Sick Day

 

 

(Sometimes)all that is needed,

Is a littlebit of

quiet >>

time.

A day alone, reflectingreflecting on nothing.

No
over


thinking.
No  work.

No arg

u

mean

ts.

Just this! day.

 

This quiet

day,

 

Where all that is needed is
silence

 

And the grey rain passingggg slowly
(overhead.)

So that tomorr

ow,

〈Always tomorrow〉,

{(rep.)“tomorrow”}

You can cope

When

;

The rush suddenly begins again and life catches up and goes double-time and all you can do is ride it out, go with it, ride it out. What did she say? Ride it out. Remember the silence of yesterday and breathe. Always breathe. Remember to breathe and relax and

Relax.

 

“Worry about it”
-tomorrow.

 

But NOW?

 

Just stay in this moment
(k?)now.


Don’t even write,


Anymore.

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WINDOW LICKER: A CHAOTIC SENSORY SCULPTURE

 

window

 

 

Founder of LeftHouse Films, Ben Mcguire is the writer, director and star of his latest film WiNdOw LiCkEr, which has its premiere at Raindance Film Festival at the end of this week.

 

A dizzying cacophony of visuals and sound, Brian Mcguire’s WiNdOw LiCkEr is often difficult to watch. In some ways, it is not proper to call this a film at all, as what has actually been crafted here is more of a sensory sculpture. The constant focus on a character’s features, as well as the discordant clash of visuals and sound, are enhanced by Mcguire’s stylistic choice to film the work primarily on an Android smart phone,  in part due to lack of budget. The plot of the film follows Ben Wild (played by the director) as he rapidly descends into a madness brought about by his manic depressive lifestyle of addiction to live camera girls, video games and self prescribed medication.

 

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A number of techniques are employed throughout the film, from slow motion to stop motion animation, the latter used to form disturbed dream sequences where bottles of pills perform a wild danse macabre that spills over into the waking world of Ben.  There is also an impressive use of symbolism present throughout the film, as Mcguire chooses to call upon external imagery to present to the audience Ben’s own internal struggle. One can’t help but notice the employment of Freud’s structural model of the psyche within the film; the ‘JoePop’ reality television programme representing the protagonist’s ego, the camera girls suggesting a drive towards the pleasure principle of the id, and the religious guidance teacher bringing the superego into play. When Ben’s sister arrives, we are immediately presented with a nonstop farcical dialogue reminiscent of the mouth in Beckett’s play, Not I. She, like the other supporting players, seems only to exist for Ben’s own mental anguish to be justified and expounded. Perhaps this all stretches the metaphor too far, but it’s all to play for in this wild journey through the mind of a man crashing toward his own bitter fate.

 

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About an hour in, the biggest challenge is presented to the audience, who must endure Ben’s sickness in full, gut churning, room spinning climax. After this ordeal, he attempts to redeem himself with a confessional that drastically changes the pace of the film. The atmosphere becomes more serene as he conducts himself with a sanity thus far hidden from view, but one that is perhaps a little misleading as the film takes another dark turn.

When Christo moves in, the audience is inclined to see this as Ben’s redemption, a literal Christ-like figure stepping in to provide salvation, but we begin to suspect that this is in fact a manifestation of his own mind cradling itself, a soothing action that in turn begins to strangle him. Mcguire has created a rich tapestry here that pulls a lot together for the viewer to examine and discuss, with a dénouement that generates an audience experience of sympathy and understanding toward the protagonist. The film is showing at Raindance Film Festival this October so make sure you get your tickets before they’re gone!

 

http://www.window-licker.com/

https://www.facebook.com/windowlickermovie

http://raindancefestival.org/features-2014/window-licker/

An installation of Biblical proportions: THE ARK

ark

 

With an exhibition that promises to be ‘as epic as the theme’, The Ark is an installation that seeks to challenge and provoke thought about the world’s most endangered species. Staying true to the gallery’s beliefs in more theatrical and alternative curation techniques, the space itself will be transformed into an impressive reimagining of Noah’s ark, creating an environment that merges with the overall theme of the show, one of preservation and awareness.

An artist collective from around the world were challenged to produce two pieces inspired by an endangered animal of their choosing, displayed ‘two by two’ in the space. Bringing together artists such as Chemical X, David Tracy, Snik and Laura Ball, the installation looks to be a promising exploration into our own understanding of the environment around us, using a variety of mediums to explore how we might perceive such issues.

The Ark opens its doors on September 26th and is already gaining a lot of passengers so make sure you head down before it sets sail on October 2nd.

THE ARK
Crypt on the Green

Clerkenwell Close
London, EC1R 0EA
United Kingdom

www.bearcubgallery.com

@BearCubGallery
arkdog