Jordan Lord presents a screening programme, 'Circulatory Fictions' in conjunction with their current exhibition 'Narrative Warfare' at LUX.
“For me, they each suggest a way to live with and alongside media, while understanding the use of media to confuse, distort, selectively include, pixelate, reproduce and circulate expedient fictions. They also locate us somewhere to understand how these fictions function and who or what they serve.” - Jordan Lord
Films in the programme:
'Captioning on Captioning', Finnegan Shannon and Louise Hickman, 2020, 7 minutes
'Captioning on Captioning' is a short film by Louise Hickman (London, UK) and Shannon Finnegan (New York City, US) in collaboration with real-time writer Jennifer (San Diego, US). The film was first conceived as a way to document the failure of speech-to-text translation work and to focus on the intimate knowledge and care required to produce access. Louise is a reader of real-time writing and a researcher of data, AI ethics, and access work. Jennifer previously worked with Louise for over eight years in San Diego.
'Do Not Circulate', Tiffany Sia, 2021, 17 minutes
'Do Not Circulate', an experimental short film, attempts a structuralist and materialist approach to unraveling the entrails of a collective media memory. Paced by an essay as a relentless voiceover, the film rips footage that challenges the materiality, ownership and legal boundaries of documentation.
'Man Number 4', Miranda Pennell, 2024, 10 minutes
Gaza, December 2023. A confrontation with a disturbing photograph on social media triggers questions about what it means to be an onlooker.
'Promised Lands', Emma Wolukau-Wanambwa, 2015, 20 minutes
An fragmentary, essayistic meditation on (among other things) art, fact, fiction, memory, rights to land, place and displacement that marks the culmination of a substantial body of work collectively entitled ‘Uganda in Black and White’ (2011-2014). It features the voices of the artist, her uncle Patrick Wanambwa andTheodor Hertzka, a 19th century Austro-Hungarian economist, who was one of many Europeans who tried to establish a utopian settlement (“Freeland”) in East Africa. It also makes reference to the thousands of European refugees who found sanctuary in Africa during World War II and to the violent ongoing realities of internal and external displacement. In reflecting on the relationship(s) between representation, power,projection and possession, the artist’s own role is called into question.
