Very happy to issue our mid-summer catalogue ‘Frames per second’: rarities from the eras of precinema, cinema and video'. The list has been put together in collaboration with Paper Books, Toronto.
Items are on view at 6 Cecil Court; Tuesdays through Saturdays, 11am-7pm. The display includes a constant screening of Lawrence Weiner's two early video works in the window Beached and Broken off.
Highlights from the list also include a group of 40 programmes from a Tokyo cinema in the 1930s, an architectural design for an unbuilt Art Deco cinema in Cannes; a censorship dossier concerning a semi-obscene Situationist adaptation of Henry Miller; a rare programme for a raided 1968 experimental film screening in an unconstructed subway station in Cologne—plus items from Dali, Man Ray, Breton, Chris Marker, Godard, Agnès Varda, Andy Warhol, Nam June Paik, Lawrence Weiner, Wolf Vostell, and Robert Filliou. And, Derek Jarman—with a remarkably-scarce proof copy from an unrealised edition of Blue; with Jarman's poetic screenplay accompanied by one of his signed International Klein Blue screenprints which reflects back to the title of his first sketchbook for the film: A blue print for Bliss; 25 years-on from his death.
Items are on view at 6 Cecil Court; Tuesdays through Saturdays, 11am-7pm. The display includes a constant screening of Lawrence Weiner's two early video works in the window Beached and Broken off.
Highlights from the list also include a group of 40 programmes from a Tokyo cinema in the 1930s, an architectural design for an unbuilt Art Deco cinema in Cannes; a censorship dossier concerning a semi-obscene Situationist adaptation of Henry Miller; a rare programme for a raided 1968 experimental film screening in an unconstructed subway station in Cologne—plus items from Dali, Man Ray, Breton, Chris Marker, Godard, Agnès Varda, Andy Warhol, Nam June Paik, Lawrence Weiner, Wolf Vostell, and Robert Filliou. And, Derek Jarman—with a remarkably-scarce proof copy from an unrealised edition of Blue; with Jarman's poetic screenplay accompanied by one of his signed International Klein Blue screenprints which reflects back to the title of his first sketchbook for the film: A blue print for Bliss; 25 years-on from his death.
For a full listing of materials, click here: