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X-WR-CALDESC:Events for CAMPLE LINE
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170420T190000
DTEND;TZID=Europe/London:20170420T210000
DTSTAMP:20260518T010034
CREATED:20170524T213844Z
LAST-MODIFIED:20170524T223741Z
UID:1769-1492714800-1492722000@campleline.org.uk
SUMMARY:Cave of Forgotten Dreams\, 2010Werner HerzogFilm Screening
DESCRIPTION:Cave of Forgotten Dreams\, 2010 (Dir. Werner Herzog) Courtesy of Trafalgar Releasing\, London\nCave of Forgotten Dreams\, 2010 (Dir. Werner Herzog\, 89mins) \n\n£4.00 | concessions available\nBooking essential | information | info@campleline.org.uk\n\nFollowing on from Lorna Macintyre’s exhibition Spolia\, CAMPLE LINE is delighted to be screening Werner Herzog’s remarkable 2010 documentary Cave of Forgotten Dreams\, which features the extraordinary palaeolithic paintings found on the interior walls of the Caves du Chauvet-Pont d’Arc in southern France. Discovered in 1994 by three French scientists exploring the limestone gorges of the river Ardèche\, radiocarbon analyses indicated that charcoal used to make the paintings at Chauvet came from pines that were alive around 32\,000 years ago\, making them the world’s oldest known paintings. Produced long before the drawings in the caves at Lascaux\, a rock-fall had closed off Chauvet’s original entrance\, preserving the imagery within in pristine condition.\nThe French government granted Herzog limited access to the caves\, and over a period of four days only – with a small crew – Herzog was able to film the undulating walls of cave chambers and capture the extraordinary beauty and profound mystery of the paintings made upon them. Combining interview footage\, including with those who discovered and now manage the cave\, with extended sequences revealing the extent and quality of the paintings\, the film gives extraordinary insight into what Herzog himself calls ‘the beginnings of the modern human soul.’
URL:https://campleline.org.uk/event/cave-of-forgotten-dreams-2010/
LOCATION:Cample Line\, Thornhill\, DG3 4XX\, United Kingdom
CATEGORIES:Spolia
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170408
DTEND;VALUE=DATE:20170409
DTSTAMP:20260518T010034
CREATED:20170524T225702Z
LAST-MODIFIED:20170524T230123Z
UID:1811-1491609600-1491695999@campleline.org.uk
SUMMARY:Lorna MacintyreSPOLIAExhibition Closing
DESCRIPTION:  \nPhoto Mike BolamCourtesy of Lorna Macintyre and Mary Mary\, Glasgow\nLorna Macintyre \nSPOLIA \nSaturday 4 March – Saturday 8 April 2017 \nThurs-Sat 11am-3pm or by appointment \n  \nCAMPLE LINE is delighted to host SPOLIA\, an exhibition by artist Lorna Macintyre\, which brings together two recent photographic installations and a group of four new works made for our upstairs space. \nAmongst the works included there is a common focus on stone—its geographical sources and its material and tactile properties—and on the reuse and transformation of materials. Lorna’s choice of title for the exhibition—SPOLIA—invokes these preoccupations: stone\, repurposing\, transformation. A term that usually describes the reuse of building stone or architectural fragments in new contexts\, Lorna’s re-purposing is applied to an array of physical artefacts—found stones\, marble off-cuts and samples\, ceramic forms\, and crystallised obsolete everyday objects. Their arrangements are brought into poignant counterpoint with photographic images of rock formations at nearby Crichope Linn and of small geological specimens once held in Dr Grierson’s Museum at its New St location in Thornhill from 1872 to 1965 and now in Dumfries Museum.
URL:https://campleline.org.uk/event/lorna-macintyrespoliaexhibition-closing/
LOCATION:Cample Line\, Thornhill\, DG3 4XX\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170406T110000
DTEND;TZID=Europe/London:20170406T150000
DTSTAMP:20260518T010034
CREATED:20171013T222310Z
LAST-MODIFIED:20171013T222310Z
UID:2347-1491476400-1491490800@campleline.org.uk
SUMMARY:SCREENINGJem CohenMuseum (Visiting the Unknown Man)\, 1997
DESCRIPTION:  \nMuseum (Visiting the Unknown Man)\, 1997 \nUS/UK\, Jem Cohen\, 8mins\, no sound\, Super 8mm transferred to DVD \nThursday 16 March\nThursday 23 March\nThursday 30 March\nThursday 6 April\n\nThe film will screened throughout the opening hours 11am-3pm | drop-in\n\nWe are pleased to screen this beautiful 8 minute long film by Brooklyn-based filmmaker Jem Cohen\, which he shot on Super 8 whilst in London in 1997. The film includes footage shot inside and outside the British Museum and the Victoria and Albert Museum\, and comprises a brief but beautiful meditation upon human presence\, objects\, permanence and the fleeting. The camera’s attention falls not only on images of faces\, figures\, cavities and fragments\, rendered in stone and plaster\, but the expressions\, postures and gestures of those very much alive. Cohen has suggested that this short film provided the kernel for his later feature length film Museum Hours (released 2012). Cohen’s prolific body of work – more than 70 films over three decades – is widely considered as one of the most significant in international independent cinema.
