All posts by Hannah

Stages Of Mourning, 2004

2004, 16mm, col, sound, 17min

Ritualised through performance to camera, Stages of Mourning is Pucill’s journey of bereavement. In as much as this is a meditation on coming to terms with loss, the film is an exploration of how our relationship with the dead is made different through film. The artist orders image fragments of her late lover and collaborator, Sandra Lahire. By trying to physically immerse herself into photographs and film footage or by restaging these, Pucill forms a continuous stream of a life of two lovers. Through this doubling and layering, illusions accumulate as if these were a product of a machine that didn’t stop.

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Directed and produced:
Sarah Pucill
Funded:
Arts and Humanities Research Council
Performers:
Sarah Pucill, Sandra Lahire
Camera, Edit & Sound:
Sarah Pucill
Camera Assistance:
Chloe Stewart, Tanya Syed

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2004
Rencentres Internationales Paris/Berlin (touring)
Feminale, Cologne
Kassel Documentary Film Festival
College Art Association (CAA) Art History Conference, Atlanta
Masquarade curated by Kate Newton, Photofusion Gallery, London
2005
Experiments in Moving image’ curated by Jackie Hatfield & Steve Littman, the Old Lumiere
Cinema, London
London Lesbian and Gay Film Festival
Wake London Gallery West (with Peggy Atherton)
Take 291, curated by Charlie Phillips, 291 Gallery
2006
PULSAR Caracas Contemporary Art Museum, France and touring
Light Reading’ Series, NO.W.HERE Lab, London  curated by K MIrza + B Butler (retrospective)
Greenwich Picture House, London (retrospective)
2007
The Millennium Film Workshop (retrospective)
2008
Fairbanks Gallery, Oregon
The Star and Shadow Cinema, Newcastle-upon-Tyne (retrospective)
Chisenhale Dance Space and Queen Mary University Symposium on Mourning
Interrogating Trauma Conference, Perth, Australia
2009
The Experimental Film Club, Dublin curated by Donal Foreman.
2010
The ‘Other’, Rencentre de Sophie, Nantes, France.
2011
Moving Image South, Curzon Cinema (retrospective) curated Laura Kloss
2012
Open City Docs, ICA, Aesthetic Queeries, curated by Treasa O’Brien
Conference ‘Family Ties’, University of London, Presentation ‘Re-enactment as cathartic Ritual in Stages Of Mourning with a screening of the film.
Autobiography and the Archive at Whitechapel Gallery, screening of Stages Of Mourning with Q+A with Miranda Pennell, organised and chaired by Elisa Adami and Alessandra Ferrini (Mnemoscape).
 
2014
Whitechapel Gallery,  The Archive and Autobiography, curated by Alessandra Ferrini

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2011
‘Sarah Pucill: A cinema of attraction’ by Sebastien Ronceray (or see scan of original French article)
2011
‘Those Deep Approaches’ by Cherry Smyth for the Lux DVD Booklet
2010
The Theatre of female point of view, Gloria Morano, La Furia Umana
2005
‘Accumulation in Stages of Mourning’, Lux-on-line, by Naomi Salaman
2006
‘Stop Frame Motion in Stages of Mourning’ Lux-on line by Vicky Smith
2006
The ‘autoethnographic’ in Chantal Akerman’s News From Home, and an Analysis of Almost Out and Stages of Mourning

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Cast, 2000

2000, 16mm, b/w, sound 17min

Cast creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points of view and juxtapositions of sound and silence force inner and outer realities to collide, creating an unsettling psychic world.

