Screening Programme

Tuesday 3 June - Friday 27 June 2025

Danielle Arnaud is pleased to present a curated series of screenings accompanied by discussions.

Booking is essential: please contact danielle@daniellearnaud.com

Doors open at 6pm. The screenings will start promptly at 6.30pm

 

Friday 27 June

4 now
George Barber, Kaz, Guy Sherwin, Tereza Stehlikova
The screening will be followed by a discussion between the artists

Guy Sherwin In Passing (2025)

4 now presents moving image works by four of the five artists who will exhibit in absolute now II, a group exhibition at Danielle Arnaud curated by Kaz that has been rescheduled from summer 2025 to March 2026.

George Barber (b. 1958, Guyana) lives and works in London. He rose to prominence in the 1980s as a pioneer of the Scratch Video, a fast paced video art genre which used sampled clips from broadcast films and TV to orchestrate sound, vision, repeat edits and rhythm. He has also produced a substantial body of other moving image work; incorporating improvisation, performance, actors, comic monologues, computer animation, and more recently, poetic and political 'essay film' style works. Barber’s works have been shown in festivals, galleries and broadcast on television worldwide, including Tate Britain and the Royal Academy. In 2023, solo screening of his works was held at BFI Southbank, London. Solo exhibitions include SCRATCH!, TACO!, London (2019); Fences Make Senses, Waterside Contemporary, London (2015); Akula Dream, Chapter Arts, Cardiff (2015); By the Way, Young Projects, Los Angeles (2015); and The Long Commute, Dundee Contemporary Arts (2010).

Kaz (b. 1967, Tokyo) is an artist and a curator based in London. His practice is concerned with being present, focusing on our relationship to the world—both physical and non-physical—and exploring the self and its interconnection with time and space. He regularly works with time-based media to create immersive experiences, using linear time framework to facilitate contemplation of non-linear time and its effect on our sense of self. Recent solo exhibitions return journey (2023) and diary (2020) were held at tadpole-lab, Tokyo. Group exhibitions include: Demolishing the Former Office Building of Fujio Productions, Tokyo (2022); postTRUTH, SANDIE MACRAE | postROOM, London (2022); Visions in the Nunnery, Nunnery Gallery, London (2018); and Fig.4: Time Capsules and Conditions of Now, David Roberts Art Foundation, London (2012).

Guy Sherwin (b. 1948, Ipswich) is an artist and filmmaker based in London, known for his poetic and contemplative works, which often use footage from the everyday, engaging with light, time and sound. In addition to films and installation works, he often works with multiple projectors and optical sound performances in collaboration with Lynn Loo. In 2016, his solo exhibition, Light Cycles, took place at Christine Park Gallery, London, and he was a guest curator of Film in Space, Camden Arts Centre (2012-3). His films and performances have been shown widely around the world, including: Surfeit (2023 & 2024), Cafe Oto, London; Mujanhyang, Museum of Modern & Contemporary Art, Seoul (2014); A Century of Artists' Film & Video, Tate Britain (2003/4); Shoot Shoot Shoot, Tate Modern (2002); and Live in Your Head, Whitechapel Gallery (2000).

Tereza Stehlíková (b.1975, Prague) is a Czech-British artist based in Prague. She explores the role our senses and embodiment play in conveying meaning through an artistic practice which spans moving image, installation and participatory performance, and is driven by cross-disciplinary collaboration. In 2020, she founded the online arts journal/platform Tangible Territory, which features contributions from established artists and authors across the field of arts, science and philosophy. Her films have been screened internationally, including at Whitechapel Gallery, London, Stadkino, Vienna and Embassy of the Czech Republic in London. Recent solo exhibitions include: Familial Traces, Sternstudio Gallery, Vienna, Austria (2023); Ophelia in Exile, Vitrinka Gallery, Czech Centre London (2021); and From You to Me: 4 Generations of Women, Alchemy Film & Arts, Hawick, UK (2019). Her most recent multi-sensory performance, The Infra-ordinary Lab, took place in 2023 at the historic Holešovice Market as part of the Prague Quadrennial.

 

 

Tuesday 17 June

Sam Jury This You Must Remember 2022
Single channel video installation with sound by Rob Godman, 39 min
The screening will be followed by a discussion with Asida Butba

Sam Jury This You Must Remember 2022 Single channel video installation with sound by Rob Godman, 39 min

Suspended trauma, aftermath and the omnipresent reminders of loss in post-conflict Abkhazia are the central themes of This You Must Remember, a film co-produced with SKLAD Cultural Centre in the capital Sukhum/i. Located between Russia and Georgia, Abkhazia is a post-soviet state, site of the Georgian/Abkhaz war of 1992/93, with a long history going back to antiquity.