URL:https://campleline.org.uk/event/screeningjem-cohenmuseum-visiting-unknown-man-1997-4/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170330T110000
DTEND;TZID=Europe/London:20170330T150000
DTSTAMP:20260518T010034
CREATED:20171013T222151Z
LAST-MODIFIED:20171013T222151Z
UID:2345-1490871600-1490886000@campleline.org.uk
SUMMARY:SCREENINGJem CohenMuseum (Visiting the Unknown Man)\, 1997
DESCRIPTION:  \nMuseum (Visiting the Unknown Man)\, 1997 \nUS/UK\, Jem Cohen\, 8mins\, no sound\, Super 8mm transferred to DVD \nThursday 16 March\nThursday 23 March\nThursday 30 March\nThursday 6 April\n\nThe film will screened throughout the opening hours 11am-3pm | drop-in\n\nWe are pleased to screen this beautiful 8 minute long film by Brooklyn-based filmmaker Jem Cohen\, which he shot on Super 8 whilst in London in 1997. The film includes footage shot inside and outside the British Museum and the Victoria and Albert Museum\, and comprises a brief but beautiful meditation upon human presence\, objects\, permanence and the fleeting. The camera’s attention falls not only on images of faces\, figures\, cavities and fragments\, rendered in stone and plaster\, but the expressions\, postures and gestures of those very much alive. Cohen has suggested that this short film provided the kernel for his later feature length film Museum Hours (released 2012). Cohen’s prolific body of work – more than 70 films over three decades – is widely considered as one of the most significant in international independent cinema.
URL:https://campleline.org.uk/event/screeningjem-cohenmuseum-visiting-unknown-man-1997-3/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170325T163000
DTEND;TZID=Europe/London:20170325T183000
DTSTAMP:20260518T010034
CREATED:20170309T095131Z
LAST-MODIFIED:20170524T214840Z
UID:1463-1490459400-1490466600@campleline.org.uk
SUMMARY:Lorna MacintyreArtists Talk
DESCRIPTION:Lorna Macintyre\, from Stone Quartet (Carrera Marble)\, 2017Courtesy of Lorna Macintyre and Mary Mary\, Glasgow\nPlease join us for a talk by Lorna. Lorna will discuss her practice and her exhibition\, SPOLIA\, which is currently in our upstairs space. \n\nFREE\nBooking essential | Information | info@campleline.org.uk\n\n 
URL:https://campleline.org.uk/event/talk-lorna-macintyre/
CATEGORIES:Spolia
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170323T110000
DTEND;TZID=Europe/London:20170323T150000
DTSTAMP:20260518T010034
CREATED:20171013T222023Z
LAST-MODIFIED:20171013T222413Z
UID:2343-1490266800-1490281200@campleline.org.uk
SUMMARY:SCREENINGJem CohenMuseum (Visiting the Unknown Man)\, 1997
DESCRIPTION:  \nMuseum (Visiting the Unknown Man)\, 1997 \nUS/UK\, Jem Cohen\, 8mins\, no sound\, Super 8mm transferred to DVD \nThursday 16 March\nThursday 23 March\nThursday 30 March\nThursday 6 April\n\nThe film will screened throughout the opening hours 11am-3pm | drop-in\n\nWe are pleased to screen this beautiful 8 minute long film by Brooklyn-based filmmaker Jem Cohen\, which he shot on Super 8 whilst in London in 1997. The film includes footage shot inside and outside the British Museum and the Victoria and Albert Museum\, and comprises a brief but beautiful meditation upon human presence\, objects\, permanence and the fleeting. The camera’s attention falls not only on images of faces\, figures\, cavities and fragments\, rendered in stone and plaster\, but the expressions\, postures and gestures of those very much alive. Cohen has suggested that this short film provided the kernel for his later feature length film Museum Hours (released 2012). Cohen’s prolific body of work – more than 70 films over three decades – is widely considered as one of the most significant in international independent cinema.
