Past Screenings

Lucy Parker

Lucy Parker

Writers’ Group

2013, 31′ 32″, HD

1 June – 12 June


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The Writers’ Group Credits

Gabi Norland

Chin Okoronkwo

Anton Kats

Joseph Browder

Vivianne Brown

Billy Clarke

Brian Ferguson

Luke Garbutt

Grethe Mangala Jensen

Dympna Messenger

Roland Watson

Newham Writers

Peter Bedford Housing Association

Richard Hall


Night and Day – The Arena Time Machine

Saturday 28 May, 12pm – Sunday 29 May, 12pm


To celebrate the 40th anniversary of the BBC’s arts documentary strand Arena, the programme’s Series Editor Anthony Wall and Film Editor Emma Matthews have created Night and Day – The Arena Time Machine, a 24-hour audio-visual experience evoking a day in the life of the planet in early summer. Drawn exclusively from Arena’s archive of over 600 films, Night and Day is edited to link the time in the film to the time in the location of the screening – if it’s dawn on the screen, it’s dawn outside the gallery.

“To begin at the beginning…” recites Dylan Thomas, as the darkest hour gives way to dawn over Laugharne, the Welsh fishing village of Under Milk Wood. The sun rises on Mandela’s Robben Island, Van Morrison’s Ulster, Eric Sykes’s London, Sonny Rollins’s New York, Bluefields Nicaragua, the Mali desert and the Iron Curtain; scenes all drawn from Arena films.

The day progresses through work and school, to Lady Naipaul preparing lunch, in parallel with the Rasta community of Bull Bay, Jamaica; and Anita Ekberg who muses over the most beautiful women in cinema, as she seasons the chicken. In Mexico City, Buñuel gives his recipe for the perfect dry Martini; in Montserrat, George Martin gives his. Burroughs and Warhol enjoy Lapin au Moutarde in the Chelsea Hotel; Galton and Simpson take us to their favourite restaurant in Twickenham; Elvis’s relatives catch squirrels in Mississippi; and rock star Cui Jian, whose songs were the anthems of the students in Tiananmen Square, sits at the table with his family in Beijing.

And so the day goes on through the afternoon, to the strange and beautiful hour of the gloaming; to dinner and the attractions of the night through the dreams of George Wendt’s latter day Oblomov, Edna Everage, Ionesco, Roy Plomley, Jean Genet and David Bowie; before returning to the darkest hour just before dawn and Dylan Thomas. The film will be available to stream on laptops, mobiles and tablets via Carroll / Fletcher Onscreen. It will also be simultaneously screened at Carroll / Fletcher’s Eastcastle Street gallery, where visitors are welcome to stay for the whole duration, to drop in, or to keep popping back at different times of the day or night.


24 hour Grid




Since it was first broadcast in October 1975, BBC TV’s Arena has produced over 600 films, won 9 BAFTA Awards and 25 BAFTA nominations, 6 Royal Television Society Awards, 6 Broadcasting Press Guild Awards, the Prix Italia, a Grammy, Primetime and International Emmys, a Peabody Award and the special medallion at Telluride in 2000. Arena is the world’s longest-running arts documentary strand. The programme is distinguished by an unbroken editorial and aesthetic sensibility, from Leslie Megahey (1977- 79) to Alan Yentob (1979-1985), Nigel Finch and Anthony Wall (1985 until Finch’s death in 1995) and Wall’s sole editorship to the present day. From the first edition in 1975, which featured Laurence Olivier discussing the remarkable life of Lilian Baylis (the founder of the National Theatre) and David Hockney painting sets for the Stravinsky opera The Rake’s Progress at Glyndebourne, Arena has never failed to attract the great names of art, cinema, music, literature and academia. Versions of Night and Day – The Arena Time Machine have been screened at: Telluride Film Festival, USA, 2015; Cambridge Film Festival, UK, 2015; Cambridge Festival of Ideas, UK, 2015; Brighton Film Festival, UK, 2015; Dingle Film Festival, Ireland, 2016; New York University, USA, 2016.


