Close Up

6 October - 24 November 2022: John Smith: Introspective (1972-2022)

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In celebration of John Smith’s 50 years of radical filmmaking, purge.xxx and Close-Up present the most extensive survey of his work to date: screening 50 films by Smith, organised into ten weekly programmes, seven at Close-Up and three at the ICA. The screenings are arranged chronologically, combining rarely screened works with well-known favourites. Guests in conversation with Smith include Erika Balsom, Ian Bourn, Jarvis Cocker, Gareth Evans, Juliet Jacques, Carol Morley, Jocelyn Pook, Stanley Schtinter, Iain Sinclair and Alia Syed.

John Smith’s Introspective launches with a special, one-off music-focussed programme at the ICA, marking the vinyl release of Blight, the soundtrack from Smith’s film with original score by Jocelyn Pook. Smith and Pook will be present and in conversation, with rarely seen films including commissions for Charles Hayward and Echo & the Bunnymen. Two more programmes will be presented at the ICA: with Carol Morley on October 27, and with Jarvis Cocker on December 1 (closing event).

John Smith: Introspective (1972-2022) is organised by Stanley Schtinter. For the full programme, and information on the vinyl LP, Blight, by Jocelyn Pook to mark its happening, visit: http://johnsmith-introspective.com


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Programme 1: (1972-76)
With John Smith and Stanley Schtinter in conversation

Triangles
John Smith, 1972, 3 min

Smith’s first 16mm film comprises abstract animation punctuated by found footage, cut to music by The Velvet Underground.

Someone Moving
John Smith, 1972, 5 min

Choreographed actions of a moving figure, broken down into still frames and reanimated in superimposed layers. Soundtrack by Peter Cusack.

The Hut
John Smith, 1973, 5 min

An experiment into visual rhythms that animates still photographs of a decaying building.

Words
John Smith & Lis Rhodes, 1973, 7 min 16mm

An exploration of arbitrary meaning involving random combinations of words.

Out the Back
John Smith, 1974, 5 min

An improvisation around the view from an urban window, the first of Smith’s films to be edited in camera.

William and the Cows
John Smith, 1974, 6 min, 16mm

Slowed down glimpses of life on the island of Sark.

“One of the most surreal films I have ever seen.” – Malcolm Le Grice

Faces
John Smith, 1974, 6 min

A study of movement and stasis involving the animation of still photographs.

Associations
John Smith, 1975, 7 min

Images from magazines and colour supplements accompany a spoken text taken from Word Associations and Linguistic Theory by Herbert H. Clark. Playing upon ambiguities inherent in the English language, Associations sets language against itself. Image and word work together/against each other to destroy/create meaning.

Leading Light
John Smith, 1975, 11 min

Leading Light uses the camera-eye to reveal the irregular beauty of a familiar space. When we inhabit a room we are only unevenly aware of the space held in it and the possible forms of vision which reside there. The camera-eye documents and returns our apprehension. Vertov imagined a ‘single room’ made up of a montage of many different rooms. Smith reverses this aspect of ‘creative geography’ by showing how many rooms the camera can create from just one.” – A.L. Rees

The Girl Chewing Gum
John Smith, 1976, 12 min

A commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes – not prescribes – the events that take place before him.

"Smith takes the piss out of mainstream auteurist ego, but provides proof of the underground ethos: Even with meagre mechanical means, the artist can command the universe." – Ed Halter


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Programme 2: (1976-78)
With John Smith and Erika Balsom in conversation

Summer Diary
John Smith, 1976-7, 30 min, 16mm

Filmed in London during the summer of 1976, the view from the filmmaker’s window becomes the locus for a series of visual and verbal descriptions of the past and present.   