URL:https://campleline.org.uk/event/screeningjem-cohenmuseum-visiting-unknown-man-1997-2/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170316T110000
DTEND;TZID=Europe/London:20170316T150000
DTSTAMP:20260518T010034
CREATED:20171013T221547Z
LAST-MODIFIED:20171013T223053Z
UID:2341-1489662000-1489676400@campleline.org.uk
SUMMARY:SCREENINGJem CohenMuseum (Visiting the Unknown Man)\, 1997
DESCRIPTION:  \nMuseum (Visiting the Unknown Man)\, 1997 \nUS/UK\, Jem Cohen\, 8mins\, no sound\, Super 8mm transferred to DVD \nThursday 16 March\nThursday 23 March\nThursday 30 March\nThursday 6 April\n\n\n\nThe film will screened throughout the opening hours 11am-3pm | drop-in\n\n\n\nWe are pleased to screen this beautiful 8 minute long film by Brooklyn-based filmmaker Jem Cohen\, which he shot on Super 8 whilst in London in 1997. The film includes footage shot inside and outside the British Museum and the Victoria and Albert Museum\, and comprises a brief but beautiful meditation upon human presence\, objects\, permanence and the fleeting. The camera’s attention falls not only on images of faces\, figures\, cavities and fragments\, rendered in stone and plaster\, but the expressions\, postures and gestures of those very much alive. Cohen has suggested that this short film provided the kernel for his later feature length film Museum Hours (released 2012). Cohen’s prolific body of work – more than 70 films over three decades – is widely considered as one of the most significant in international independent cinema. \n 
URL:https://campleline.org.uk/event/screeningjem-cohenmuseum-visiting-unknown-man-1997/
CATEGORIES:Stone-Like things
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170304
DTEND;VALUE=DATE:20170305
DTSTAMP:20260518T010034
CREATED:20170524T225007Z
LAST-MODIFIED:20170524T230037Z
UID:1805-1488585600-1488671999@campleline.org.uk
SUMMARY:Lorna MacintyreSPOLIAExhibition Opening
DESCRIPTION:Photograph Mike Bolam Courtesy of Lorna Macintyre and Mary Mary\, Glasgow\nLorna Macintyre \nSPOLIA \nSaturday 4 March – Saturday 9 April 2017 \nThurs-Sat\, 11am-3pm or by appointment \n  \nCAMPLE LINE is delighted to host SPOLIA\, an exhibition by artist Lorna Macintyre\, which brings together two recent photographic installations and a group of four new works made for our upstairs space. \nAmongst the works included there is a common focus on stone—its geographical sources and its material and tactile properties—and on the reuse and transformation of materials. Lorna’s choice of title for the exhibition—SPOLIA—invokes these preoccupations: stone\, repurposing\, transformation. A term that usually describes the reuse of building stone or architectural fragments in new contexts\, Lorna’s re-purposing is applied to an array of physical artefacts—found stones\, marble off-cuts and samples\, ceramic forms\, and crystallised obsolete everyday objects. Their arrangements are brought into poignant counterpoint with photographic images of rock formations at nearby Crichope Linn and of small geological specimens once held in Dr Grierson’s Museum at its New St location in Thornhill from 1872 to 1965 and now in Dumfries Museum.
URL:https://campleline.org.uk/event/lorna-macintyrespoliaexhibition-opening/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170219T173000
DTEND;TZID=Europe/London:20170219T200000
DTSTAMP:20260518T010034
CREATED:20170309T095327Z
LAST-MODIFIED:20170524T223642Z
UID:1466-1487525400-1487534400@campleline.org.uk
SUMMARY:May You Live in Interesting Times\, 1997Fiona Tanfilm screening
DESCRIPTION:Fiona Tan\, still from May You Live in Interesting Times\, 1997Courtesy of Fiona Tan and Frith Street Gallery\, London\n\n£2.00\nBooking essential | Information | info@campleline.org.uk\n\nFIONA TAN is an internationally renowned artist and filmmaker. She is known for compelling video and film installations that explore memory\, time\, image and history. She was born in
1966 in Pekan Baru\, Indonesia\, the daughter of a Chinese father and an Australian mother with Scottish roots. Growing up in Melbourne\, as an adult she relocated to Amsterdam to study\, and she continues to live and work there. \nMay You Live In Interesting Times is a 60 min documentary that Fiona Tan produced for
Dutch television in 1997. The film follows Tan as she undertakes a search for her own cultural background and identity. She seeks out her wider Chinese family\, particularly those who lived through the anti-Chinese pogroms of the 1960s in Indonesia as well as those who left and settled elsewhere. She visits her parents\, who left Indonesia for Australia. She briefly films her two siblings\, who reveal their own different senses of identity. Her journey takes her back to Indonesia\, and to other places such as Berlin\, the Netherlands\, Hong Kong and the ancestral seat of all Tans in China. In a voice-over toward the end of the film\, Tan explains that she ‘started this journey in search of mirrors’ – images or individuals that might reflect something of her identity back to her. More broadly\, the film draws our attention to the way families live in the world in a constant negotiation of place\, kinship and cultural roots\, and how these shape our sense of who we are.