Taking the dual forms of a single-channel film and a multi-channel audio-visual installation, the project merges original and historical footage with photographic archive montage and personal narratives. The soundscape, in collaboration with composer Rob Godman, deploys experimental techniques of spatialisation and granular stretching to evoke the heightened sense of perception experienced during traumatic events. Produced over a four-year period, the project works with verbatim narratives internal to Abkhazia, driven by ordinary people’s enduring need to articulate their personal experiences of loss.

Sam Jury works across the forms of moving image, sound, photography and installation. She frequently collaborates with other disciplines, such as choreographers, writers and scientists. For many years she has been interested in what she terms ‘suspended trauma’ and what cultural theorist Rob Nixon calls 'slow violence' - the long, drawn-out effects of disaster. Since 2017, she has been working collaboratively with SKLAD cultural space in Abkhazia to co-produce artworks related to the long-term effects of post-conflict aftermaths.

Asida Butba is a curator and arts producer working internationally. She is founding member and current director of SKLAD Cultural Space in Sukhum, Abkhazia the only contemporary arts initiative in the region. Since its conception SKLAD has been the site of 20 art exhibitions and 250 public events such as film screenings, artist talks, lectures and workshops, the majority curated by Butba. These include Back to the Archives (2018), Deletion Marks (2017), and Games in the Open Air (2016). SKLAD has hosted 25 artists from across the globe and from 2016 worked in partnership with the Swiss Artas Foundation. Butba is also a freelance arts producer having worked on numerous films of international standing. She lives and works between Sukhum, Abkhaziaand St Petersburg, Russia.

Tuesday 3 June

Mark Dean Sampler 2025
Video and sound, 40 min
The screening will be followed by a discussion with Matt Hale

Mark Dean Our Moment (2024)

Sampler offers an opportunity to view a selection of tracks from Dean’s video albums, followed by a conversation with Matt Hale.

Mark Dean began looping appropriated film while studying photography and painting in the late 1970’s, and in the 1980’s extended this technique into music; these practices were eventually combined in the methodology for which Dean became recognised as a video & sound artist from the 1990’s onwards, with work held in collections including Arts Council of England, Leeds Art Gallery, MUDAM Luxembourg, and EMMA Finland. Music has remained an integral part of Dean’s art practice, with looped and layered sound samples often providing the structural basis for video works. This treatment of music as primary material is paralleled by a consistent use of film as objet trouvé; however, Dean’s use of appropriation differs, at least from some of the more reductive interpretations of such work, in that it is based not on a theory of the emptiness of images, but on a theology of kenosis, or self-emptying; a practice grounded in the lived experience of trauma.

Working via the gallery system in the 1990’s and 2000’s, Dean was ordained in 2010, and following this has produced cross-disciplinary and collaborative events. In 2021 Dean began publishing video albums on chaplachap records; while referencing vinyl LPs and EPs, they also recall a time when video artists conceptualised a future of dematerialised art, distributed outside of commodification systems. The technology to realise this eventually arrived, but along with it came both a shift in patterns of consumption and a convergence of media, such that ‘video art’ may no longer exist beyond its own history; and yet here we are…

Matt Hale regularly interviews art writers on the Art Monthly Talk Show which he has hosted for 16 years. Matt is also a contemporary visual Artist and is currently exhibiting his project Freedom Walking Sticks in the Netherlands at De Nieuwe Gang and in July as part of LAND at The Art Station

 

Tuesday 10 June

Kihlberg & Henry Slow Violence 2018
HD Video, 5.1 audio 20 min
The screening will be followed by a discussion between the artists and Gareth Bell-Jones 

Kihlberg & Henry Slow Violence 2018 HD Video, 5.1 audio 20 min. Commissioned
by Whitstable Biennale 2018 funded by Arts Council England and the Elephant Trust

A new-build flat in London forms the backdrop for a script primarily performed by three characters. The characters’ conversation – which doubles as a manifesto – describes the phenomenon of “slow violence”: a process of large-scale manmade environmental change, largely unnoticed due to its gradual pace. This phenomenon is deployed to describe the characters’ relationship to urban regeneration, which finds them oscillating between feelings of desire and entrapment. Punctuated by a slide projector that appears to gain its own agency, images of construction and utopian urban developments jolt the characters into an awareness that they do not live in a city but a machine – “a machine which trains them for its use”. Originally commissioned for Whitstable Biennale in 2018, the work has since been re-edited for the group exhibition Horror in the Modernist Block at Ikon Gallery, Birmingham, 2022-3.

