On Friday 25th November, In the Shadow of the Hand will be presenting the second of their series of TV Dinners with a screening of two short films by Scottish Artists Maeve Brennan and Duncan Marquiss.
TV Dinners is a monthly winter film club: an invitation to come together to watch a film, have a meal and conversation. The films shown at the film club will be a mixture of shorts and features by filmmakers and artists, selected by In the Shadow of the Hand to explore the questions: what does it mean to be social today? Post-lockdown and with long nights approaching, how do we connect and socialise? What does this look and feel like? TV Dinners will be social, experimental and collaborative. We hope you will join us!
To introduce the project, and to create the means for eating together at future film clubs, the artists led a metal casting workshop last month, creating 20 beautiful aluminium TV Dinner trays (chip trays) for the project. This month, the artists will share their selection of films over dinner, and continue to explore what this collaboration could be.
Venue: Artists' House, 22 1/2 The Square (behind Square Deal, down the lane)
Cost: Free, but booking required: https://www.eventbrite.co.uk/e/tv-dinners-film-club-tickets-464691784637
For more information on the project visit www.deveron-projects.com/tv-dinners and feel free to email info@deveron-projects.com or give us a call on 01466 794494 with any questions or dietary requirements.
About the films
Maeve Brennan’s film, An Excavation (2022) documents a forensic investigation into a crate of looted antiquities discovered at Geneva Freeport in 2014. Continuing her interest in forms of repair and reparative histories, An Excavation focuses on a series of vases made in the 4th century BC by Apulian artisans. These vases remained buried in tombs for 2500 years before they were clandestinely excavated from their now irrecoverable contexts. The objects’ journeys through the hands of looters, smugglers, restorers and dealers are counterpointed by the hand-painted stories that adorn them.
Maeve Brennan’s film, An Excavation (2022) documents a forensic investigation into a crate of looted antiquities discovered at Geneva Freeport in 2014. Continuing her interest in forms of repair and reparative histories, An Excavation focuses on a series of vases made in the 4th century BC by Apulian artisans. These vases remained buried in tombs for 2500 years before they were clandestinely excavated from their now irrecoverable contexts. The objects’ journeys through the hands of looters, smugglers, restorers and dealers are counterpointed by the hand-painted stories that adorn them.
Search Film (2015) by artist and filmmaker Duncan Marquiss follows the artist's father, the biologist Dr. Mick Marquiss as he tracks goshawks, an elusive bird of prey, in rural north east Scotland. The film expands into a broader conversation on the nature of searching in a variety of contexts, comparing innate foraging behaviour with shopping and browsing databases.
Although the subject matter of each film differs, both depict a practice of close looking, one that attends to the material traces that the have been left behind that act as clues or evidence of something that exists beyond the film’s frame. Following on from John Smith’s Slow Glass, the hope is that these films might let us collectively consider the ways that we can learn from or through objects.
