︎Margaret Salmon

Location: Online
4 – 31 March
We’re pleased to present an online screening of Margaret Salmon’s 2010 film, Study of man in a truck based on the story John told me, with an accompanying text written by the artist available to read here.

Duration: 9 minutes

Video courtesy of the artist.

Study of a man in truck based on the story John told me, Margaret Salmon, 2010

︎ Onyeka Igwe

Location: Online
4 February – 3 March 2021

Specialised Technique, Onyeka Igwe, 2018

William Sellers and the Colonial Film Unit developed a framework for colonial cinema, this included slow edits, no camera tricks and minimal camera movement. Hundreds of films were created in accordance to this rule set. In an effort to recuperate black dance from this colonial project, Specialised Technique, attempts to transform this material from studied spectacle to livingness.

Duration: 7 minutes

Video courtesy of the artist.

︎ José Mario Dellow

Location: Online
7 January - 3 February 2021
We’re pleased to share the third film in our new series of monthly online screenings.

Extract from a conversation between three Guatemalan adoptees (2020) by artist and educator José Mario Dellow explores international adoption, drawing from the artist’s own experience of being adopted from Guatemala.

The video presents recordings from a conversation between José Mario Dellow and two other Guatemalan adoptees. Now in their mid-twenties, they discuss their evolving feelings towards their own adoptions.

Underscoring the conversation are a series of images taken from an album made for José Mario Dellow by his father when he was a small child, which he calls his ‘archive.’

This film was part of body of work exploring adoption and family exhibited in a solo exhibition The Only Guatemalan Adoptee in Essex at TOMA Project Space, Southend at the end of last year.

Video courtesy of the artist.
Image description: Animated GIF of 4 video stills from the screening of ‘Extract from a conversation between three Guatemalan adoptees’ by José Mario Dellow.  The photos are all sourced from a scrapbook made by the artist’s father, and include images of the adoption process, including photos of the artist as a baby with his newly adopted parents, a children’s party with other children adopted from Guatemala, as well as images of traditional Guatemalan fabrics.

︎ Jordan Lord

Location: Online
10 December 2020 - 6 January 2021
Image description: Animated GIF of 3 video stills from the screening of ‘After… After… (Access)’ by Jordan Lord.  Video still 1: A black and white image of the inside of a body, including a spine and other organs, appears on a laptop screen. A hand reaches toward the laptop's keyboard. On top of the hand, a caption reads: "In learning to make a film, students are taught to show rather than tell." Video still 2: An interior view along a hospital corridor. The image is taken from the point of view of someone lying under a white blanket on a wheeled hospital stretcher. An open caption at the bottom of the frame reads “Access not only refers to permission to make a documentary in a given space”. Video still 3: The folds of a white and pink-striped quilt fills the frame. The image is taken from the point of view of someone underneath the blanket. An open caption at the bottom of the frame reads "The frame is filled by a blanket that moves up and down with my heart beat."

After... After... (Access), Jordan Lord, 2018
Mascara Film Club is pleased to present the second in our rolling programme of monthly online screenings, After... After... (Access) (2018) by Jordan Lord.

After…After…(Access) is an essay film that confronts questions of accessibility through an attempt to record the filmmaker’s recent open-heart surgery. The film follows the filmmaker, as they prepare for the surgery: watching medical imaging of their body with friends, revisiting a former lover, preparing for their mother to come to New York, documenting their family's arrival, and ultimately being admitted to the hospital.

Alongside this footage, the film's narration considers the relationship between showing and telling; various dimensions of access; and how access is frequently considered only after the threat of liability, in the context of both filmmaking and disability. The film prioritizes access as a precondition of the film itself; audio description and open captioning are inseparable aspects of the film.

Access Information: This video is open captioned and includes audio description in English. There is a stroboscopic effect about 8 minutes into the video.

Video courtesy of the artist.

London, UK