Merilyn Fairskye, 2003, 10 min, Australia
Through a series of interviews and aerial views of the land, Connected reveals the uneasy relationship of the inhabitants of Alice Springs to Pine Gap, a US-Australian Joint Defence Space Research facility sited 17 miles out of town.
Allan Giddy, 2005, 4 min extract, Australia
The horizon line and vanishing point of an endless road leap and shimmer in the heat haze of a highway somewhere in New South Wales. The sinister travail of carrion crows play out against a CB radio conversation between two truckers, one British and the other Australian.
John Gillies, 2005, 10 min extract, Australia
As white settlers drive their flocks of sheep across Australia, biblical quotations heralding the Promised Land provide the ironic justification for the appropriation of land. Vexed questions of nationhood, identity and land ownership circulate and disturb this profoundly lyrical work.
Approach to Mundi Mundi
Shaun Gladwell, 2007, 8:37 min, Australia
A leather-clad biker greets the sun, arms outstretched in a Christ-like posture. This symbolic embrace of nature tempers outback brigand-machismo while the two-wheeled technological toy gleams its enticements of freedom and the open road. Shaun Gladwell will be representing Australia at the 2009 Venice Biennale.
Dryden Goodwin, 2005, 5 min, UK
An enigmatic flight from the city, through the suburbs, along motorways, via forests to the sea is periodically interrupted by the artist drawing across the image in a febrile, cross-hatching of tangled thought.
Tony Hill, 1985, 7:24 min extract, UK
The beauty of the English countryside is experienced as a vertiginous journey through 360°, the camera arcing slowly above fields, touching summer skies and descending underground only to re-emerge in another idyllic rural setting.
CCTV Monitor 1
Hollington & Kyprianou, 2003, 3:30 min, UK
A mysterious journey is undertaken to an unknown destination as nightriders and drivers ease down midnight motorways. A post-apocalyptic atmosphere hovers above the cosy sleepiness of English lanes and hedgerows like a B-movie ‘darkest hour’.
Tammy Honey, 2007, 4 min, Australia
Australian beach culture underpins national identity and here, a young iPod performer sings over a muted pop song framed by the glorious coastline in Port Phillip Bay where the Australian Impressionists forged the first nationalist art movement.
Hobart Hughes, 2005, 6 min, Australia
The shadow of a man takes on a life of its own as it struggles between a desire to embrace the natural environment and its ability to destroy it. Inspired by Murnau’s Nosferatu, Removed is a parable of the dark day of the soul and respite is only found as the sun sets and the troubled shadow retreats.
On Sacred Land
John Hughes & Peter Kennedy, 1983, 6 min extract, Australia
"In the early 1980s, the issue of Land Rights was at the sharp political end of Australian Indigenous activism; this work was made in a period when non-Indigenous artists felt there was legitimacy in drawing on Indigenous imagery for the artistic expression of ideas arising from Indigenous issues."
Hughes & Kennedy, Melbourne, April 2008
Matt Hulse, 1994, 4 min, UK
The figure of the artist executes a time-lapse dance along a rugged seashore. His frenetic rush from rock to rock is part pantheistic hymn to the sea, part Pythonesque tribute to the inherited English madness that seeks out nature as a backdrop to eccentric rituals.
Esther Johnson, 2002, 10 min version, UK
Coastal erosion is the theme of this powerful documentary work in which the voices of Holderness residents describe their lives clinging to the edge of a rapidly crumbling cliff edge. ‘Home’ no longer offers a safe retreat as they enjoy the last months of a sea view with sanguine resignation.
Lyndal Jones, 2008, 2 min, Australia
Two old friends reminisce outside a country house imported from Europe to Australia during the gold rush. For a moment, the landscape is inscribed and animated by the old men’s memories soon to be lost to forgetfulness, the march of time and new iterations of human activity.
Andrew Kötting, 1995, 6 min, UK
Jaunt wickedly undercuts the seriousness of the ethnographic film and pokes fun at how we garner a sense of place, whether as academic theorists or skippers livening up their commentary for the benefit of tourists on a boat trip up the River Thames.