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Gastarbyter, 1998
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(2:22) Gastarbyter 1998 (Documentation). ICA Live Art Commission, London, 23-30 May 1998. A collaboration between Jo Joelson, Bruce Gilchrist and Dugal McKinnon.
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Polaria, 2001
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(08:30) Polaria 2001. A video document of the Polaria project, showing artist fieldwork in Northeast Greenland and the inaugural exhibition of Polaria at Wapping Hydraulic Power Station, 2002.
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Hibernator: Prince of the Petrified Forest (1), 2007
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(05:58) Hibernator: Prince of the Petrified Forest 2007 episode 1 of 9 (artwork)
FIRST BARDO:DEATH & BARDO TWO:TRAVELS ON THE AFTER-DEATH PLANE / Vision One: Funny Chimera
video & animation: London Fieldworks / text: Steve Beard / soundtrack: Dugal McKinnon / narration: Peter Blegvad
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Hibernator: Prince of the Petrified Forest (4), 2007
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(02:31) Hibernator 2007 episode 4 of 9
BARDO TWO:TRAVELS ON THE AFTER-DEATH PLANE
Vision Four:Plug-in Orgasm
video & animation: London Fieldworks / text: Steve Beard / soundtrack: Dugal McKinnon / narration: Peter Blegvad
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Super Kingdom: Monarchy, 2010
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Extract (02.32) from SuperKindom: Monarchy by London Fieldworks. Soundtrack by Dugal McKinnon. Commissioned by Stour Valley Arts.
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Hóll, 2016
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Shot by London Fieldworks during an Artist Residency Program in Seyðisfjörður, East Iceland, August & December 2016, in a former residence of artist Birgir Andrésson (1955-2007). Featuring the voice of Icelandic countertenor, Sverrir Guðjónsson. More: https://londonfieldworks.com/blogpost18-Global-House
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The Darkest Day, 2017
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‘The Darkest Day’ was shot by London Fieldworks over one day during the winter solstice as part of an artist residency in Seyðisfjörður, East Iceland, in December 2016. Featuring Jökull Snær Þórðarson. Music by Mark Zero. Additional sound composition by Dugal McKinnon.
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The Smell Of Ink, 2017
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Hansjörg Mayer describes Dieter Rot's Collected Works, in an extract from a film made by London Fieldworks in collaboration with Bronac Ferran and Hansjörg Mayer to complement the publication of 'The Smell of Ink and Soil–the story of (Edition) Hansjörg Mayer', edited by Bronac Ferran and published by Walther König. The book and film launched at an exhibition at ZKM, Center for Art and Media Karlsruhe, 31 March 2017.
More: https://londonfieldworks.com/blogpost20-The-making-of-Dieter-Rot-s-246-little-clouds
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End of the Road, 2012
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(05:03) End of the Road 2012 (extract)
"End of the Road" is an elegiac reflection on the contrasting symbolism of the touring caravan: from a gleaming symbol of freedom and leisure borne from a choreographed, automated Japanese-style production line, to an emblem of futile defiance right on the edge of a rapidly eroding Norfolk coastline. Employing the touring caravan as a speculative vehicle, the film juxtaposes an image of slick, efficient production with that of a deteriorating physical landscape.
"End of the Road" was awarded BEST EXPERIMENTAL SHORT by London Short Film Festival 2014. Full version HD video (11:27).
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SpaceBaby: guinea pigs don't dream, 2008
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SD video (22:03). "SpaceBaby: guinea pigs don't dream" mixes laboratory procedure with physical performance, CGI, narrative and sound. Human guinea pigs, fruit flies and lab rats are seen inhabiting a hallucinatory 24-hour world where night and day are interchangeable. Video and animation by London Fieldworks / script by Ken Hollings / soundtrack by Dugal McKinnon / narrated by Roddy Maude-Roxby / still photography by Kristian Buus.
The SpaceBaby performance and installation as part of "Space Soon" was funded by Arts Council England and supported by AHRC, University of Leicester, Affymetrix and Ambion
The SpaceBaby video work was Funded by Arts & Business (New Partners Award), AHRC and Arts Council England and sponsored by Affymextrix, Ambion, with collaborative support from Department of Genetics at University of Leicester.
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Automatic Cinema, 2018
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A video document from London Fieldworks' Automatic Cinema workshop hosted by the Centre for Digital Storymaking at London South Bank University, June 2018, working towards proof of concept, linking performance, robotics and machine learning as part of an automated filmmaking proposition. The algorithmic editing aspect is based on Jørgen Leth's film The Perfect Human (1967), which has inspired one of the aims to create a poetic narrative from a machine learning (ML) interpretation of human behaviour. The Research & Development has been supported by Arts Council England. Made in collaboration with The Robotics Centre, London South Bank University. Software: Jonny Bradley / performer: Euan Buddie. More: https://londonfieldworks.com/Project-280-Automatic-Cinema
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