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London in the fall is a crowded schedule for art lovers, not only are the galleries returning from the long summer break, they are preparing themselves for the onslaught of art fairs and openings at major institutions. This year to beat the rush a myriad of private galleries are opening their shows a full week before the fairs, as well as at many public bodies.
Akerman alternates between existence in public spaces and in private spaces. She alternates day and night. And she alternates static shots with moving shots - but not just any old travelling shots.
Music is a source of primal pleasures, pleasures such as rhythm (things happening regularly), counter-point (things happening simultaneously), tune and melody. Music cuts across all cultures, nationalities, it cancels gender and so wonderfully infects every living human soul.
Half way through a retrospective of Chantal Akerman's films. Surely surprise and innovation are exhausted. Seeing Les anneés 80 proves otherwise. This film is rare: it is not available on DVD, and the only print with English subtitles is on its last legs.
Chantal Akerman's film Toute une nuit surprised me. I had seen it last in a scruffy cinema in Amsterdam. It did not stick. The images faded fast; little remained almost three decades later. It was like a patched fresco beyond repair.
Working closely with curators Abdellah Karroum, Director of Mathaf, Arab Museum of Modern Art in Doha, Alia Al-Senussi and Abdullah Al-Turki, key figures on the Middle Eastern art scene alongside artist Ahmed Mater, who contributes to our final evening, we are presenting an amazing selection of films, free to view in a unique outdoor cinema.