Promo video for short story collection "No Pity" by Stewart Home (AK Press 1993), made wit
Promo video for short story collection "No Pity" by Stewart Home (AK Press 1993), made with Nick Abrahams and Mikey Tomkins and featuring music by Bloodsausage
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Added: 1 year ago
Views: 7,402
This was made as part of the Arts Council funded Blipvert Project in 1997, so it was one o
This was made as part of the Arts Council funded Blipvert Project in 1997, so it was one of six commissioned pieces cut into the ads at independent cinemas and was seen in that context by an audience of something like three quarters of a million people. It was shot at 50 Beck Road in Hackney (since I appear in it, Nick Abrahams was operating the camera) and edited at Artec at Highbury Corner. It was intended for cinema screening and the "alienation effect" that is integral to it doesn't work outside that context, so it is placed here as a curiousity. This was an attempt to distill the lettrist cinematic experiments of the early 1950s (and in particular the feature length pieces "Has The Film Already Started", "Anti-Concept" and "Screams In Favour Of De Sade") into 45 seconds. Proletarian post-modernism lives on...
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Added: 1 year ago
Views: 1,671
Refuse installation by Stewart Home, Andy Hopton, Art In Ruins, Denise Hawrysio, Ed Baxter
Refuse installation by Stewart Home, Andy Hopton, Art In Ruins, Denise Hawrysio, Ed Baxter and Simon Dickason at Galleriet Läderfabriken Malmö, October-November 1988. Note the sound on this was played at volume on a tape loop throughout the show; the lighting was ambient and while this couldn't be captured on camera, video effects were used in an attempt to replicate this. Please note that the quality reflects both the video technology of when this was done (1988) and tape decay (the colours have faded considerably and there are other faults). It is presented here as a historical artifact to give something of the flavour of the site specific installation work I was doing in the eighties.
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Added: 1 year ago
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Slides from the shows "Ruins of Glamour/Glamour of Ruins" at Chisenhale Gallery (London, D
Slides from the shows "Ruins of Glamour/Glamour of Ruins" at Chisenhale Gallery (London, December 1996) and "Desire In Ruins" at Transmission Gallery (Glasgow, May 87), with footage from Refuse at Galleriet Läderfabriken (Malmö, October-November 1988); these were collective shows featuring Stewart Home, Stefan Szczelkun, Gabrielle Quinn, Tom McGlynn, Andy Hopton, Art In Ruins (Hannah Vowles & Glyn Banks), Denise Hawrysio, Ed Baxter and Simon Dickason (Quinn and McGlynn only participated in the first show, Hawrysio only participated in the third of these shows, Szczelkun dropped out after doing the first two). This was put together in 1988 at the same time as the Refuse video, see also the comments on that.
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Added: 1 year ago
Views: 765
This is an edit of a thirty minute film that consists of alternating sections of colour in
This is an edit of a thirty minute film that consists of alternating sections of colour intercut with both black and white, and which is topped and tailed with titles. The full sequence of alternating sections are shown initially with a duration of five seconds for each segment of the film, the sequence is then repeated with this duration reduced to three seconds, then one second, then five-twelfths of a second, then one-sixth of a second, then five-twelfths of a second, then one-sixth of a second. The tempo of these sequences increases dramatically in the second part of the film (which is the part used for this edit), since the initial slow cycle takes nearly half the full version's running time. The soundtrack consists of repetitive trance drumming.
"Oxum - Goddess of Love" utilises as its starting point Tony Conrad's "The Flicker" (1966) which consisted solely of quickly alternating black and white with tonal accompaniment. The effect of "The Flicker" on its viewers is to produce visual hallucinations and the appearance of colour. As with Debord's slowly alternating black and white anti-film "Screams In Favour of De Sade" (1952), what is important is not what happens on-screen but what happens off-screen amongst the audience. That said, Conrad is using trance effects to induce visions, whereas Debord employs boredom to provoke his audience into breaking with their role as spectators and forces them to 'act for themselves'. In both instances the same disparate effects might be achieved by other means (which may or may not resemble Debord and Conrad's work in terms of form, as was the case with my 50th anniversary colour remake of "Screams").