Film Credits: Directors ANTHONY WALL, EMMA MATTHEWS; Film Editor EMMA MATTHEWS; Production Manager CAROLINE SUTTON; Online Producer ALEX JONES; Technical Consultant ANDY ARMSTRONG; Research and Additional Editing ISOBEL GOODRICH; Archive Producer ANDREW WRIGHT; Screening coordinator ROSY RICKETT; Arena Series Editor ANTHONY WALL



let this be us

Richard T Walker

let this be us

2012, 7’44”, single channel video installation

3 May –  11 May 2016

Richard T. Walker, let this be us, 2012, 13. guitar valley valley

“During the making of let this be us I was thinking a lot about the Kelsey essay Landscape as Not Belonging in the book Landscape Theory [ed. Rachel DeLue and James Elkins, 2007]. Kelsey proposes the idea that over time we have fantasised ourselves into a situation whereby we feel alien to the landscape so that we can then desire to ‘belong’ to the landscape. Of course, we are nature, we are not separate from it; we have just conditioned ourselves to think and act this way. I like thinking about a situation where someone, somewhere, against all odds actually becomes ‘one’ with nature. However, because this would mean breaking down so many of the perceptual boundaries that we have culturally constructed, their existence and sense of self becomes very different.”  Richard T. Walker.

Shot in the Anza Borrego desert in Southern California, let this be us is an elegantly composed narrative in which the artist is seen traversing the desert while carrying what appears to be a photograph of the same landscape mounted on a poster board. After apparently aimless wandering, the board is erected on its camera tripod legs and the scene in the poster board photograph and the actual landscape fall into line. Then Walker begins a wordless song that, as the video progresses, gains layers of instruments and voices, both generated within the work and as an added sound track.

The final scene begins with the artist partially obscured behind the poster board sign so that just legs and the back of the head are visible. As the music draws to a close, he walks away towards the horizon, swiftly vanishing entirely behind the sign and into the work/world.



Walker’s films show the artist alone, his back to the viewer, in the centre of a dramatic landscape contemplating the infinite, awe-inspiring mysteries of an impersonal natural world- a position reminiscent of a classic romantic figure. As the film’s narrative unfolds, accompanied by Walker’s musical compositions, viewers find themselves becoming beguiled by the gentle wit and drawn into the artist’s intimate relationships, as he apparently picks over the intricacies of his personal life in the face of an emotionally detached nature.

Describing his work, Walker states, “I think, or I hope, that the viewer becomes simultaneously pushed away and pulled towards the landscape. There is a sort of redemption in the music – the idea of the Sublime is re-appropriated, re-positioned and I think the initial relationship to the Sublime becomes questioned.”

“Although Walker’s work obviously participates in the tradition of ‘land art’, he has staked out a position very much his own. It goes without saying that his practice is at odds with the monumental inscriptive gestures of the first generation of earthmoving American land artists, and even those approaches with which he has common ground – the ambulatory poetics of Hamish Fulton or Richard Long, for instance – still have at their core a subtle yet unmistakeable impulse towards colonisation, even if only linguistic, and a kind of self-seriousness that is in Walker’s work always tempered by a tacit acknowledgement of the absurd mismatch between the individual and the world that is the flip side of any attempt, however serious or lyrical, to draft nature into an artistic programme. Indeed, this disparity lies at the heart of the gently humorous caricature Walker enacts… [more here]” Jeffery Kastner, 2013.