“The film’s concern lies in memory and the awkward distance between reminiscence and fact, personal accounts and objective phenomena… The function of memory presented through reminiscence and re-enactment presents the subjective at odds with objectifying mechanical devices (such as camera, thermometer, calendar) but engaged in the construction of a personal and historical position.” – Michael Maziere

Gardner
John Smith, 1977, 6 min

An experiment with densely layered information, commissioned by EMI to explore the possibilities of the newly invented video disc. Gardner was inspired by the man cited in the Guinness Book of Records as the world’s fastest novelist. Erle Stanley Gardner, the mystery writer who created Perry Mason, dictated up to ten thousand words per day and worked with his staff on as many as seven novels simultaneously.

Hackney Marshes - November 4th 1977
John Smith, 1977, 15 min

An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that covered Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects. Unforeseen events occurring in the vicinity were also recorded, influencing the direction of the subsequent filming. Through selective framing and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.

Hackney Marshes (TV version)
John Smith, 1978, 30 min

“Explicitly challenging all the accepted forms of the TV documentary, John Smith’s important film is extraordinary as the product of a major institution. The dual subjects are the inhabitants of tower blocks in Hackney and the components and conventions of filmmaking. Interviews with the former are cut against a limited sequence of compositions which illustrate and question the soundtrack in a number of distinct ways. Repetition, sharp editing, unlikely images (chalk lines, lift doors closing) and the deliberate reversal of normal devices all work to disorientate the viewer and to force a reconsideration of his or her relationship to the film. The overall result is, perhaps surprisingly, given the theoretical concerns, a strangely intimate picture of the subjects.  Importantly, its success demonstrates the necessity for many TV film-makers to re-think their safe approaches and accepted techniques." – John Wyver


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Programme 3: (1978-84)
With John Smith and Juliet Jacques in conversation

Double Shutter
John Smith, 1978 / 2018, 7 min

As a reassemblage of two excerpts from Blue Bathrooom (1978), Double Shutter is a distillation of ideas concerning the tension between representation and materiality. An apparently straightforward representational image is gradually revealed to be an artifice, foregrounding the filmmaking process as subject matter. By superimposing and alternating identical framings of three windows filmed by day and by night the film uses their positive/negative qualities to construct and break down representational images and sounds.

7P
John Smith, 1978, 8min

7P is constructed around the carol The Twelve Days of Christmas, juxtaposing similar picture and sound fragments recorded on consecutive days over the Christmas period. When the seemingly predictable structure starts falling apart, nonsensical combinations of word and image begin to acquire their own unfathomable meanings.

Celestial Navigation
John Smith, 1980, 10 min 16mm

Celestial Navigation could be seen to work in the tradition of British landscape film in that it incorporates a ‘natural’ element (the Earth’s rotation) into the structure of the film. Filmed in the course of one day on a beach, the film uses pan and tilt movements to follow the shadow of a spade and retain its vertical position in the frame… Many peripheral elements come into the film, adding humour to an otherwise near scientific exercise. The tide comes in, a sandcastle is built and washed away, a cyclist crosses the scene, which all works to incorporate human presence without denying the original strategy.” – Michael Maziere

Light Sleep
John Smith, 1981, 6 min 16mm

An experiment in temporal layering involving the parallel development of sound and picture. Shots of the same scenes were superimposed on each other in camera over a number of hours, up to a maximum of about a hundred superimpositions.

Shepherd's Delight (an ananalysis of humour)
John Smith, 1980-4, 35 min

Shepherd’s Delight confronts the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. This strategy undermines both the authority of the ‘serious’ statements and any predictable effect of the ‘jokes’. 

"Shepherd’s Delight turned on the very humour for which Smith is noted, revealing the dark as well as the light side of jokes. Doubt, scepticism and a sense of the arbitrary all pointed to deeper patterns in his films. The opposition of illusionism and materiality, the key motif of the post-war avant-garde cinema, is used here and elsewhere in his work to underpin subtle questioning and undercutting of the authority of the word." – A.L. Rees


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Programme 5: (1993-96)
With John Smith and Ian Bourn in conversation

Home Suite
John Smith, 1993-94, 96 min

Home Suite is a close-up journey through a domestic landscape and a journey through memory. Playing upon ambiguity and the unseen, the tape uses physical details of the space to trigger fragmented verbal descriptions of associated memories.

