Gill Park: Speaking Nearby—Trinh T. Minh-ha & Onyeka Igwe

Curator Gill Park brings the work of Vietnamese filmmaker Trinh T.Minh-ha and London-based Onyeka Igwe into dialogue to address filmmaking strategies for ‘speaking nearby’ or in ‘critical proximity’ to a subject.

Minh-ha’s Reassemblage (1982) foregrounds the artist’s subjective position to the Senegalese women who are the focus of her film, where Igwe’s film trilogy No Dance, No Palaver addresses the Aba Women’s War in 1929, the first major anti-colonial uprising in Nigeria. Made more than thirty years apart, these two artists directly address the violence of colonial filmmaking and ethnographic representation.

With a conversation between Onyeka Igwe and Gill Park on histories of artists’ moving image and ethnographic filmmaking.

Selected as part of the Projections open call.

Thursday 31 January 2019
18.00
Tyneside Cinema (Roxy)
£6 / £4

Films

Reassemblage

Trinh T. Minh-ha

Vietnam
1982
40'
16mm, colour, sound

Her Name in my Mouth

Onyeka Igwe

UK
2017
6’02
Video, colour, sound

Sitting on a Man

Onyeka Igwe

UK
2018
6’42
Video, colour, sound

Specialised Technique

Onyeka Igwe

UK
2018
6'16
Video, B&W, sound

About

Onyeka Igwe is an artist filmmaker, programmer and researcher. She lives and works in London. In her non-fiction video work, Onyeka uses dance, voice, archive and text to expose a multiplicity of narratives. The work explores the physical body and geographical place as sites of cultural and political meaning. Her video works have shown at the Institute of Contemporary Arts, London, Nuit Blanche, Toronto, The Showroom, London, articule, Montreal and Trinity Square Video, Toronto as well as at the London, Edinburgh Artist Moving Image, Rotterdam International and Hamburg film festivals.

Gill Park is lecturer in curating at Newcastle University. Prior to this role, she was director of Pavilion in Leeds, where she worked with contemporary artists to produce new works of art, with a focus on artist film and video. Her recent academic research focuses on the history of British photography during the 1980s as a vital tool for addressing lived experiences of sexism and the politics of representation.