Recent solo shows, group exhibitions and performances include everything failing to become something, Carroll / Fletcher, London; In accordance with things, àngels, Barcelona; the fallibility of intent, Di Rosa, Napa, USA (all 2015); the predicament of always (as it is), The Contemporary Austin, Austin, USA (2014); the predicament of always (as we are), ASU Art Museum, Tempe, USA (2014); the security of impossibility, The Kadist Art Foundation, San Francisco, USA (performance) (2013); in defiance of being here, Carroll / Fletcher, London, UK (2013); let this be us, Des Moines Art Center, Iowa, USA (2013); and Stage Presence, SFMOMA, San Francisco, USA (performance).

Richard Walker at Carroll/Fletcher here.


an is that isn’t always, 2015

2011, 9′ 58″, three channel video installation

“… embracing each thing with the type of meaning only words can provide; beautiful and concise, they hide their limitations with perfection. It all begins to seem very predictable as everything manifests all too comfortably inside the guise of recognition. You think how there was no hesitance and how the speed an eagerness of meaning appeared almost desperate. As you try to assemble what is now before you, you mourn a little for what you have lost, for you could never again acquire the not knowing that so beautifully placed you in the centre of it all.” From the speed and eagerness of meaning.


“He can’t describe anything he sees because nothing fits into words anymore. He occasionally experiences feelings that are associative to the things in front of him but they exist between and beyond emotions, so translation is impossible. He wants to see things as they were. With the ability to ascribe meaning and names to objects again, finding purpose and justification even if it isn’t true. He wants everything to be just what it was.” From the speed and eagerness of meaning.


outside of all things 

2013, 7′ 51″, two channel video installation


In contrast to the configuration of the screens in the speed and eagerness of meaning, in outside of all things the two screens are installed on opposite walls. Although outside of all things and let this be us are stand-alone works that can be exhibited separately, the two works are conceived as companion pieces – the soundtracks of the two works have been designed such that when the works are installed in adjacent rooms the sound bleed between the two rooms harmonises to create a single soundtrack, and the conceptual content and emotional register of the works resonate to create an immersive ambulatory experience in which the audience moves between the two rooms.


proximity of longing, 2013

27 archival pigment prints, 30.7 x 46cm
RTW proximity of longing 3, 2012-md

I have become far too familiar with these places

I have forgotten the beauty of a vista or what is actually meant by a view.

Distance is now just a matter of fact.

A selection of small shapes extracted from a greater series of shapes;

Artefacts that interrupt an otherwise perfect line of sight.

Being here feels like an assertion of every moment.

And I have wanted nothing more than for these few moments to become less and less identifiable;

Acknowledgements of existence that I can project onto, but nothing else.

We have to create a new situation.

One where we can once again convince ourselves that I am alien to all of this.

We need to return to the understanding that I am a completely separate entity.

Then we can long for a time when we can be together again.

For it is within the proximity of longing that I remember the experience of our unity being the most palpable.

We must establish this as a space that exists outside of all the things within it.

Including, most importantly

myself.                       yourself.                      ourself.

Richard T. Walker, proximity of longing,2013, 9


Holly Antrum


2013, 19’17”

26 April – 2 May 2016

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Synopsis (courtesy the artist)

Catalogue is made with Jennifer Pike, artist, collaborator and 93 year-old wife of the late Bob Cobbing. The film offers observance to chance and language in the exchange between artist subject and artist filmmaker. Through the prism of simple gestures of experimentation in the everyday life of a now elderly artist the film engages with existing ideas of creative interruption and distraction around Pike and Cobbing’s work. Focusing on Pike as a catalyst of language and memory in the present, her history is touched upon by situating her within the material of the 16mm to digital film and her computer drawings Computer Dances (1995) as much as her material environment, papers and objects. Pike reveals her performance presence and interplay with the camera as she gives a reading of Cobbing’s ABC in Sound (1965) in a gallery space filled with her paintings, arranged for the film away from the setting of the home and studio. Filmed in Canonbury, North London and Camden Arts Centre, London.