"John Smith takes us on a real time tour of the home from which he is being evicted, chronicling the history of the everyday items he has lived with and bringing them back to life. Reminiscences of the emotional scenes which have been played out on the stair carpet, the confusion of trying to remember who brought each of the many toothbrushes, and the problems of decorating the kitchen, are both hilarious and poignant. The ephemera and detritus of everyday life as seen through the eyes of a comic genius." – Abina Manning  

"The space gradually fills with its history: complex, eccentric, funny, until it has become a kind of monumental environment, about which epic stories could be told for ever more. The work serves to remind us about the complexities of the history of even simple spaces and objects, a complexity to which most films do not even begin to do justice." – Nicky Hamlyn

Blight
John Smith, 1994-96, 14 min

Blight revolves around the building of the M11 Link Road in East London, combining images and sounds of demolition and road building with the spoken words of local residents. Taking these actualities as its starting point, Blight exploits the ambiguities of its material to create its own metaphorical fictions. The emotive power of Jocelyn Pook’s music is used in the film to overtly aid this invention, investing mundane images with dramatic significance.

"A stunning montage depicts the destruction of a London street to make way for new roads. The rhythmic, emotive soundtrack is partly musical and partly a collage of the residents’ voices. Shots and sounds echo and cross-link in the film’s 14 minutes to reinvent a radical documentary tradition." – A.L. Rees


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Programme 6: (1998-2003)
With John Smith and Gareth Evans in conversation

The Kiss
John Smith & Ian Bourn, 1999, 5 min

A depiction of the forced development of a hothouse flower. Organic growth is progressively overtaken by a more sinister, mechanical process.

The Waste Land
John Smith, 1999, 5 min

A personal interpretation of the poetry and letters of T.S. Eliot.

Regression
John Smith, 1999, 17 min

A portrait of the artist as a not so young man. The filmmaker attempts to enter the digital age by making a new video version of his 1978 film 7P.

John Smith is not afraid of time. His films continuously show his patience in setting up a visual pun, filming certain angles over several days or months in order to develop our sense of place and flux. Regression makes time a focus of his humour. As he recreates a film he made 21 years earlier, he tapes each of the twelve days of Christmas, getting progressively younger as he replays the chorus of the accompanying song.” – Chris Kennedy

Lost Sound
John Smith & Graeme Miller, 1998-2001, 28 min

Lost Sound documents fragments of discarded audio-tape found on the streets of a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative and musical connections between images and sounds linked by the random discovery of the tape samples.

“Visually the audio-tapes tell us almost nothing; they must be ‘decoded’ by the equipment that put them on the soundtrack. But we come to see that the signs, cars, and pedestrians in the videotape pose similar ‘decoding’ problems: what do they mean, where do they come from, who are they? A city that at first seems comprehensible is revealed as a layering of mysteries; we know no more about the passing humans from their images than we do about what's on the crumpled tape.” – Fred Camper

Worst Case Scenario
John Smith, 2001-03, 18 min

Worst Case Scenario is constructed from a collection of still photographs depicting daily life on a Viennese street corner. Shot over the course of a week from a window overlooking the scene, the film develops themes that focus upon watching and being watched, distance and uneasy proximity. As the static world of the photographs gradually comes to life, the soundtrack introduces another, unseen, space to the viewer and an increasingly improbable chain of events and relationships starts to emerge.

"Smith’s 30 years of eccentric, good-humoured and enlightening radical filmmaking opened up endless possibilities for visual creativity.  His Worst Case Scenario, comprising a stream of movie-like images from rapidly shot camera stills taken on a Vienna street corner, is an exquisite documentation of everyday waiting, eating and road-crossing, with just a whiff of Freud." – Keith Gallasch


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Programme 7: (2001-07)
With John Smith and Alia Syed in conversation

Hotel Diaries
John Smith, 2001-07, 82 min

Made over six years in the hotels of six different countries, Hotel Diaries charts the ‘War on Terror’ era of Bush and Blair through a series of seven video recordings that relate the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine to Smith’s personal experiences while travelling. In these works, which play upon chance and coincidence, the hotel room is employed as a ‘found’ film set, where the architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.  

