TEXT, LANGUAGE AND THE MOVING IMAGE - SUMMER SCHOOL

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LYING AND LIARS TEXT, LANGUAGE AND THE MOVING IMAGE - SUMMER SCHOOL 1 & 2 August, 12pm — 6:30pm 3 August, 3pm - 8pm A Collective event at Filmhouse, Edinburgh Collective has organised a unique two-day Summer School with a screening event, to coincide with Mick Peter's exhibition, Lying and Liars, opening at Collective on 2 August. This unique programme takes the work of British avant-garde novelist and filmmaker B.S. Johnson as its starting point and will concentrate on the relationship between text, language and the moving image. The school will include six unique sessions; a combination of workshops, screenings and discussions, culminating in a special evening programme of film, Lying and Liars on Film, on Friday 3 August, curated by Mick Peter with writer/curator Steven Cairns. The Summer School will also include a practical writing workshop, a look at the history of text in moving image along with a field trip to Ian Hamilton Finlay's Garden, Little Sparta. We are delighted to announce that leading two of the sessions will be the acclaimed artists George Barber and Mark Titchner. The capacity for this one off Summer School is very limited, so early booking is recommended. The price to attend all six sessions of the Summer School is £40. Included in this cost is admission to Lying and Liars on Film. Tickets to Lying and Liars on Film can also be purchased separately from the Filmhouse for £5. Artists' Biographies Mark Titchner's work explores the tensions between the belief systems that inform our society, be they religious, scientific or political. He works across a range of media including digital print, wall drawing, video and sculpture; he often employs motifs taken from advertising, religious iconography, club flyers, trade union banners, and political propaganda. Mark Titchner was nominated for The Turner Prize in 2006 and has had solo exhibitions at Arnolfini, Bristol, Baltic, Gateshead, and New Art Gallery, Walsall. George Barber first gained acclaim through his low-tech video pieces composed of found footage, which he deconstructed in an effort to display them as contradicting their intended purposes. These works were “influential in defining an emergent 'slacker' aesthetic as well as establishing the scratch-video movement. Many of Barber's works are seminal pieces in the history of British video art.