Karin Kihlberg and Reuben Henry, known as Kihlberg & Henry, are a London-based collaborative duo whose practice explores the intersections of architecture, narrative, and the human voice. Their work considers architecture as a biological event—an external manifestation of the mind—and examines how storytelling, memory, and language shape our experience of space and time. Through research-based and collaborative approaches, they interrogate different models of artistic practice, often challenging conventional structures of authorship and perception.

Kihlberg & Henry are the founders of the international residency programme Springhill Institute in Birmingham and The Disembodied Voice research group in London, a platform dedicated to exploring disembodied narration and its role in contemporary art and media. Both were fellows at the Jan van Eyck Academy, Netherlands, and hold a Masters in Cultural Production from Linköping University in Sweden and a First Degree in Fine Art from BCU Birmingham. Kihlberg also holds an MA in Contemporary Art Theory from Goldsmiths, University of London.
Their work has been presented in solo exhibitions and projects at the Whitstable Biennale; fig-2 at ICA, London; Grundy Art Gallery, Blackpool; Camden Arts Centre, London; Plymouth Arts Centre; and Gallery Box, Gothenburg. They have participated in group exhibitions and projects at Ikon Gallery, Birmingham; Eastside Projects, Birmingham; Fundació Miró, Mallorca; Tate Modern; and the Hayward Gallery, UK. In 2012, they won the Great North Run Moving Image Commission, and they were artists in residence at Wysing Arts Centre, Cambridge (Department of Overlooked Histories).

Gareth Bell-Jones a curator based in London and the director of Flat Time House (FTHo) the former Peckham home of post-war conceptual artist John Latham. Since 2015, Bell-Jones has developed the exhibition programme, publishing, residencies, partnerships, alternative learning platforms and supports research with the library and archive resources. From 2010-14 he was a curator at Wysing Arts Centre, Cambridgeshire and he continues to curate independent projects in the UK and internationally, most recently including I Find Myself, the 2025 Barbara Steveni retrospective for Modern Art Oxford, editing the accompanying catalogue. He has taught widely including Courtauld, Carnegie Mellon, Sandberg Instituut and Yale, with many years as an associate lecturer at Royal College of Art, Chelsea School of Art and Goldsmiths.

 

Friday 13 June

Bevis Bowden Marginalia | song to the river
Cinemascope, 44 min
The screening will be followed by a discussion with artist Shona Illingworth

Bevis Bowden Marginalia | song to the river 44 min

Marginalia | song to the river was made as part of a Creative Arts Fellowship held at Merton College, Oxford last year.

Bevis Bowden graduated from Central Saint Martins with a Fine Art degree in Filmmaking. His first film Réalisé en Montagne, was selected for both the Kendal and Banff Mountain Film Festivals. He is now an active, commissioned filmmaker, working predominantly in long and short documentary forms and natural history. He has made films for both national and international broadcasters, arts organisations, museums and individual artists. Between 2023 and 2024 Bevis was a Visiting Research Fellow in the Creative Arts at Merton College, Oxford. He is based in both mid Wales and London.

Shona Illingworth is a Danish-Scottish artist based in London, UK and a Professor of Art, Film and Media at the University of Kent. Informed by her long-term investigations into the dynamic processes of memory, amnesia and cultural erasure, her work examines the devastating impact of accelerating military, industrial and environmental transformations of airspace and outer space and the implications for human rights. She is co-founder of the Airspace Tribunal with human rights lawyer Nick Grief. Recent solo exhibitions of her work include Topologies of Air at Cukrarna, Ljubljana (2025); Les Abattoirs, Musée – Frac Occitanie, Toulouse(2022-23), Bahrain National Museum, Manama (2022) and The Power Plant, Toronto (2022). Illingworth was a recipient of the Stanley Picker Fellowship and was shortlisted for the Jarman Award (2016). She is currently an Imperial War Museum Associate, Artist Fellow for the UKRI Polarities Network and sits on the international editorial boards of Digital War and Memory, Mind and Media. Topologies of Air – Shona Illingworth, Downey, A. (ed) was published by Sternberg Press and the Power Plant in 2022.