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Directed and produced:
Sarah Pucill
Funded:
Arts Council of England
Camera:
Sarah Pucill, Noski De Ville
Art Direction:
Louisa Bare
Make Up:
Tae-ho Lee, Sarah Pucill
Performers:
Two women:Sandra Lahire, Sarah Weatherall.
Child: Marion Knight
 
Woman on beach: Ella Pratt, Lucy Pratt, Diane Knight
Second Camera:
Sandra Lahire
Editing, Sound Advisor:
Sandra Lahire

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2000-01
Cinenova Festival, The LUX, London
London Lesbian and Gay Film Festival
Feminale, Cologne, Germany
Girlish– screenings part of Girl, New Walsall Art Gallery, UK
2002
291 Gallery (retrospective)
2005
Wake (With Peggy Atherton) London Gallery West
2006
Light ReadingSseries, NO.W.HERE, London, Curated K Mirza and B Butler
Greenwich Picture House (retrospective)
2007
The Subjective Camera Series Greenwich Picture House (retrospective)
2008
The Star and Shadow Cinema, Newcastle upon Tyne (retrospective)
2009
The Pleasure Dome, Toronto
2010
The Book Club, London, curated Laura Kloss (retrospective)
2011
BFI Southbank, Retrospective as part of LUX DVD launch of short films, February
BFI Southbank, Retrospective, curated Elinor Cleghorn as part of the Maya Deren Season, October.
2012
Madrid Experimental Film Festival, (retrospective)
Two Lives, curated by Club de Femmes, in ‘Scala Beyond’, Horse Hospital

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2011
‘Sarah Pucill: A cinema of attraction’ by Sebastien Ronceray (or see scan of original French article)
2010
The Theatre of female point of view, Gloria Morano, La Furia Umana
1999
Little Deaths – by Sandra Lahire. Make magazine special issue on the Miniature

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Swollen Stigma, 1998

1997, 16mm, col, sound, 20min

Swollen Stigma nourishes the fantasy of its protagonist’s inner life and proposes a lesbian imaginary which takes leap into risk and displacement. The film opens with an entranced seated woman working her fingers through a single strand of hair and proceeds to explore her lived imaginary in which desire and fear interlace. She re-visions different moments in time which are haunted by an absent lover. Like a playful fairy princess, this lover appears upside down in an armchair, hanging legs-down from the ceiling, playing dead on the floor, or eating roses; her body continuously permeates the woman’s reality. The film’s shifting points of view jump between the protagonist, fantasy spaces and her lover, making an internal world leak into what is external with the fluidity of blood into water.

[tab name=”Credits”]

Directed and produced:
Sarah Pucill
Funded:
Arts Council of England
Camera:
Sarah Pucill
Second camera:
Sandra Lahire
Edit, Sound:
Sarah Pucill, Sandra Lahire
Performers:
Sally Pucill, Rachael Gomme

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1997-98
London Lesbian and Gay Film Festival
Visibilia, lesbian film festival,  Bologna, Italy
Videolisboa- Video Art Festival, Lisbon, Portugal
Pandemonium Moving Image Art Festival, The Lux, London
Feminale, Cologne
Real Gallery, New York
Images Festival of Independent Film and Video, Toronto
Montreal Image and Nation International Queer Film and Video Festival
Impakt Film and Video Festival, Utrecht, Netherlands
2004
Experiments in Moving Image curated by Jackie Hatfield & Steve Littman
The Old Lumiere Cinema, London
2005
Wake, London Gallery West, staged exhibition
2006
Greenwich Picture House (retrospective)
Light Reading Series, NOWHERE, curated by K Mirza and B Butler
2007
Greenwich Picture House (retrospective)
2008
The Star and Shadow Cinema, Newcastle upon Tyne (retrospective)
2009
Mass Art Film Society, Boston (retrospectve)
Pleasure Dome, Toronto (retrospective)
Anthology Film Archives, New York (retrospective)
2010
Millennium Film, New York (retrospective)
Ecole Des Beaux Arts, Paris (retrospective)
2011
BFI Southbank (retrospective)
2014
Magic Lantern, Providence, Rhode Island, US
2015
Attaque le visible Projection No1, Screened with Phantom Rhapsody (2010) at La Mutinerie,  Paris, curated by Katja Gorska
Scottish Queer Film Festival, screening at the Glad Cafe, 17 November, Glasgow
2016
M-Tate Modern Screening ‘From Reel to Real: Women, Feminism and the London Film-makers Co-operative, 23-25 September

