"There is tenderness only in the coarsest demand: that no-one shall go hungry any more" – Theodor Adorno, Minima Moralia (1974: 156)
Annexinema was formed in 2007 and has been screening experimental films and video-based work as well hosting live performances and installations in a variety of locations across Nottingham. Their most recent screening represented a return of sorts to their first ‘home’ in the annex of the Stand Assembly studios (when they were still located at Dakeyne Street). Stand Assembly have since moved to One Thoresby Street and the latest screening took full advantage of the building’s recently cleared attic space. Indeed, the space of the screening was a specific object of attention in its own right (I’ve talked about Annexinema and the experience of a particular form of collective spectatorship elsewhere).
Highlight films from this screening include Kotaro Tanaka’s 10 min film (Kaiser, Kaizer) of a seemingly normal park scene shot during the cherry blossom season. The programme notes tell us that this scene was itself manipulated suggesting a “myriad of possible journeys and possible endings.” If the movement of camera was deliberately calibrated to recall the experience of an earlier visual culture (the artist himself invokes the Kaiserpanorama), I’m also reminded of Yukio Mishima’s Spring Snow and the numerous scenes in the novel where Shigekuni Honda’s attraction to the Yuishiki school of Mahayana Buddhism is discussed: “The true meaning of Yuishiki is that the whole world manifests itself now in this very instant. Yet this instantaneous world already does in the same moment and simultaneously a new one appears” (1975: 120).
Other highlight films included Fernand Léger’s Ballet Méchanique. The film is often understood as an exemplar of a particular kind of jazz modernism though musical support – adroitely provided by Exploits of Elaine – took us into another soundscape. A final standout feature was Matthias Wermke and Mischa Leinkauf’s, trotzdem danke, both a humorous take on Berlin public transport and a thoughtful reflection on the “relational” turn in contemporary art practice.