URL:https://campleline.org.uk/event/screening-3/
CATEGORIES:May You Live
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170205T160000
DTEND;TZID=Europe/London:20170205T180000
DTSTAMP:20260518T010034
CREATED:20170309T094755Z
LAST-MODIFIED:20170524T221334Z
UID:1461-1486310400-1486317600@campleline.org.uk
SUMMARY:EARLY WOMEN PHOTOGRAPHERS AND FILMMAKERS IN SCOTLANDJenny BrownriggTalk
DESCRIPTION:Johanna Kissling\, image taken on St Kilda\, 1905Courtesy of Werner Kissling Estate\n\nFree\nBooking essential |Information | info@campleline.org.uk\n\nLooking at examples of Margaret Fay Shaw\, Jenny Gilbertson\, M.E.M. Donaldson and Violet Banks’ work from the 1920s and 1930s\, this 45 minute talk will consider whether these women offered
 different readings of the landscape of Scotland than their better known male contemporaries. Looking at their photographic and literary outputs\, Jenny will present their aims\, methods and examples of their work. This talk will also refer to the lantern slides of Werner Kissling’s mother\, Johanna\, who travelled as a tourist to St Kilda and Lewis in 1905. St Kilda’s inhabitants were regularly filmed and photographed\, often as a curiosity of a ‘primitive’ way of life. Johanna Kissling’s photographs will be considered alongside the approaches of Margaret Fay Shaw who visited the island in its last summer and Alasdair Alpin Macgregor\, who was one of the official photographers for The Times\, documenting the last days before the evacuation.
URL:https://campleline.org.uk/event/talk-jenny-brownrigg/
CATEGORIES:May You Live Talks
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20170115T160000
DTEND;TZID=Europe/London:20170115T180000
DTSTAMP:20260518T010034
CREATED:20161207T133143Z
LAST-MODIFIED:20170524T223014Z
UID:1383-1484496000-1484503200@campleline.org.uk
SUMMARY:Corin Sworn\, The Foxes\, 2014Laura Horelli\, The Terrace\, 2011Rania Stephan\, Memories for a Private Eye\, 2015Screening
DESCRIPTION:£2.00\nBooking Essential | Information | info@campleline.org.uk\n\nLaura Horelli\, The Terrace\, 2011Courtesy of Laura Horelli and Av-Arkki\, Helsinki\nRania Stephan\, still from Memories for a Private Eye\, 2014Courtesy of Rania Stephan\nCAMPLE LINE is delighted to present three short film works by Corin Sworn\, Rania Stephan and Laura Horelli respectively. The screening\, organised in association with Driftwood Cinema\, is the second of three that launch our on-going programme May You Live In Interesting Times\, and other family stories. \n  \nCorin Sworn’s film The Foxes was commissioned by The Common Guild in Glasgow for Scotland+Venice 2013. Sworn’s starting point for the film was a collection of slides taken in 1973 by her father Gavin A. Smith\, who is a social anthropologist. The slides were taken during his fieldwork in Huasicancha\, a highland village in Peru. While Sworn’s film touches on her father’s original work on Peruvian land reform and tactics of peasant rebellion\, it also poses questions about the general legibility of photographs and the layers of story that we draw out of them. Sworn sat down with her father over two days in July 2012 to project and look at the slides. As they talked\, Sworn learned more about the trip the slides documented. As she has noted: ‘At 8 years old\, your parents’ adult life is very foreign to you in a way\, and it just seemed more weird back then than necessarily interesting.’ Snippets of a conversation between the artist and her father discussing the slides and the places\, events and people they depict are woven into the film alongside footage of a trip that they make together back to the region in 2013. \n  \nLaura Horelli’s film The Terrace shares features with Sworn’s The Foxes: central to both is the consideration of images taken by a respective parent. As a small child Laura and her family lived in a row house in a compound in the neighbourhood of Kilimani in Nairobi\, Kenya\, staying there for a period of four years before moving back to Helsinki. The Selborne Apartments consist of four vaguely modernist row houses\, designed by the architect Braz Menezes and constructed in the late 1970s. Shots of the buildings and grounds are interspersed with sequences in which the artist sifts through a series of photographs\, taken by her mother in the late 1970s and early 1980s. At certain points\, the camera pans over photos of Esther\, a local Kenyan woman who the Horellis employed as a housekeeper. In a voiceover\, Horelli also recounts that during the 1980s\, her father worked