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2010
The Theatre of female point of view, Gloria Morano, La Furia Umana
1998
The Fairies Banquet, Sandra Lahire, Coil, Issue 7
1998
Dragged, Cherry Smyth, New York, Real Gallery

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Mirrored Measure, 1996

1996, 16mm, b&w, sound, 10min

Mirrored Measure features two women separated by a generation. The older woman ceremoniously lays a table – she repeatedly spreads a cloth and smoothes it out. The table is set and glasses and jug filled with water. A balanced and controlled ritual follows in which the jug is passed round and water is repeatedly sipped. Water becomes the lens through which we see and the medium through which the protagonists connect. The sense of connectivity is abruptly severed when the first glass tumbles.

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Directed and Produced:
Sarah Pucill
Funded:
Arts Council England
Camera, Edit Assistance:
Kate Stephens
Camera, Edit & Sound:
Sarah Pucil
Performance
Jane Pucill and Kate Stephens

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1996-98
Pandemonium Moving Image Art Festival, ICA, London
Melbourne International Film Festival
European  Media Art Festival, Osnabruck, Netherlands
Brisbane International Film Festival
Feminale, Cologne, Germany
London Electronic Arts Film and Video Open, Toynbee Hall, London
Screening curated by Sandra Lahire, Whitechapel Gallery, London
Acquired by BSB TV Australia
1998
Lux, London (retrospective)
Tate Britain, curated by Gary Thomas (retrospective)
2000
Lux DNET Festival of Electronic & Digital Art (retrospective)
2002
291 Gallery, London, curated by Lisa Jensen (retrospective)
2006
Greenwich Picture House, London (retrospective)
The Millennium Film Workshop, New York (retrospective)>
2008
The Star and Shadow Cinema, Newcastle upon Tyne (retrospective)
2009
Anthology Film Archives, New York (retrospective)
Pleasure Dome, Toronto (retrospective)
AIR Gallery, New York (retrospective)
2011
BFI Southbank, London (retrospective)
2014
Arsenale Institute for Film and Video Art

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2010     ‘Female Presence and the act of seeing: The haptic gaze in the films of Sarah Pucill’ by Gloria Morano, La Furia Umana No 5.2010
2016     Mattuschka and Pucill: These Films Cannot Be Proved’ by Caroline Koebel, OEI No 69-70: On Film 2016

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Backcomb, 1995

1995, 16mm, col, sound, 6min

In Backcomb the demonic is unleashed on domestic space. It takes the form of two of femininity’s mildest tokens, hair and embroidery, that serve here in the creation of a sexualised surrealist experience. Within the claustrophobic space of a table-lay, a forceful and erectile mass of hair comes alive and slithers across its surface. The hair probes into vessels and punches through the cloth till finally order overturns and all smashes to the ground.

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Directed:
Sarah Pucill
Produced:
Maggie Ellis
Funded:
Carlton TV and London Production Fund
Art Direction:
Alix Harwood
Camera:
Belinda Parsons, Sarah Pucill
Camera Assistance:
Sarah Gardiner
Performers:
Karen Ashton
Dubbing Mixer:
Andy Sears
Edit & Sound:
Sarah Pucill

