Temporalities: Fine Art moving image at CSM: present, future, past

Lethaby Gallery, Central Saint Martins
Granary Building
1 Granary Square
King’s Cross
London N1C 4AA

20 February – 24 March 2018 

Tuesday to Friday: 11am – 6pm 

Saturday: 12 noon – 5pm 


Temporalities is a research exhibition drawing on the rich history of fine art moving image at Central Saint Martins and projecting that practice into the future.

Following 1960s developments in experimental film, moving image made a radical impact on Fine Art in the ’70s and ’80s, and since the 1990s has become an established medium in contemporary art practice. Temporalities celebrates Central Saint Martins’ crucial position in the history of artists’ films, placing work by alumni and staff (including Isaac Julien and Laure Prouvost) alongside work by current students. Central to Temporalities is Correspondence, an exhibition of installation and moving image works by students from across the CSM MA programme responding to work by former students.

Temporalities will also be accompanied by talks, screenings and live teaching events exploring changes in pedagogy and media. This exhibition has been jointly curated by Steven Ball, British Artists’ Film and Video Study Collection, and the Central Saint Martins Museum and Study Collection in collaboration with the Fine Art programme at Central Saint Martins.



Correspondence consists of moving image based installation works by current Central Saint Martins students from MA Fine Art, MA Contemporary Photography: Practices and Philosophies and MA Art and Science. The installations are responses to past students’ film and video work held in the Fine Art Programme archive.


Susan Trangmar (Reader Fine Art) and Steven Ball (Research Fellow Fine Art) have worked closely with the students to develop this project. The responses take many forms and draw upon a variety of aesthetic, technical, media, and conceptual concerns. They variously reflect a continuity and development of, and divergence from, the themes and approaches of earlier generations of Central Saint Martins students.

Throughout the exhibition the original works will be screened alongside the new responses.

Works included:

The Place of the White Dog  

Marianne Casmose (MA Fine Art)

responding to Proper Seasons by Justin Ascott (1998)

We’re Waiting  

Diana Lloyd (MA Contemporary Photography: Practices and Philosophies)

responding to Coastings by David Sinden (1995)

Soleil, Image, Memoire  

Nathalie Mei (MA Contemporary Photography: Practices and Philosophies)

responding to Soleil, Image, Memoire, Anon (1985)

Time is all There Is  

Marco Pantaleoni (MA Fine Art)

responding to Time is all There Is by Suse Bohse (1995)

After Contempt

Emma Starkey (MA Fine Art)

responding to Video Contempt by Daniel Copley (1994)

“I am so aware of my body” 

Çağlar Tahiroğlu (MA Art and Science)

responding to Arrows by Sandra Lahire (1984)

A Strange Train  

Shu Zhang (MA Fine Art),

responding to Video Contempt by Daniel Copley (1994)



Correspondence Tour
Thursday 22 February 13:00, Lethaby Gallery
A gallery tour of the Correspondence exhibition with Marianne Casmose, Diana Lloyd, Nathalie Mei, Marco Pantaleoni, Emma Starkey, Çağlar Tahiroğlu, Shu Zhang, Susan Trangmar and Steven Ball, with responses from Paul O’Kane.
“I am so aware of my body” 

Wednesday 7 March 13:00, Lethaby Gallery
Sandra Lahire was a central figure in feminist artists’ film until her death in 2001 after a long struggle with anorexia. Marina Grzinic has observed that for Lahire the body is “the primal element she uses to establish her relationship with her surroundings”.  Çağlar Tahiroğlu (MA Art and Science), who has made a work for Correspondence responding to Lahire’s film Arrows, made while Lahire was a student at St Martins’, will be in conversation with artist filmmaker Sarah Pucill about Lahire’s work and her own responses to it.


Curating VR and New Media

Thursday 8 March 13:00, Lethaby Gallery
Artists and makers are increasingly engaging with new technologies and it is estimated that within the next five years augmented and virtual reality will be part of the basic toolkit for creative practitioners. This event brings together those working in or developing pedagogic practices around new technologies with those tasked with the challenge of curating and preserving born digital artworks.  With Nelson Crespo (4D Co-ordinator, CSM), Jack McConchie (Time Based Media Conservator, Tate), Louisa Minkin (MA Fine Art Course Leader, CSM) and Judy Willcocks (Head of Museum & Study Collection, CSM).


