In association with The Modern Institute, David Gryn’s London-based ArtProjx Cinema will present recent works by Luke Fowler and “Mystery Show,” a selection of work by four Finnish artists. (Liisa Lounila, Erkka Nissinen, Pilvi Takala, Timo Vaittinen) at SVA Theatre in New York.
Each program will be screened twice:

Friday March 9, 2012 at 8.30pm and 9.30pm
Saturday March 10, 2012 at 7pm and 8pm

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011
ALL SEATS ARE FREE. RSVP to reserve your seat. Mention which event and time you plan to attend.
Contact: David Gryn at and +447711127848


The Modern Institute and Artprojx Cinema presents
Luke Fowler
Friday 9 March 2012 at 8.30pm and 9.30pm

A Grammar for Listening (Parts 1 – 3) 8.30pm
Silence dominated the experimental film of the 1960s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to experiments of early cinema concentrated on rhythm, structure and material and thereby considered film’s potential as a unique art form with its own grammar.

Prior to this tendency in film, composer John Cage had foregrounded silence within his 1953 composition ‘4’33’. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention.

These foundational ideas have led to a burgeoning music scene focused on environmental sound and field recording. Outlining some of the complexities between film and sound, Luke Fowler’s film cycle ‘A Grammar for Listening (parts 1-3)’ attempts to confront these contradictions through the possibilities afforded by 16mm film and digital sound recording devices. These three films, created in collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer Éric La Casa respectively, provide a series of collaborations and meditations on the issues raised, and propose a number of tentative navigations through.

All Divided Selves 9.30pm
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text ‘The Politics of Experience’ (1967), Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travelers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering.

All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift from well-recognized psychiatrist to celebrity poet. A dense, engaging and lyrical collage — Fowler weaves archival material with his own filmic observations — marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.