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1995-97
Carlton Television, UK; London Lesbian and Gay Film Festival; Mix: New York Film Festival; Toronto Short Film Festival; The Raw and the Cooked, Ruby Rich and Chris Darke, The Fourth ICA Biennial of Independent Film and Video Art, London; Feminale Cologne; Montreal Image and Nation International Queer Film and Video Festival; Ankara Film Festival, Turkey;  Femme Totale, Dortmund, Germany; Womens Film Festival Norwich (nominated for best experimental film).
1998
Tate Britain, curated by Gary Thomas (retrospective)
Lux, London (retrospective)
1999
‘Sweetie. Female Identity in British Video’ curated by Cristiana Perrella and Maria Rosa Sossai, British School at Rome (1999)
2000
Lux, London DNET Festival of Electronic and Digital Art
2002
291 Gallery (retrospective)
2003
The UK/Canadian Video Exchange, curated by Cate Elwes, South London Gallery, TRANZ<>TECH 2003, Toronto
Hair The Show curated by Marcia Farquhar and Peggy Atherton, Tablet Gallery London
2004
Feminale, Cologne, Germany
2006
Greenwich Picture House (retrospective)
‘Light Reading’ series, NO.W.HERE Lab, London (retrospective)
2008
New York Filmmakers Co-Op Screening, curated by Caroline Koebel
Millennium, New York (retrospective)
The Star and Shadow Cinema, Newcastle Uon Tyne (retrospective)
2009
Anthology Film Archives, New York
Mass Art Film Society, Boston, US
Arsenale, Berlin
2010
Tate Modern, London, (part of Vivienne Dick Retrospective)
Light Industry, New York, (part of Vivienne Dick retrospective)
2011
BFI Southbank (retrospective) as part of the LUX DVD launch of Sarah Pucill Film Shorts 1990-2010
2012
Madrid Experimental Film Festival (retrospective)
Parasol Unit, Curated Gil Leng LUX
2017
Programme curated by Vivienne Dick, Irish Film Institute, Dublin 10 October

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2011
‘Sarah Pucill: A cinema of attraction’ by Sebastien Ronceray or see scan of original French article
2010
‘Female Presence and the act of seeing: The haptic gaze in the films of Sarah Pucill’ by Gloria Morano, La Furia Umana No 5.
1996
Backcomb – by Chris Darke, Textual Analysis London Production Fund 1996.

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Milk and Glass, 1993

1993, 16mm, col, sound, 10min

In this film an interior landscape is scrutinised, and an apparent rational calm is revealed as suffocating. Milk and Glass is an evocative journey from surface to interior – a black-coated mirror, the hollow of a bowl, a cavernous throat; a brush demarcates a line of lip on a flat surface, a mouth doubles up with the bowl and is virtually spoon-fed till it chokes.

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Directed and produced:
Sarah Pucill
Funded:
Arts Council of England
Camera:
Stanislaw Was + Sarah Pucill
Edit & Sound:
Sarah Pucill

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[tab name=”Screenings”]

1993-94
European Media Art Festival, Osnabruck, Netherlands
London Film Festival
British Short Film Festival
Edinburgh Short Film Festival
Impakt, Festival for Experimental Art, Utrecht, Netherlands
Cork Film Festival
Feminale, Cologne, Germany
Rencontres Internationales, Paris
Hygiene + Hysteria’ curated Sarah Turner & Ian Rashid, NFT & Europe
Sydney Museum of Contemporary Art, ‘Light’ curated by David Curtis.
1998
Lux, London (retrospective)
Tate Britain, Curated by Gary Thomas (retrospective)
2000
Lux, DNET Festival of Electronic & Digital Art
2002
291 Gallery, London, curated by Lisa Jensen (retrospective)
2006
Greenwich Picture House, London (retrospective)
2007
Millenium FIlm Workshop, NY (retrospective)
2008
The Star and Shadow Cinema, Newcastle Upon Tyne (retrospective)
2009
Anthology Film Archives, New York (retrospective)
LA FilmForum, LA (retrospective)
AIR Gallery, New York (retrospective)
2012
Madrid Experimental Film Festival (retrospective)
2016
No.w.here, London, Queering Love, Queering Hormones  Film Screening,  London
Tate Modern, London ‘From Reel to Real: Women, Feminism and the London Film-makers Co-operative, Starr Cinema 23-25 September, curated by Maud Jacquin
Anthology Film Archives, New York ‘From Reel to Realcurated by Maud Jacquin, December
ArtVerona Art Fair, Venice,  curated by Guilia Casalini at Biblioteca Civica di Verona, 6 October – 5 November  

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2011
‘Sarah Pucill: A cinema of attraction’ by Sebastien Ronceray (or see scan of original French article)
2010
‘Female Presence and the act of seeing: The haptic gaze in the films of Sarah Pucill’ by Gloria Morano, La Furia Umana No 5.