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Outside Noise

“To begin with I thought it may as well consist of a turning shot panning the room, with just Jennifer’s shoulder escaping the edge as she tried to come around the back of the camera. She was always active in the small space we had, and liked to look over my shoulder as much as perform. Perhaps I should sit in front and oblige…

“The opportunity to film and make Catalogue was appropriate to my life at the time, but it required me to become quite lost in it all, unable to see the bottom. I was looking for a recording that has a natural gesture, in the way that the more times you do something the more it becomes your own.Recording sound with and without the camera also adds to this.

“Just having the equipment there is a different sort of engagement. I was building a routine with Jennifer that was about maintaining an ease that allowed her space to reveal her ongoing creativity at 93, whether that was to do with recurring thoughts about existing work which I would try to catch within long sound recordings of the room, or through watching threads of her gaze and subsequent comments: observations connecting everyday things around her with passing ideas. Over time I was in place to interpret the degree and sense in which her practice was still active. How it could be revealed had to except elderliness and poor memory but allow for ephemera and voices, curiousity and repetition. Through being with Jennifer’s observations and habits I felt a readiness for the camera to run, which in turn enabled the film to engage with one another’s presence, and thus the presence of both the equipment embedded into that relationship as much as the visibility of her history around us.

“However there’s a joke to me as analogue cameras are noisy and archaic, even eccentric, another character to mind. I’m operating the thing myself hoping you’ll excuse that I did not go to film school or invest in professionals, and I’ve skipped the nag that film is dying out in search of a workable hybrid. So the ‘performance’ of filming also gets tangled into the performance of the subject in my work. I have been using the analogue process to slow everything down at the front of the activity, to seize the gaps in coverage and feel its risks or relinquish some control. Working with Jennifer was working without a script so the narrative partly comes from the manual object standing between us and I choose a subject according to these possible crosshairs between subject and medium. Later on I worked digitally, reassessing the footage as a transmitted copy of the original, something that has almost already been ‘archived’ by being scanned, available to a new set of decisions and textures.

“Sound increasingly draws my attention and I found the opportunity to build a layered sense of space via background noise exterior and interior to the image, plentiful in a project of this length and subject matter. Such accidental punctuations – being akin to the spirit of the live performances of Bob and Jennifer – and the sense that the ‘stuff’ they were making their work from is s”till in the air or drifting over into now: perhaps they reappear tangentially like a ghost – or fade as references, to the fresh impulses of new hands… The blend of a recording based on prior observations or permeated by surprise was always to be allowed for. Then, in the captured distance re-emerging during editing, the ephemeral landscape around the human is most fascinating.”

Extract by Holly Antrum, Outside Noise, 2014

Outside Noise first published by Grand Union, Birmingham, 2014 in conjunction with ‘Holly Antrum, A Diffuse Citizen’ with writing by Holly Antrum, Jonathan P. Watts and George Vasey

Second edition printed on the occasion of the exhibition ‘Holly Antrum, Catalogue’ (2 April – 12 May 2016, Edinburgh Sculpture Workshop). Edited by Holly Antrum and Jonathan P. Watts. Published by Edinburgh Sculpture Workshop 2016. To order a copy please contact

Catalogue (2012-14) has been screened in the UK and internationally, including a current solo presentation at Edinburgh Sculpture Workshop. Flatness: Index, Microscope Gallery, Brooklyn, Women’s Filmmaking in Contemporary Britain, BIMI – Birkbeck, London, The London Open, The Whitechapel Gallery, London, 2015; Make Perhaps This Out Sense of Can You (Symposium, Bob Jubile), Chelsea College of Art, London, 2015 – all comprise screening appearances of the work; as well as within a larger installation for her solo exhibition, A Diffuse Citizen at Grand Union, Birmingham, in 2014. The film project won Elephant Trust funding in 2013.

