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PHX [X is for Xylonite] in Edge of Frame / London International Animation Festival at Close Up Film Centre, London

Surface Memory is a programme curated by Edge of Frame for London International Animation Festival 2019. A programme of five recent works at the intersection of animation, artists’ moving image and experimental film. Each of these films shares a concern with ideas of the surface in relation to the moving image, from the film negative to the computer screen, though each approaches the theme in markedly different ways. Covering considerable ground both geographically and formally, the works utilise film (Super8, 16mm and 35mm) and digital formats, often combining elements of the two to captivating effect. Beyond their often quite startling formal qualities these works delve into rich personal and social histories, spiritual quests and conceptual enquiries. From Hackney to Hong Kong, and from entrancing flicker to meditative spaces, these works offer a dynamic vision of contemporary practice.

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03.10.19 - 06.10.19

PHX [X is for Xylonite] in MUBI 'Projections', 57th New York Film Festival

PHX [X is for Xylonite] will be screening in MUBI 'Projections' at the 57th New York Film Festival, 3 - 6 October 2019. All screenings at Film at Lincoln Center, with full programme here and 'Solve for X' programme here. 'Projections' presents an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today’s most essential and groundbreaking filmmakers and artists. Curated by Dennis Lim and Aily Nash.

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VHS at TACO!, Thamesmead

VHS * is a regular film event at TACO!, where each screening is selected by invited contributors to form an expanding programme of moving image. 'Collapse' is the first event in the series, selected with artist and curator Mat Jenner. VHS takes its title as an acronym from Anthony Burgess’ nadsat vocabulary – a fictional language of ‘a not-too-distant future’ - developed for 'A Clockwork Orange', scenes from which were later shot on the Thamesmead estate. ‘Viddy’ means to see or look, and ‘horrorshow’ indicates ‘well’ or ‘good’.Details on the TACO! website.

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17.05.19 - 25.08.19

PHX [X is for Xylonite] at the Nunnery Gallery, London

PHX [X is for Xylonite] presents a series of orbiting three-dimensional images of natural and semi-synthetic plastic objects, made through laser scanning and photogrammetry techniques. These are collaged with hand-processed black and white 16mm film footage, which includes a demolition on the site of the original Parkesine factory in Hackney Wick, where the first semi-synthetic plastic was invented. Both flickering, contingent materials allude to the history of cellulose nitrate - in particular, 'Xylonite' - in the development of photography and film as, until the mid-century shift to acetate, it was used as the base for film stock, and elsewhere to build props in film production. In ‘PHX’, plastics are proposed as strata; so that the layers that make up the film - its emulsion and plastic substrate - are made evident; like the material seams of plastic that will, in future sedimentary rock layers, signal our Anthropocene era and its flawed capitalist productions.

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06.11.18 - 21.12.18

Incantation, Wendy on RTM.FM and at Het Bos, Antwerp

Incantation, Wendy, radio session with Chu-Li Shewring for RTM [Radio Thamesmead], project commissioned by TACO! with Sam Skinner. The station is named after the original community radio station for Thamesmead which was established in the 1970s, and one of the first community radio stations in the UK. The session forms part of a research project 'Wendy' with TACO!, and looks to the work of pioneering composer and musician, Wendy Carlos. It was also presented as a live event at Het Bos, Antwerp as part of the 'TEN SLOTTE' festival.

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Frances Scott works with moving image, presented through screenings, installations, events and publications. Her work often considers material that exists around the periphery of the cinematic production and its apparatus, proposing a film composed of its metonymic fragments.

Recent and forthcoming exhibitions and screenings include: 'Projections', 57th New York Film Festival; New York [October 2019]; The Institute of Making, University College London [November 2019]; 'Edge of Frame', London International Animation Festival, Close Up Film Centre [December 2019]; Nunnery Gallery, London; Het Bos, Antwerp, Belgium [2018]; The Bower, London [2018]; Tate St Ives [2018]; Annely Juda Fine Art with The Russian Club, London [2018]; CloseUp Film Centre, London [2018]; Yorkshire Sculpture Park [2017]; Phoenix Leicester [with Anna Lucas and Keira Greene] [2017]; Whitechapel Gallery [with Phil Coy] [2017]; Peninsula Arts and South West Film & Television Archive, Plymouth [2017]; Focal Point Gallery, Southend [2016]; ‘London Open’ triennial, Whitechapel Gallery [2015]; and ‘Selected III’ videoclub / FLAMIN screenings in the USA including Anthology Film Archives, New York, Seattle International Film Festival, and LA Film Forum [2014], and in the UK [2013]. Since 2012 her practice has included CATALOG, a collaborative project with Joyce Cronin. Frances was recipient of the Stuart Croft Foundation Moving Image Award [2017], and graduated from the Courtauld Institute of Art [2003] and Wimbledon College of Art [2010].

She is currently associate artist at the Moving Image Research Centre [MIRC], University of East London, and working on research commissioned by TACO! [Thamesmead Arts and Culture Office), London, towards her first long-form film.

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Frances Scott | frances@abyme.org.uk | twitter | instagram |

Images: 1-2: 'PHX [X is for Xylonite]' [2019], film stills; 3: Photograph by Vernon Smith, taken of Wendy Carlos in her studio, 1984 [during the release of 'Digital Moonscapes']; 4-6: Diviner [2017], film stills and installation view, The Bower, London 2018