for the Food and Agriculture Organization of the UN\, and her mother worked with a Kenyan women’s organization. However\, this is not a straightforward return to a childhood home: the filmed footage resists giving dimension easily to remembered places and relationships. \n  \nRania Stephan’s film Memories for a Private Eye was commissioned by Sharjah Art Foundation and premiered at Berlin Film Festival in February 2015. Memories for a Private Eye will comprise a trilogy of films\, of which it is the first part. In contrast to the films of Sworn and Horelli\, in which both artists maintain a more direct\, analytical approach to their source images\, Stephan approaches a small snippet of film of her mother less directly\, drawing on cinematic forms and footage to elaborate an exploration of her own memories. The investigative impulse is present in her film\, however it is embodied in a fictional Hollywood detective who Stephan artfully cuts into the flow of the film. Beguiling cinematic images are interspersed with documentary footage of Stephan’s hometown Joun\, and attempts made by Stephan to interview and record her father. Stephan has said of this film: ‘I tried to explore my personal archive by invoking a fictional detective to help me unfold deep and traumatic memories. The images\, which come from different sources\, weave together into a labyrinthine maze to create a blueprint of memory itself. The film spirals around a lost image\, the only moving image of my dead mother. What remains of love\, war and death with the passing of time? These are the questions that are delicately displayed for contemplation in this film.’
URL:https://campleline.org.uk/event/screening-2/
LOCATION:Cample Line\, Thornhill\, DG3 4XX\, United Kingdom
CATEGORIES:May You Live
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20161204T160000
DTEND;TZID=Europe/London:20161204T180000
DTSTAMP:20260518T010034
CREATED:20161207T142838Z
LAST-MODIFIED:20180220T130632Z
UID:1401-1480867200-1480874400@campleline.org.uk
SUMMARY:Miranda Pennell\, The Host\, 2015  Werner Kissling\, Eriskay – A Poem of Remote Lives\, 1935SCREENING
DESCRIPTION:  \n\n£2.00\nBOOKING ESSENTIAL | Information | info@campleline.org.uk\n\nMiranda Pennell\, still from The Host\, 2015Courtesy of Miranda Pennell and Lux\, London\nMiranda Pennell\, still from The Host\, 2015Courtesy of Miranda Pennell and Lux\, London\nWe are delighted to be screening MIRANDA PENNELL’S recent film The Host a year on from its debut at the London Film Festival. Pennell originally trained in contemporary dance before making films\, and later studied visual anthropology. Her recent moving-image work uses archival materials as the starting point for a reflection on the colonial imaginary. Pennell’s father was employed by the Iranian Oil Company\, later known as British Petroleum\, and much of her childhood was spent in Iran. The Host sets out to decipher images\, texts\, objects\, maps\, diagrams\, markings and photographs all buried in the BP Archive. What is revealed in the process is a hauntingly beautiful landscape objectified from the point of view of utility\, for resources that need to be extracted. The film interweaves a number of stories drawn from both the records of an imperial history and Pennell’s own memories\, and ultimately it is a personal essay film about the stories we tell about ourselves and others\, the facts and fictions we live by\, and their consequences. \nAlongside The Host\, we are screening WERNER KISSLING’s Eriskay – Poem of Remote Lives. His only surviving film\, it was shot in 1934 on the island of Eriskay and released the following year. It stands as a key document in the developing ethnography of Hebridean and Northern Isles cultures in the 1920s and 1930s. Kissling had a complicated personal history\, settling permanently in the UK in the 1930s to escape the consequences of the rise of Nazism in Germany and residing in his later years in Dumfries. Following an early career as a diplomat\, he established a practice as an ethnographer and photographer\, working in Yorkshire\, the south of Scotland and the Outer Hebrides\, and travelling to New Zealand in 1938 to record Maori culture.
URL:https://campleline.org.uk/event/the-host-2015-and-eriskay-a-poem-of-remote-lives-1935/
LOCATION:Cample Line\, Thornhill\, DG3 4XX\, United Kingdom
CATEGORIES:May You Live
ATTACH;FMTTYPE=image/jpeg:https://campleline.org.uk/wp-content/uploads/2017/03/The-Host2.jpg
END:VEVENT
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