"Oxum" is intended for viewing in a number of ways. This "7 inch" edit makes the work appear closer to Conrad's "The Flicker" than is in fact the case. I became consciously aware of my desire to make "Oxum" on 3 June 2007 and I physically put it together using iMovie between 23 and 31 July 2007; doing the final edits on both the full version and the "7 inch mix" on 30 July 2007. Compressing "Oxum" for web streaming (which among other things reduces the number of frames per second) will have distorted the timing of the work in curious ways; planned accidents of this type are an integral part of my work... More detailed accounts of my anti-films and other works can be found at - http://www.stewarthomesociety.org - including information on the voodoo and Candomblé (sometimes called Macumba) influence on "Oxum". Check it out, you know it makes (no) sense!
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Added: 10 months ago
Views: 2,746
The avant-garde art of boredom taken to new extremes back in 1986! A Neoist anti-classic!
The avant-garde art of boredom taken to new extremes back in 1986! A Neoist anti-classic! I performed for the camera and immediately after shooting I recorded the voice over in one take, sounding about as sincere as a snake oil salesman. Pete Horobin shot this and nearly all the edits are in camera because we didn't have free access to proper edit suites at the time and tried to minimise whatever time we paid for. Any visual edits we made to what we did were crashed between a domestic machine and the camera, cruder than editing Super 8, hence our preference for in camera editing - and not even a master of multi-tasking like me was able to perform and simultaneously do in camera editing. That said VHS film was cheaper to the superior looking 8mm celluloid and enabled us impoverished dole queue 'aesthetes' to shoot a lot more 'film'. As a result we didn't title this piece or much other material at the time, the titles and credits were added just before I put this up here, but the rest of the visuals are exactly as we left them 21 years ago. I didn't bother showing this anywhere at the time, but on reviewing it recently I realised I was making YouTube type shorts a couple of decades before most of you; it just looks different because we had clunky VHS cameras then, not digital... but the 'spirit' is the same. And please note the sacrifices I make for aesthetic effect; I even drink a can of Coke in this (well it looks like I did, but actually I poured the crud inside the can away and replaced it with water - couldn't have got away with that using a bottle). And dig the Wm Low baked bean tin, a supermarket that could be found around Scottish north east back in the eighties but that disappeared a decade or probably more ago...
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Added: 9 months ago
Views: 1,412
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This is an edit of a durational piece made in May 1986 which originally lasted one hour an
This is an edit of a durational piece made in May 1986 which originally lasted one hour and only had incidental ambient noise on the soundtrack. It is more hardcore 'art' as it was originally made but this is the YouTube generation recut 21 years down the line. Other hour long durational pieces made in the eighties include a fabulous video of Pete Horobin and I taking afternoon tea that begins with a five minute static shot of the table before we sit down at it. We really knew how to make fun films back then... I love them, but YouTube doesn't carry hour long works, so you got this instead. My song on the soundtrack was also composed in the eighties, although this particular version was recorded in the nineties. But this static record of my head being shaved from a curly mop sums up the eighties for me. Immediately prior to this a friend in Hackney used to do my hair for me, and she also worked on Mel & Kim's barnets (so I met them a couple of times before they were famous when I headed down to Shakespeare Walk to get my hair cut)... Find out more about my movies, writing, pranks, gallery work etc at www.stewarthomesociety.org - and since I first put this up I have been getting a lot of comments about how much Britney Spears looks like me (don't forget I did this 20 years before her...)
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Added: 9 months ago
Views: 32,873
Another oldie but goldie video piece from May 1986, but this is the length I always intend
Another oldie but goldie video piece from May 1986, but this is the length I always intended it to be. Looks just about perfect to me now I've added the titles, which I didn't manage at the time I made it 21 years ago. Find out more about my movies, writing, pranks, gallery work etc at www.stewarthomesociety.org
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Added: 9 months ago
Views: 1,149
If you like work by George Maciunas such as "Flux Film 7" or "Flux Film 8", then you'll lo
If you like work by George Maciunas such as "Flux Film 7" or "Flux Film 8", then you'll love this. Hope the punch line makes you laugh.... Find out more about my movies, writing, pranks, gallery work etc at www.stewarthomesociety.org
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Added: 9 months ago
Views: 9,841
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