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Holly Antrum has been included in group screenings and exhibitions, recently Field Work: Of film, sound and voice, ICA (2016), London curated by Lucy Reynolds, Flatness (Online, 2013, In the House of Mr and Mrs X, Temporary Gallery, Cologne, 2013; Festival Robert Walser, Newcastle-upon-Tyne, 2013 and The Stone of Folly, Downstairs Gallery, Herefordshire, 2012. She was selected to exhibit in Bloomberg’s New Contemporaries in 2006 and in 2010. Holly was the first artist in residence at Grand Union (2014) and is a current recipient of the five-year artist in residence awards at the ACME Fire Station, east London (2015). She studied MA Printmaking at Royal College of Art, London (2009-2011) and BA Fine Art Painting at Wimbledon School of Art (2002-2005).

Artist’s website here.

A previous screening on Carroll / Fletcher Onscreen can be found here.

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Common Ground 10.30, mins (2016)

Catalogue, 19 mins, (2013)

To the microphone please (with Mrs Soprano), 8.10 mins, (2013)

 The Cure of Folly, 49.15 mins (2012)

Time:Distance, 11.30 mins (2011-12)

Rappel, 4.20 mins (2012)

Asides, 6.20 mins, (2011)

Movement in a Minor Familiar (Schubert Tape 5.30 mins (2010) 

Once I knew a Room, Once I knew a Forest, 6.42 mins (2006)


Margaret Haines


2014, HD Video, 43’

22 March – 4 April 2016


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Film Notes – courtesy of the Artist

COCO drifts betwixt and between states of consciousness and madness – and genre, exploring Film Noir confession, sci-fi, skate video and #pale-core. Its ambivalence to definition is predicated by using the possibility of delusion and irrationality as its methodological model.

The character Coco, half deluded actress/pop star, half recovering patient, relates her life in the span of what could be one day, while her memory extends the film’s time to include childhood, fantasy, trauma and future aspirations. Coco leaves home after her mother decamps with a group of skaters at the mall. Now a runaway in a So-Cal suburb, she encounters three traumatic episodes, which she later retells in a purgatory-like high-school ‘show and tell’, where she vies for survival and absolution.

The film revolves around her mother, friends, strangers, her ghost-like classmates and her own delusions of achieving fame as a pop star.

Coco’s sincere and quasi-primordial obsession with girlhood and pop stardom reach dramatic conclusions: where embarrassment, shame and awkwardness are eventually considered as equally possible strategies for development, inquiry and eventual critique – and, as additions or counterpoints to the available models of hard insincerity, imitation, and eventual appeasement. Where, the sincerity of embarrassment is considered as closer to the truth, closer to reality. In this way, Coco is also a confused, hysterical and visionary character, because, really, what’s reality?

Played by five actresses ranging in age from 3 years old to 40 years old, youth and aging within the film is considered as a coincidence to existence and the progression of time, and in this way inconsequential and non-deterministic. The potential of this (freedom?) is underscored by the production span of the film (four years) and how the lead actresses age and de-age from one scene to the next, from 3 to 7, from 12 to 16, from 26 to 30, from 40 to 44.

The cast is primarily made up of friends, street casting, one method actress and selecting existing relationships into parafictional situations. COCO is presented in conjunction with a book, Love With Stranger x Coco, with a long essay about the artist, poet and mystic Cameron, and with an accessory line, X FILLES.

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“They say that when Saturn comes far into your sign it stays there like a large paperweight on a thin, thin, thin leaf… I was born with Saturn in my sign and know the perils so well…” Coco.   In astrology “Saturn is associated with restriction and limitation. Where Jupiter expands, Saturn constricts. Although the themes of Saturn seem depressing, Saturn brings structure and meaning to our world. Saturn knows the limits of time and matter. Saturn reminds us of our boundaries, our responsibilities, and our commitments. It brings definition to our lives. Saturn makes us aware of the need for self-control and of boundaries and our limits.” Source:


Margaret Haines is a Los Angeles-based film-maker, installation artist and performer. Born in Montreal, Margaret is currently in her second year of a two-year residency at the Rijksakademie in Amsterdam. She holds a BFA in Photography from Concordia University (2007) and an MFA in Photography and Media from the California Institute of the Arts (2011). Margaret has exhibited work in Los Angeles, Berlin, Tokyo, and at the McCord Museum and MOCCA in Canada.


