.
George Barber, 2002, 6 min, UK
On a trip down the River Thames, a succession of young people hang upside down in front of the camera and reflect on their lives. The incongruity of the upturned figure-ground relationship suggests the need to see things differently. It is the journey through the landscape that will reveal new truths.
Farms of Innocence
Anna Cady, 2007, 2 min, UK
Despite the environmental warning underlying Cady’s charmingly child-friendly animation, its joyous humour lightens its message and in her use of Edward Lear’s nonsense poem, The Duck and the Kangaroo, she offers the possibility of redemption.
Night's High Noon: An Anti-Terrain
Peter Callas, 1988, 7:26 min, Australia
Callas’s intricate 1988 animation parades the iconographic symbols that came to define Australian identity. Completed in Australia’s bicentenary year, the video captures much of the tensions of that time, tensions that persist to this day.
Nick Collins, 2002, 10 min, UK
A beach in Newhaven on the Sussex coast is the setting for this elegant visual essay. Details of the beach give the view close to the ground, at arm’s length, while the aspirations of horizon interweave the meditation on place.
Lake George (after Mark Rothko)
John Conomos, 2008, 7 min extract, Australia
Following Jean-François Lyotard’s contention that “…landscape is beyond the cultivated zone”, Conomos evokes the beauty of Lake George in a series of immersive, painterly abstractions.
Roz Cran, 2008, 4 min, UK
An absurdist humour combines with a serious attempt to “get closer to things in the world” by physically embodying a feature of the landscape, by becoming a stone.
Static No. 10 (falling as a means of rising)
Daniel Crooks, 2007, 3:55 min, Australia
By means of sophisticated digital ‘time-slicing’, Crooks unravels our notion of the time-space continuum and hints at hidden rhythms in the landscape as well as deeper levels of human subjectivity.
Sergio Cruz, 2006, 4 min, UK
Animalz is an exuberant fantasy in which boys emerge from the sea, like the original amphibians and colonise a forest, marking out their territory in a break-dance celebration of Nature and her feral sons.
Sofia Dahlgren, 2005, 4 min, UK
An imaginary winter landscape opens up the realms of symbolism and timeless dreaming. The meditative stasis of painting is recreated in the slow pace of the video while the finely worked digital surface reminds us that landscape is a cultural, man-made phenomenon.
Dalziel + Scullion, 2000, 4 min extract, UK
Residents of the Aberdeenshire village of St Combs pose in front of the coastal landscape they inhabit. Their steady gaze projects a sense of history and belonging, and challenges viewers to declare their own provenance. But how many of us can unequivocally answer the stock question “…and where do you come from?”
Destiny Deacon, 2004, 7 min, Australia
A satirical reworking of the Neighbours format finds Indigenous families recreating outback social networks in the urban landscape, but racial taunts and demonstrations of un-neighbourliness suggest that the legacy of colonisation is ever-present.
Sarah Dobai, 2008, 7 min, UK
Following in the deconstructive footsteps of structural film, Dobai isolates and mechanically reproduces the special effects that create atmosphere in mainstream film. Wind blows selectively across a highly constructed park landscape and against logic, agitates a tree, then a bush and finally the surface of a lake.
Ann Donnelly, 2007, 7 min extract, UK
The conflicted landscape of Northern Ireland is revealed through the moving history of a family whose vicissitudes intersect with wider historical and political events. Boundaries reveal dispossession as much as land management and the artist asks: “What is native; what is original?”
Jeff Doring, 1983-2008, 10 min extract, Australia
edited as an attenuated vocabulary excerpt from the accumulated film media archive of the Pathway Project - produced in collaboration with Mr. Paddy Neowarra as Chairman of NAC @ Pathway Project Pty Ltd., 2008.
Paddy Nyawarra, Kimberley lawman and Aboriginal activist demonstrates traditional sausage-making techniques in the outback. He passes the knowledge on to the next generation and in so doing, establishes the precedent of Aboriginal land use with its links to Indigenous law – an important feature in native land title claims.
Catherine Elwes, 2008, 5 min, UK
A mother’s memories of both bravery and self-interest during World War 2 are re-inscribed into a Cornish coastal landscape while contemporary surfers catch the waves oblivious to the significance of the place for the autochthonous speaker.