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You Be Mother, 1990

16mm, col, sound, 7min

Funded by a Julian Sullivan Award (Slade School of Art) and Hull Time Based Arts

Awarded  ‘Best Experimental Film’  Oberhausen Short Film Festival  1991

‘Best Innovation Prize’  Atlanta Short Film Festival  1993

You Be Mother uses stop-frame animation to disrupt the traditional orders of animate and inanimate, the fluid and the solid. An hallucinatory space is set up when a frozen image of the artist’s face is projected onto weighty pieces of crockery atop a table. Ears, eyes, nose and mouth, all become spatially dislocated as a determined hand begins to reposition, decant and mix. Events unfold to the amplified sounds of grinding, pouring and stirring.

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Directed and produced:
Sarah Pucill
Funded:
Hull Time Based Arts and The Julian Sullivan Award
Camera, Edit & Sound:
Sarah Pucill

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1989
New Contemporaries, ICA, London (1989) – early version
1990
London Film Festival; British Short Film Festival, London
European Media Art Festival, Osnabruck Germany
Rencontres Festival of Film and Video Art, Paris (and touring); Granada TV, UK; ‘Exiled’ touring show, curated by Moira Sweeney, ICA London
1991
Oberhausen Short Film Festival, Germany
Goethe Institute, Montréal
1992
Cutting Edge, curated by Carol Brown and John Hoole, Barbican Gallery, London
1994
Atlanta Short Film Festival
Norwegian Short Film Festival
 
Leipzig Festival of Documentary and Animation Art
 
Tampere Short Film Festival, Finland
1998
Tate Britain, Curated by Gary Thomas (retrospective)
 
Lux, London (retrospective)
2000
Lux, London DNET Festival of Electronic and Digital Art
2002
291 Gallery, London, Curated by L Jensen (retrospective)
2003
Telling Tales, Serpentine Gallery, curated by Karen Alexander
2004
The Magic Lantern Dream Cinema, Ciné Lumière Institute, Françe, London
 
‘A Century of Film and Video Artists’ curated by David Curtis, Tate Britain, London
2006
The Collective Unconscious, curated programme, New York Filmmakers Coop
 
‘Light Reading’ series, NO.W.HERE Lab, London, Curated by K Mirza and B Butler
2007
Stills Gallery Edinburgh The Millennium Film Workshop, New York (retrospective)
 
The Subjective Camera series, Greenwich Picture House (retrospective)
 
LightCone 25th Anniversary, Paris
2008
Whitechapel Gallery Film Circus Film Weekend curated by Ian White
 
The Star and Shadow Cinema, Newcastle Upon Tyne (retrospective)
 
Live 8 Galway, Curated by Vivienne Dick
2011
Moving Portrait, De La Warr Pavillion
Showroom Gallery, Cinenova, London
2012
Parasol Unit, Curated by Gil Leung, LUX
BFI Southbank as part of Retrospective of films to launch LUX DVD of Sarah Pucill films: 1990-2010
Imagem-Contato Film Festival, Sao Paulo, Brazil
Madrid Experimental Film Festival (retrospective)

2015
Documentary Film Festival, Brussels ‘To Film at all costs’l
2016
Spring Psychoanalytic Poetry Festival, Freud Museum, London, 12 March
2017

VideoGUD   “Portrait” curated by Henrik Georg Fredberg   Exhibited in public spaces in Gävleborg, Uppsala and Dalarna,  Sweden

With Adam Magyar(US), Margaret Tait(UK), Marcin Bortkiewicz(PL) and Andy Warhol(US). ​

 

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  • Best Experimental Film Award – Oberhausen Short Film Festival, Germany
  • Best Innovation Award – Atlanta Film Festival
  • USA ‘Wicked Women and Wayward Girls’, BFI compilation tape, distributed by Connoisseur Video

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