2016 The Stars Down To Earth, 23 minutes

2014 COCO, 43 minutes

2010 My Friend Once Told Me The Best Way To Say Fuck You In Los Angeles Is Trust Me, 3 minutes

2008 If you cannot give me love and peace, then give me bitter fame, 45 minutes, with Rachal Bradley

Selected Recent Exhibitions, Performances and Screenings


The Stars Down To Earth, Screening, Circuits and Currents – Athens School of Fine Arts, Athens


Rijksakademie OPEN, Rijksakademie, Amsterdam

The One Minutes: Tell Me Your Dream, Make It Succinct and Make It Spectacular, Group Screening, the, Oberhausen, DE

Cinemania: The Years Without Light, Screening, ICA, London

COCO, Online Presentation and Screening, Images Festival, Toronto


COCO, Screening, Anthology Film Archives with Sex Magazine, New York

COCO, Pre-Screening and Conversation with Michael Ned Holte,

ltd los angeles, Los Angeles

COCO, Pre-Screening, Human Resources, Los Angeles

Spring Summer X fiLLes x COCO, solo presentation, ltd los angeles,

Los Angeles

Margaret Haines and Scott Hobbs discuss Marjorie Cameron, curated by Patrick Jackson, USC Roski School of Art, Los Angeles

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Wild Horses

“To see a horse in your dream symbolizes strength, power, endurance, virility and sexual prowess. It also represents a strong, physical energy. You need to tame the wild forces within… To see a herd of wild horses in your dream signifies a sense of freedom and lack of responsibilities and duties. Perhaps it may also indicate your uncontrolled emotions. If you are riding a wild horse, then it represents unrestrained sexual desires.” Source:


Writer, director, editor: Margaret V. Haines

Cinematographer: Monika Lenzcewska

Sound Score: Patrick Dyer

Sound Mix: Benoit Dame

Animation: Janelle Miau

Video Effects: Rollin Hunt

Production Consultant: Yelena Zhelezov

Script Editor: Aimee Goguen

Video Effects: Rollin Hunt and Rebecca St – John

Cast: Coco – Maria Olsen, Coco Urban, Jewel Steele, Robin Newman, Cara Elizabeth; Lula – Lula Steele; Coco’s Mom – Hope Urban; Gym Teacher – Phoebe Lewin; Shannon – Mackenzie Lord; Amantha – Cole Moss; Bexxa – Yasmin Walker

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Love With Stranger x Coco

Love With Stranger x Coco explores different tropes of female identity – mixing personas, identities, some parafictional, some actual. The book presents a visual mash up of Coco’s inner compulsions and obsessions through film stills, collages of props, and photographs of the actresses who interpret on her scripts. Throughout making the film, varying degrees of closeness were held with the actresses. These relationships are presented in the book and insert the role of director as a quasi-actress, collaborator and character.

The identity of raconteur/protagonist develops further with a diary-style essay about Cameron titled “Love with Stranger.” This essay presents an alternative to the hysteric girl-culture of Coco by introducing Cameron — a figure fully cognizant and in control of her own female identity, and whose own practice explored techniques of imitation and subversion. Following a trail of archival research on the life of Cameron, the study eventually leads to a meeting with Beat poet Aya Tarlow, once Cameron’s confidante. This encounter presents the re-discovery of a text Aya gave Cameron in the 1950s, and which Cameron later read on the radio in the 1970s, in an attempt to “free women.”

Love With Stranger x Coco is a 144 page soft-cover perfect-bound book published by New Byzantium in 2012 in an edition of 500. Order a copy here.

A pdf of the text can be found here.


