Artist’s Moving Image

17:30 Maeve Brennan, Jerusalem Pink (2015)
18:30 Rindon Johnson, Among other things (2019)
19:15 Yashaswini Raghunandan, That Cloud Never Left (2019)
20:30 Eoghan Ryan, Truly Rural (2019)

For the third iteration of Formworks, Marina Xenofontos selects films by artists that resonate with her interests and practice, upon the invitation of Evagoras Vanezis. This follows their collaboration for the Images and Views of Alternative Cinema 2020 Festival.


- Maeve Brennan, Jerusalem Pink (2015), HD video with sound, 51m

Jerusalem gold polished (high density), Jerusalem gold rough block, Jerusalem bone cream, Benjamin grey (hard), Deep blue (honed), Hebron gold, Hebron yellow, Hebron bone, Bone light (polished), Halila beige, Hebron white red veins, Hebron pink (brushed), Jerusalem royal, Ramon white, Birzeit gold, Jerusalem shells, Jerusalem rose, Jerusalem golden veins, Palestinian grey (honed), Palestinian cream (hard), Desert yellow, Negev fossil, Hebron snow, Jerusalem ivory, Jerusalem pink.

An archaeologist, a stone worker, a geologist and an architect talk about stone in Palestine. Jerusalem Pink documents an architectural survey of the Dome of the Rock and the processes of its repair and restoration.

Maeve Brennan is an artist and filmmaker based in London. Recent solo exhibitions include Listening in the Dark, Wäinö Aaltonen Museum of Art, Finland (2019); The Goods, KUB Billboards at Kunsthaus Bregenz, Austria (2018); The Drift, Chisenhale Gallery, London; The Drift, Spike Island, Bristol, The Drift, The Whitworth, University of Manchester (all 2017) and Jerusalem Pink, OUTPOST, Norwich (2016). Her films have been screened internationally at festivals including FILMADRID, Sheffield Doc Fest and International Film Festival Rotterdam where she was shortlisted for the Tiger Shorts Award 2018. She was awarded the Jerwood/FVU Award 2018 and is the Stanley Picker Fellow 2019–21.

- Rindon Johnson, Among other things (2019), single channel HD video, 26:34m

Among other things (nearby occasions or 8 acts for Jeremy): What should we call this form of existence: a constant vista where from one view one can see the cage of one binding state and from another view, another binding state? Come here and have a taste (play to be played). Hadi writes: All night I dreamed of these lines and couldn’t help it other than believing that dreaming these lines mean I should send them to you; it is coming from an old poem that made sense to me when I saw the cage inside the cage / Birds are free of cages, and cages are free of birds / Where have you came from that causes you to be so free / Although every birds voice is a kind of crying for end of the day / You must sing more since your cry more sounds like the beginning of the day. / I think birds are standing for people, but I’m not sure what the cage stands for. You must know. (I don’t.) Maybe there are things that we should become accustomed to not seeing or knowing (I entered the tunnel of my own will) I play the song over and over; without beginning and without end or when you druge up the past needlessly the dutch say you’re digging up old cows.

Rindon Johnson is an artist and writer. His most recent virtual reality film, Meat Growers: A Love Story, was commissioned by Rhizome (New York) and Tentacular (Madrid). He is the author of Nobody Sleeps Better Than White People (Inpatient Press, 2016), the virtual reality book, Meet in the Corner (Publishing-House.Me, 2017) and most recently, Shade the King (Capricious, 2017). He lives in Berlin and is an Associate Fellow at the Universität der Künste Berlin, Centre for Advanced Studies in Arts and Sciences, there he writes about Virtual Reality.

- Yashaswini Raghunandan, That Cloud Never Left (2019), 65m

Somewhere, not so far from here, the moon turned red and the village revolved into a mirage of unclear activity. The mother anticipated rain while the two brothers built a tall ladder with a single eye and the children went looking for a ruby. A folktale like narrative emerges from a village of toy-makers and sellers in Bengal who cut-up reels and reels of Bollywood, Tollywood and B-grade films to make a living out of loud sounding rattlers, whistles and whirligigs.

Yashaswini Raghunandan is currently an artist in residence at the Rijksakademie van Beeldende Kunsten, Amsterdam. She works in the field of film and sound.

- Eoghan Ryan, Truly Rural (2019), 18:14m

Truly Rural presents the countryside as an environment where eruptions of disgust and social disorder lurk. Documenting the southern German tradition of Fasching (carnival) and rekindling childhood memories of the outbreak of mad cow disease, Ryan creates a doll that acts as his mouthpiece. This doll plays a perverse game with innocence and control via porcelain Hummel figurines, bovine dancers, and camouflaged white boys. Infected with a disease that it does not fully understand, the doll seems to secretly long for its own destruction.

Eoghan Ryan (b. Dublin, 1987) is an Irish artist currently based in Amsterdam. His work engages video installation and performance to understand the group as a creature in relation to the dynamics of institutional life in Western Europe. It asks whether a certain freedom can be embraced through over-identification with the potential madness that lies in the daily order of cultural life and performing identities. Selected shows, performances and screenings have taken place at the Irish Museum of Modern Art, Dublin; South London Gallery; Rowing, London; 427,Riga; Spike, Berlin; Serralves Museum, Porto; IFI, Dublin; Outpost, Norwich; Exile,Vienna; Kem, Warsaw; Cubitt, London; Kim? Contemporary, Riga; Plastik Moving Image Festival, Dublin; CAC, Vilnius; Catalyst Arts, Belfast; BDP, Berlin, New Shelter Plan, Copenhagen, EEFF, London, FACT, Liverpool amongst others. Eoghan is currently in residence at the Rijksakademie van Beeldende Kunsten 2019/20.