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FRIDAY 6th TICKETS: http://www.wegottickets.com/event/116239
SATURDAY 7th TICKETS: http://www.wegottickets.com/event/116240
SINCE DISCOVERING THE LIVING MEDIUM OF THE MAGIC LANTERN AND ITS UNIQUE âVOICE' IN THE AUTUMN OF 2003, FERELLI HAS BEEN BUILDING A BODY OF TRAVELLING WORK FROM HIS ARCHIVES: âTAKE ME AWAY FROM LIVING THINGS', COMPOSED PRIMARILY AROUND A MAGIC LANTERN CYCLE OF THREE SHOWS, âDEVIL DADDY' (2003), âPHIBES RISEN' (2005) AND âMICHAEL REEVES DIRECTS'(2007), JOINED BY A LENGTHY SERIES OF ARTIST PRODUCED âFILMBOOKS' OF HIS WRITINGS, A NUMBER OF DRAWINGS OF VINTAGE PERIOD AUTOMATA, OIL PAINTINGS AND AN ONGOING âWORK IN PROGRESS' OF CLOCKWORK AUTOMATA ITSELF, âTHE FLOODED ARENA'.
RETURNING HOME TO THE HORSE HOSPITAL, FERELLI PRESENTS FOR THE FIRST TIME, OVER CONSECUTIVE EVENINGS, TWO INTEGRAL PERFORMANCES FROM THE âTAKE ME AWAY FROM LIVING THINGS' CANON.
FROM ITS PREMIERE AT THE HORSE HOSPITAL IN NOVEMBER 2003, âDEVIL DADDY' HAS TOURED WIDELY, NOTABLY AT THE HAY-ON-WEY FRINGE FESTIVAL (2006) AND, MOST RECENTLY, TWO PERFORMANCES AT DIVUS GALLERY PRAGUE. (2011).
A RITUAL FLAME IS BROUGHT TO LIGHT THE OIL BURNER OF A NINETEENTH CENTURY MAGIC LANTERN. A TWIST OF FUME TRAVELS OUT THE PAINTED TIN CHIMNEY AS A SLOW DISC OF WARM, BROAD LIGHT ILLUMINATES ON SCREEN. WITHIN ITS ORBIT DEVELOPS THE IMAGE OF A RUINED CHAPEL, ALONE, DEEP IN THE HILLS OF A CRUEL HEATH-LAND LANDSCAPE STRICKEN BY WINTER.
WEAVING ORIGINAL FILM STILLS, CONTEMPORARY LOCATION SHOTS, BIRD SONG AND SPOKEN WORD, FERELLI RE-IMAGINES BOTH TIME AND SETTING OF THE âLOST' BRITISH HORROR FILM CLASSIC âBLOOD ON SATAN'S CLAW' (G.B.1970) EVOKING, PROMPTING, THE ETHEREAL RETURN OF THE FILM'S CENTRAL CHARACTER, âANGEL BLAKE', SEDUCTRESS, PRIESTESS AND IDIOT SAVANT TO THE MONSTROUS, BLOOD-THIRSTY HUNGER OF AN OLD PAGAN GOD.
THE RITUAL OPERATION OF LANTERN IMAGE, SOUND AND SPOKEN TEXT NAVIGATE UNEASY LAYERS OF SIMULTANEITY, BORN OF THE PAST FILM LOCATION AND EVER PRESENT FILM STORY, A PERFORMANCE CROSSING THIS UNCANNY LANDSCAPE.
WHILST PART GRAVESIDE LAMENT, MORIBUND EULOGY, BIZARRE FILM CRITIQUE AND EVEN âMUSICAL', âMICHAEL REEVES DIRECTS' SAW FIRST LIGHT AT THE BLOOMSBURY FESTIVAL (2007) AND, MORE RECENTLY, AS PART OF âNEW WORK, OLD MEDIA' (2010), A SEMINAR CONCERNED WITH THOSE WORKING WITH âDEAD MEDIA', HELD AT THE UNIVERSITY OF WESTMINSTER.
âMICHAEL REEVES DIRECTS' DRAWS HEAVILY ON THE RICH BYGONE TRADITION OF THE âPHANTASMAGORIE' OF PAST SHOWMEN LATERNISTS OF THE 19TH CENTURY SUCH AS ROBERTSON, PHILLIPSTAHL AND OEHLER, BUILDING FOR ITS AUDIENCE A JOURNEY THROUGH A LABYRINTHINE PASSAGE COMPOSED OF PROJECTED IMAGE AND SOUND.
LIFTING A VITAL SHORT SEQUENCE FROM THE REEVES DIRECTED FILM âTHE SORCERERS' (G.B. 1966) FERELLI TRANSFORMS AND INVERTS THIS MATERIAL INTO A SERIES OF MAGIC LANTERN SLIDES, ALONG WITH THE ACCOMPANYING ORIGINAL DIALOGUE, TAKING ON SOME STILTED, FORBODING QUALITY, GUIDING THE AUDIENCE ANEW THROUGH THIS DARKLY MEASURED DESCENT INTO TARTURUS.