Babalon (also known as the Scarlet Woman, Great Mother or Mother of Abominations) is a goddess found in the mystical system of Thelema, which was established in 1904 with English author and occultist Aleister Crowley’s writing of The Book of the Law. In her most abstract form, Babalon represents the female sexual impulse and the liberated woman.

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Cristina Picchi


2013, Colour, HD, 16/9, 11′ 27″

16 February – 22 February 2016

At the 66° Locarno Film Festival in 2013 Zima was awarded the Pardino d’Argento, as Best Short Film in the International Competition, and the Pianifica Prize, Locarno’s European Film Award Nominee as Best Short Film 2013. 

zima pic 1


A portrait of a season – a journey through North Russia and Siberia, through the feelings and thoughts of the people who have to cope with one of the world’s harshest climates; a reality where the boundary between life and death is so thin that is sometimes almost non-existent, where civilization constantly both fights and embraces nature and its timeless rules and rites. In these remote places, people, animals and nature itself become elements of a millennial yet unpredictable script, in which physical and mental endurance play an important role as much as chance does, where life and death constantly embrace each other. A reflection on fate, adaptation and the immutable cycles of existence.

Zima was created within the Cinetrain project travelling from Moscow to Lake Baikal on the Trans-Siberian Railway in mid-winter 2013.

zima baikal


Cristina Picchi is an award winning Italian filmmaker, writer and visual artist based in London and Italy.  Cristina has directed and edited the short experimental documentaries Champ des Possibles (2015), Zima (2013), Eyes On The Ground (2012) and Under Your Skin (2011); her films have been screened in festivals and galleries worldwide, winning prizes in festivals such as Locarno, Clermont-Ferrand and Thessaloniki. In 2013, she was nominated for Best Short Film at the European Film Awards, her last work was selected to compete for the Best Short Film prize at the 72° Venice International Film Festival in 2015. She is the recipient of the EMAN/EMARE residency program in Montreal and the Quartier21 residency program at the Museums quartier in Vienna.  Cristina holds a degree and an MA in European Literature from the University of Pisa and and a master’s degree in Screen Documentary from Goldsmiths University.  She is currently has her first fiction short film in pre-production and is developing her first experimental documentary feature film.

zima pic 4


2015 Champ des possibles (experimental documentary, CAN/ITA/SWE, 13 minutes)

2013 Cinetrain: Russian Winter (RUS, 90 min.) with the episode Zima

2013 Zima (experimental documentary, 11”30”’, RUS)

2012 Eyes On the Ground (experimental documentary, UK, 3 min.)

2012 It Never Happened (experimental documentary, UK, 4 min.)

2011 Under Your Skin (experimental documentary, UK, 8 min.)

2011 Il Disassociato – The Disassociated (documentary, ITA, 33 min.)

Awards for Zima

March 2015: Best International Short Film at Sguardi Altrove Film Festival, Italy

November 2014: Special Mention of the Jury, 22nd Acipelago Film Festival, Italy

October 2014: Audience award for the “Made In Russia” selection of Shnit International Film Festival

September 2014: Best International Short Film, Short Shorts, Mexico

August 2014: Jury Award, Concorto Film Festival, Italy

July 2014: Best score, San Giò Verona Video Festival, Italy

June 2014: Special Mention of the Jury for Cinematography, DokuMA, Croatia

May 2014: Emidio Greco Award for best emerging Italian director (with Zima) from the European Festival of Lecce and CNC – Italian National Centre of Short Film.

Prix Du Public at Visions Du Réel, Nyon for the feature film Cinetrain: Russian Winter

March 2014: WWF Award at Thessaloniki Documentary Film Festival, Nomination for Best Cinematography at Byron Bay Film Festival, Honourable Mention at Oslo Screen Festival.

February 2014: Special Mention of the Jury, Clermont Ferrand Short Film Festival for Zima.

