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Review of: Barang-Barang, Erika TanStanley Picker Gallery, Kingston University, London, 17 February–9 April 2022

AbstractThis article examines the part played by four film and video artists as chroniclers as well as participants in the civic struggle against nuclear weapons, providing alternative documents of the women’s camp at Greenham Common to those of the official media record. For, as the article will discuss, the model of protest at Greenham was uniquely indebted to, and characterised by, the models of non-violent resistance developed through post-war feminism. As part of this, a strategy of creative resistance had an important role to play: through song and poems, through banners, paintings and drawings; by amateur and professional artists. However, the film and video documents of Greenham Common by Tina Keane, Joanna Davis and Lis Rhodes, and Annabel Nicolson, on which this article will focus, are not concerned solely with advocacy for anti-nuclear and political protest, but rather, Greenham proved inspirational for them on an individual basis, enabling them to meaningfully explore how feminist principles might be folded into their experimental practices.

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In an analysis of the use of shadow in the film performances of British film-makers Malcolm Le Grice and Gill Eatherly, Lucy Reynolds relates British Expanded Cinema's attempt for a 'cinema without illusion' to the experiences of the uncanny and outmoded raised by pre-cinematic spectacles.

The article reviews the exhibition "Orgasmic Streaming Organic Gardening Electroculture," featuring works like photographs, visual scores, virtual reality narrative and videowork by artists including Ghislaine Leung, Charlotte Prodger and Beatrice Gibson at the Chelsea Space in London, England.

The article focuses on Bristol, England-based artists' image commissioning and production agency Picture This and features the works it has produced. It has been producing film and video work since 1991. The film "This River" depicts personal dreams, desires and uncertainties. The premise of the film "Reveal" is the element of collaboration that takes unpredictable occurrences and interactions with the public. "I Can See My Way Home" is a film that shows fascination with the suggestive nature of place.

The article reports on the film "Throw Your Watch to the Water" by director Eugeni Bonet. Bonet completed Andalusian film maker Jose Val del Omar's project of a film of the Alhambra in which he had worked sporadically between the 1930s until his death in 1982. Bonet used conversations with the film maker before his death, the material he had filmed, and the hundreds of notebooks and annotations he left to complete the project.

The article discusses the historical development of projected light as art. The author focuses on the 1975 film installation "Light Music" by Lis Rhodes, the shadow shows "Horror Film 1" from 1971 by Malcolm Le Grice and "Jaded Vision" from 1973 by Annabel Nicolson. Also mentioned is the film installation "Sicher Heits" by Gill Eatherley from 1973.

The article presents a selection of motion pictures produced and released in DVD format in London, England. The Film London's Artist Moving Image Network and its annual awards made it possible for artist filmmakers to realize their projects. One example of these projects is "Cabinet," directed by Tim Shore which is an examination of the American psyche. Another film is Hannah Collins' "Current History," which raises questions of ethnicity and ideology in her account of daily experience in a remote region in Russia.