aka Bosse Sudenburg
Thomas M. Callori
Anetta Mona Chisa
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Mario Garcia Torres
Sandra Eula Lee
& Stephen Hillerbrand
Arzu Ozkal Telhan
G. Alan Rhodes
Guido van der Werve
Clemens von Wedemeyer
I Make Things Happen, 2001
video, B&W, sound, 6:00 min.
In the belief that through sheer force of will she can
change what goes on around her, a young woman wanders South London.
Her efforts range from the tedious to the hilarious and the uncomfortable.
Gradually, her will leads her to try and change the very film she is
The End, 2002
video, color, sound, 9:00 min.
A young French woman treads Soho asking passers-by directions to, "The End". She is met with a range of responses, from the good-natured and helpful to the bemused and philosophical. Nobody suspects however that she asking directions to the end of the film.
video, color, sound, 4:00
Tom and Chris find themselves down a back alley and stop by the side
of the broken white line down the centre of the street. Chris begins
to explain to Tom the crossing-the-line rule in cinematography. He isn't
very good at explaining it however, and as he and Tom speak their respective
over-the-shoulder and point-of-view shots get tangled up, until both
the line and Tom get cross. Chris never gets cross.
Come As You Are, 2005
video, color, sound, 11:00min
The filmmaker wandered Momjan, a quiet Croatian hill town, transcribing as much as possible of what he could see and hear into a film script. This semi-psychotic act of film writing generated an extensive and diverse list of characters, including: a teenage girl in jeans sat on a white wooden chair, a boy on a bmx, an elderly woman sat on a porch with her hands over her face, workman number 4 who stands motionless holding onto a rope, and a female cook, blond with bright ginger highlights and a banshee laugh. An open casting session was held for an afternoon in and around the town hall. Local residents and visitors to Momjan turned up to audition for the part of themselves or someone else. In this film, which is a potential film and always and everywhere, people are variously good and bad at playing themselves. Casting is an opportunity to be other and to think of a town as a film. This is the barest beginnings of an impossible inventory, an always and everywhere Momjan as cinema.
Like a House on Fire, 2006
video, color, sound, 16:00 min.
At the centre of this film labyrinth is a tarot reading in which the invented cards seem to determine or reflect unfolding events on screen. There is a filmmaker trying to write a film, but the house in which he writes is cohabited by the film?s crew, cast and the characters they are playing. Everyone is banging around on and off camera, trying to get into the bathroom, or waiting for the film and its story to happen. This is not a story however, but rather a sequential turning of nonsensical cards: the tampon in the toilet bowl, a light repositioned causing shadow, a man on the floor who cannot separate himself from the house (which may or may not be on fire). This film is Like a House on Fire, a cinematic game of Cluedo in which the lead piping murdered the ballroom using a Colonel Mustard. Every detail is meaningless sign, in shuffle. A film can go anywhere it wants.
Steven Eastwood is an artist filmmaker whose practice spans experimental
fiction, documentary and essay film, artists' moving image and live
art. His single screen films and installations have been exhibited at
the ICA, BAFTA, The European Media Arts Festival (Osnabruck), Visura
Aperta, Croatia, Stuttgart Film Festival, Germany, Catalyst Arts Belfast,
the Lux Centre and Lux Open, Anthology Film Archives NYC, the Brief
Encounters Festival, Bristol, and Raindance East Festival, London. Previous
films include: The Film We Didn't Make (2006), Like a House on Fire
(2006), The Film (2004), Of Camera (2003), Different Systems of Chaos
(2003), The End (2002), Those Who Are Jesus (2002), I Make Things Happen
(2001). Recent installations and performances include The Film, The
Film, The Film at MM Luka Gallery Croatia (2006), Come As You Are at
Killing Time, Tou Scene Centre of Contemporary Art, Oslo (2005) and
I Make Things Happen trilogy at Minus One exhibition, Aldwych Gallery,
London (2004). Eastwood has been the recipient of a number of grants
and awards, and was a featured Artist in the Artists' Newsletter supplement
on art in social space, summer 2005. He has written a number of conference
papers and articles on filmmaking as a social situation and regularly
programmes screenings of artists' film and video.
Eastwood works with the vernacular of film fiction and the documentary,
and the collapse of this vernacular, investigating behaviour on and
off screen, particularly in terms of the 'take' as a behavioural gap.
He is interested in the lived situation of filmmaking and the collective
idea of what constitutes a proper cinematic form. His films and cinema
interventions veer between genres, are crystalline, performative, not
easy to classify, are often unfinished and involve emergent and unpredictable
activity. A recent film, The Film (2004), has been described as "Last
of the Summer Wine directed by Chris Marker." Its predecessor, Of Camera
(2003), is something of a Trojan horse that has been wheeled into numerous
film festival screenings around the world only to unpack and make a
mess of other narrative dramas around it.
Eastwood is currently a visiting Assistant Professor in Film at SUNY
Buffalo and working on a doctoral theory/practice research project at
UCL The Slade, London titled Cinema into the Real. SUNY Buffalo and
The Slade were recent hosts to two artists' film & video conferences
curated by Eastwood based on the film philosophy of Gilles Deleuze:
Interval (1) and (2). Between 1999 and 2002 he was Senior Lecturer and
time-based arts area coordinator at the University of Plymouth, Exeter
faculty of Arts. In 1997 Eastwood formed the production company Paradogs,
whose first feature length documentary, Those Who Are Jesus was nominated
in 2001 for the prestigious Grierson Award in the Category of Best British
Newcomer. In 1996 Eastwood co-founded the Volcano! Underground film
festival (1996-2000) and also that year formed OMSK, a London-based
film, performance and sound platform for emerging artists, which has
staged more than 40 events nationally andinternationally.