August 2013: Pardino d’Argento Swiss Life, Pardi di Domani International Competition and Locarno short film nominee for the European Film Awards – Pianifica Prize, 66° Locarno Film Festival.


Written, directed and edited: Cristina Picchi
Cinematographer: Saulius Lukoševičius
Sound Director: Henri D’Armancourt
Music: Shoefiti
Production Manager: Katerina Okhonko
Producers: Tanya Petrik & Guillaume Protsenko
Production Company: Mirumir Studio, Moscow
Production Assistants: Alina Lobzina and Alexandra Marchenko.
The movie was produced during the Cinetrain: Russian Winter Project, Russia, 2013 (details here)
Ay Ogunlana
Vladimir Kopilov
Alexander (Murmansk’s sailor)
Alexey Beznosov
Sergey Krutikov
Alexander (Baikal’s fisherman)
Alexey Laptev
zima pic 2

hierarchy of relevance

Richard T. Walker

the hierarchy of relevance

2010, 7′ 58″

3 February – 15 February 2016

Richard T. Walker, the hierarchy of relevance, 2010, a



In the hierarchy of relevance we see the artist alone in the desert in conversation with the landscape:

“He knew that his capacity to acknowledge beauty was very much limited, so he began to wonder; if each object possesses such immense beauty how could he possibly even see the landscape anymore? For the landscape is made from a series of moderately beautiful parts, each with a specific limit to its appeal so that collectively; as a whole within his frame of vision they give a sensation of awe and magnificence. If each object is too beautiful, too appealing, he thought, then surely his senses would just become completely overwhelmed, exhausted, and thus thwart his capacity for appreciation.” From the hierarchy of relevance.

Richard T. Walker, the hierarchy of relevance, 2010, b
Bio .

Richard T. Walker makes videos, photographs, text works and performances that reveal a frustrated, obsessive relationship with landscape and at the same time explore the complexity of human relations. Videos and photographs show the artist alone in the centre of dramatic landscapes, occupying a position reminiscent of a classic romantic figure contemplating the infinite, awe-inspiring mysteries of an impersonal natural world. As Walker’s narratives unfold, accompanied by his own musical compositions, viewers find themselves becoming beguiled by the artist’s gentle wit and drawn into his intimate relationships. Describing his work, Walker states, “I think, or I hope, that the viewer becomes simultaneously pushed away and pulled towards the landscape. There is a sort of redemption in the music – the idea of the Sublime is re-appropriated, re-positioned and I think the initial relationship to the Sublime becomes questioned.”

In his videos and photographs, Walker creates almost comic scenarios in which the artist apparently picks over the intricacies of his personal life in the face of an emotionally detached nature. These play off the familiar music video format, a format in which the anguishes of romance are so regularly thrashed out, to reveal the short-comings of language to describe or articulate our response to emotional or physical landscapes.

There is a conversational directness and honesty in Walker’s work that draws the spectator into his world. His narratives take the form of diary entries, letters or imagined dialogues: communication that allows the figure in the landscape to speak straight from the heart. The matter-of-factness of his tone is in direct contrast to the grandeur of the visual material, which seduces the viewer much as the artist wishes to be seduced by his unresponsive lover.

Recent solo shows, group exhibitions and performances include everything failing to become something, Carroll / Fletcher, London; In accordance with things, àngels, Barcelona; the fallibility of intent, Di Rosa, Napa, USA (all 2015); the predicament of always (as it is), The Contemporary Austin, Austin, USA (2014); the predicament of always (as we are), ASU Art Museum, Tempe, USA (2014); the security of impossibility, The Kadist Art Foundation, San Francisco, USA (performance) (2013); in defiance of being here, Carroll / Fletcher, London, UK (2013); let this be us, Des Moines Art Center, Iowa, USA (2013); and Stage Presence, SFMOMA, San Francisco, USA (performance).


an is that isn’t always, 2015