The second night that two singular British artists stake out The Cube Microplex with their intriguing strategies and complex lyricism, grounding and reorientating listeners and watchers alike. Both present works of image and sound that should grip, challenge and replenish in the opening gambit of playthecube, a newly formulated Cube resident scheme.
Tonight features the film All Divided Selves which centres on Scottish psychiatry reformer and provocateur R.D. Laing. On the musical front, a live musical performance by Richard Youngs plus a live discussion and Q&A.
More info on the film:
ALL DIVIDED SELVES
(Dir. Luke Fowler; 2011; 90 min)
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text The Politics of Experience (1967) Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travellers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering. All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift; from well-recognised psychiatrist to celebrity poet. A dense, engaging and lyrical collage- Fowler interweaves archival material with his own filmic observations—marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.
More info on the artists:
A filmmaker and musician raised in Glasgow in the eighties, Luke Fowler is recognised as an artist, filmmaker and musician who creates new grammar from old forms. A 2012 Turner Prize nominee who won the Jarman Award in 2008, Fowler produces, via sound, text and image, a layered portrait of the real life characters he focuses on, most of whom stem from a counter-cultural background. His structuralist film essays contain sonic and visual fragments that intriguingly link diverse references, theories, views and notions, proposing more and more portals of viewing and understanding, rather than neat/limited summarisations. His brazen and bold use of archive and 16mm film, text and sound/music makes the media and the message fizz with possibilities. A new kind of portrait artist.
“The starting points can be different catalysts. Either events in my life or something I’ve read, or a piece of music I’m listening to … but generally they stem from a sort of concern of trying to understand a question” – Luke Fowler quoted in The Tate
“While the backbone of the traditional feature film or documentary genres may be the story, the heart of Fowler’s films is constituted by something altogether more ungraspable and sublime, and on which his storytelling is predicated: people themselves with all their inherent complexities and contradictions. Fowler explores lives and beliefs, avoiding any instrumental use of his subjects and without succumbing to the shortcomings of representation and without doing violence to his subject” – Flash Art
Born in Cambridge and raised in the Fens, Richard Youngs began making music at the start of the seventies. His early work centred on the family piano. When this was sold in the late seventies, however, the classical guitar and cassette recorder became his instruments of choice, along with anything at hand that made a sound. From then on he has played any number of roles with bands such as Astral Social Club, Concrete Hedge, No Deserts, Jandek and Future Pilot A.K.A. Recent collaborative work with Andrew Paine, Heatsick, Kawabata Makoto and John Clyde-Evans also show him as a highly social musician.
His catalogue of releases wanders into all kinds of zones over a vast array of albums on various labels including his No Fans imprint: they include accapella, guitars, pipes or electronics and come out of solitude and in partnership with atmospheres that range from fragmental folk to all-out fuzz.
“THE iconic figure of the modern UK underground … Richard Youngs evolves in the shadows where most won’t look, but those who do will forever be dazzled and amazed” – The Quietus
“This is the music of exultation / This is the time of fulfilment / This is the music of exultation” – This Is The Music from Amplifying Host
A Qu Junktions & Cube Cinema Collaboration