Teaching Artists

Screening curated by David Curtis
Monday 12 March 17.30 – 18.15, Lethaby Gallery and 18.30, Lecture Theatre E003
Booking required: https://csmevents.co.uk/
Curated by David Curtis (writer, curator, and founder of British Artists’ Film and Video Study Collection, CSM) this screening focuses on artists who have taught at Central Saint Martins from the 1960s to the present day. It includes work by John Latham, Malcolm Le Grice, Tina Keane, Anne Tallentire and others.


Collecting Artists’ Film and Video

Tuesday 13 March 13:00, Lethaby Gallery
Dedicated to the work of moving image artists, the British Artists’ Film & Video Study Collection is part of the Central Saint Martins Museum and Study Collection. The collection exists to support research and comprises many copies of moving image work, publications, paper documents and still images. It reflects the development of the moving image as an art-form between 1960 and 2000. It is the largest collection of material of its kind in the UK. David Curtis, Steven Ball, and Duncan White (Research Fellow and MRES:Moving Image Course Leader CSM) discuss the unique role that the British Artists’ Film and Video Study Collection, and the various projects it has generated, play in the research and study of artists’ moving image.


Feminist Circles at St Martin’s and beyond

Wednesday 14 March 13:00, Lethaby Gallery
Jean Matthee (artist), Sarah Turner (artist and Reader in Fine Art, University of Kent), and chair Lucy Reynolds (artist, writer, and curator, Senior Lecturer University of Westminster), discuss the important influence that feminism had on moving image practice, both at St Martin’s and beyond, during the 1980s, and its continuing relevance as a political and philosophical underpinning for contemporary practice.


Feminist Circles at St Martin’s

Screening curated by Charlotte Procter (Archivist, Cinenova Distribution)

Wednesday 14 March 18:30, Lecture Theatre E003

Booking required: https://csmevents.co.uk/
Founded in 1979 Circles was the first women artists’ film and video distribution organisation in Britain. It emerged from the increasingly politicised cultural climate of the late 1970s, in which the Women’s Movement played an influential part, and it provided an essential role in the promotion and distribution of exclusively women filmmakers, supporting filmmaking which varied from political and social document to more experimental modes of practice. During the 1980s, St Martin’s became an important site for the development of the relationship between Feminism and artists’ moving image practice, which is reflected in the representation of many teachers’ and students’ works in the Circles catalogue.


Flowers of Romance

Friday 16 March 13:00, Lethaby Gallery
William Fowler (Artists’ Moving Image Curator, British Film Institute) in conversation with Steven Ball (Research Fellow Fine Art, CSM) on the work of the new generation of film and video makers, many of whom came out of St Martin’s, who emerged in the charged post-punk ‘new romantic’ days of the early 1980s, and forged new imaginative forms of representation and expression for changing social, individual, and political identities.


Just Images
Screening curated by William Fowler
Friday 16 March Lecture Theatre, 18:30 E003

Booking required: https://csmevents.co.uk/

This is Now: Film and Video After Punk celebrates the diversity of independent moving image production from the UK in the 1980s, a unique moment when cheap new technologies enabled new voices to be heard. A new aesthetic developed that would shape the look of film, television, fashion and music for many years to come. In Just Images the moral, political and symbolic integrity of the image itself is interrogated and overturned in these richly textured films. Includes work by Cerith Wyn Evans and Isaac Julian, some made while studying at St Martin’s.


Scratching the Structure

Wednesday 21 March 13:00, Lethaby Gallery
Malcolm Le Grice founded the Film Unit at St Martin’s in 1965, and is one of the UK’s most well-known experimental filmmakers. He is often particularly associated with ‘structural’ film. George Barber, who studied at St Martin’s in the late 1970s, with his invention of Scratch video became one of the most renowned video artists of the 1980s. As such their work represents distinct innovative experimental moving image practices. Here they will discuss their work with regard to both the discrete specificity of film and video media, and the commonalities of their practice.


Central Saint Martins: Moving Image Connections

Thursday 22 March 13:00 Lethaby Gallery

We start this conversation by looking at the early connections between the St Martin’s Film Unit and the London Filmmakers’ Cooperative with Malcolm Le Grice and Kathryn Siegel (PhD King’s College London). Anna Thew joins in to discuss the many outside film and video screenings that she organised when she taught at the college in the 1980s, and Fine Art Programme Leader Alex Schady reflects on CSM’s very particular contemporary position in relation to the exhibition of moving image work, and the changing nature of the art school as a cultural institution.


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