- What
- Who
- Alison Gill
- Alphonso Lingis
- Alun Rowlands
- Amanda Beech
- Aya Ben Ron
- Biscuit
- Brian Dawn Chalkley
- Chris Ofili
- David Spero
- Duncan Campbell
- Ellen Cantor
- Fiona Banner
- Forster & Heighes
- Gavin Turk
- Gillian Wearing
- Group exhibition
- Hilary Lloyd
- Inventory
- Jake and Dinos Chapman
- Jeremy Deller
- Joanna Billing
- John Timberlake
- Kerry Tribe
- Luciana Parisi
- Maggie Roberts
- Mercia Cantor
- Mike Nelson
- Nigel Cooke
- Orphan Drift
- Paulina Olowska
- Pavel Pepperstein
- Peter Lanyon
- Pietro Mattioli
- Polly Staple
- Roman Vasseur
- Scarlett
- Simon Bill
- Simon Periton
- Steven Claydon
- Stuart Moxham
- Suhail Malik
- Thao Nguyen Phan
- Various
- Various Artists
- William Burroughs
- With
- Arnolfini
- Artwords
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- British Council
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- Centre for Performance Research
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- Film & Video Umbrella
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- MayDay Rooms
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- Salon 3
- Serpentine Gallery
- Southampton City Art Gallery
- TATE Britain
- TATE Liverpool
- TATE St Ives
- The Vanity Press
- University of Essex
- V&A
- When
FAMILY HISTORY
Gillian Wearing
Through the investigative and informed eye of it’s director Stephen Bode, SecMoCo is privileged to have worked on many projects for Film and Video Umbrella, London, UK. FVU commission, curate and produces artists’ moving-image works and presents them in collaboration with galleries and other cultural partners.
Originally intended to be a record of the artist’s video installation ‘Family History’; through close and detailed work with the artist, this turned into a varied and visually rich document of the piece, the material surrounding its conception, and that leading up to its production.
Perhaps because of her Midland’s background, Gillian proved to be the most enjoyable and generous of artists to work with, to the point that she presented a painting used on the set for the video installation to SecMoCo as a gift. It’s a rather fine seascape and will be uploaded here at some point in the future.
Published by Film and Video Umbrella, London, and Maureen Paley, London, 2007 in association with at Ikon Birmingham, UK, and Artists in the City, Reading, UK. Edited, and with a text by, Steven Bode; additional texts: Paul Morley, Stuart Comer; 280 x 216 mm; 80pp thread sewn; 4-colour and black and white illustrations; 4-colour printed paper case cover (no dust jacket);
From the Ikon website: ‘This immaculately designed publication traces the development of this project in a visual style whose distinctive aesthetic draws out parallels between the 1970s and the present that are such a feature of the work itself. Continuing the biographical theme of the exhibition, the book brings together film stills and location photographs with other personal and archive material, and features essays by critic Paul Morley and project curator Steven Bode, and an interview between Gillian Wearing and Stuart Comer’.