Frozen War (Ireland, 2001)
Museum Piece (Germany, 2004)
Throwing Stones (Switzerland, 2004)
B & B (England, 2005)
Pyramids/Skunk (The Netherlands 2006-07)
Dirty Pictures (Palestine 2007)
Six Years Later (Ireland 2007)

"Several years ago I watched John Smith’s Hotel Diaries at a festival in Tampere, and left the theatre with the feeling that my idea of what film could and should do had changed forever. These short films, made in uncomfortable hotel rooms where the director stayed – almost impromptu, without any budget, with a small amateur camera and his own voice – keep the viewer’s attention just as well as a good thriller, although they have nothing in common with one. Smith does not look for 'beautiful' and large-scale shots as an occasion to express himself. Some little thing in an utterly unremarkable hotel room is quite enough for him to launch a chain reaction of associations and cause and effect relations in our heads. They take us so far from the two-dimensional everyday 'reality' on the screen that the inevitable return to the 'here and now' of the filming location resembles the sudden wakening up from sleep." – Mikhail Zheleznikov


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Programme 8: (2010-12)
With John Smith and Iain Sinclair in conversation

Flag Mountain
John Smith, 2010, 8 min

A view across the border in Nicosia, the divided capital of Cyprus. The camera looks over the rooftops of the Greek Cypriot south to the mountains of the Turkish Republic in the north, where a display of nationalism is enhanced by filmic means. Moving between macro and micro perspectives, Flag Mountain sets dramatic spectacle against everyday life as the inhabitants of both sides of the city go about their daily business.

Demo Tape
John Smith, 2010, 5 min

Whilst staying in a very expensive hotel in Geneva, a businessman expresses his outrage when the TV news reports a demonstration in London against student fees.

unusual Red cardigan
John Smith, 2011, 12 min

The filmmaker's discovery of an overpriced VHS tape of his work on eBay triggers obsessive speculation about the seller's identity.

The Man Phoning Mum
John Smith, 2011, 12 min

Revisiting the original locations of The Girl Chewing Gum after three and a half decades, The Man Phoning Mum retraces its camera movements and superimposes new material upon the old. Black and white passers by from 1976 meet their colourful present day counterparts in the well-trodden street, oblivious to each other’s existence.

"… So, thirty-five years later, in a cultural moment now characterised by reflex nostalgia, you return to the same street corner – and the same field, or at least that’s the aim – and film again and layer the new film onto the old, the girl chewing gum and her momentary compatriots flickering through crisp video like monochrome celluloid ghosts, past and present interlaid. The fact that you’re using a different recording medium now is far from all that’s changed. The archetypal figure, here, signposted by the title The Man Phoning Mum, is toting a compact technology inconceivable in the year of Punk, a mobile phone.” – Martin Herbert

Soft Work
John Smith, 2012, 37 min

Waiting by the sea with his camera ready for action, the artist complains about the weather and attempts to describe his intentions and working methods. Soft Work is a film about the making of a film, where the viewer can only imagine what that film might be. It was made spontaneously during the production of Horizon (Five Pounds a Belgian), a video installation commissioned by Turner Contemporary, Margate


Calendar

Title

Date

Time

Book

John Smith: Introspective Programme 1: (1972-76) Thursday 06.10.22 8:15 pm Book
John Smith: Introspective Programme 2: (1976-78) Thursday 13.10.22 8:15 pm Book
John Smith: Introspective Programme 3: (1978-84) Thursday 20.10.22 8:15 pm Book
John Smith: Introspective Programme 5: (1993-96) Thursday 03.11.22 8:15 pm Book
John Smith: Introspective Programme 6: (1998-2003) Thursday 10.11.22 8:15 pm Book
John Smith: Introspective Programme 7: (2001-07) Thursday 17.11.22 8:15 pm Book
John Smith: Introspective Programme 8: (2010-12) Thursday 24.11.22 8:15 pm Book