Adam Benmakhlouf presents: each person houses parts of others
Sun 24 Nov 2019 / 7.30pm
each person houses parts of others, curated by artist, writer and educator, Adam Benmakhlouf, is intended to provide empowering historical and international contexts for communities facing the effects of a UK-wide shortage of social and affordable housing. The selected filmmakers sensitively and experimentally document alternative ways of living together, and legacies of community-led responses to housing crises in Glasgow and Milton Keynes, as well as contemporary grassroots groups.
In Rosalind Nashashibi’s Hreash House, a warm and candid record is made of “one family as an entire community” in a concrete block shared by an extended Palestinian family. Also taking place in part in a home-setting, Winnie Herbstein’s Minutes combines footage of an independent feminist welder’s collective, who are also the actors in some improvised reconstructions of Take Root meetings, a 90s self-organised womens’ housing provider. Similarly, Ed Webb-Ingall’s Community, Land, Trust parallels contemporary and historical efforts by local groups in Milton Keynes to create not-for-profit, affordable homes. His film closely follows the methodologies of community video production, modelled on Channel 40 – a 70s local television network designed to enhance civic engagement.
Sharing a commitment to thorough research and observation, the films each provide different forms of insight into the radical and far-reaching potential of locally-based political action.
Rosalind Nashashibi, Hreash House, 2004. SD Video, 20 min
Winnie Herbstein, Minutes, 2019. SD Video, 12 min 30 sec
Ed Webb-Ingall, Community, Land, Trust. 2019. HD Video, 36 min 39 sec
This screening will be introduced by Adam Benmakhlouf.
Rosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements while utilising an array of filmic conventions. In 2017 she is participating in documenta14 in Athens and Kassel and has been nominated for the Turner Prize. Alongside her solo practice she is one half of the collaboration Nashashibi/Skaer with artist Lucy Skaer.
Hreash House shows an extended Palestinian family living a collective existence in a concrete block in Nazareth. It shows a feast and its aftermath during Ramadan.
Winnie Herbstein graduated from Glasgow School of Art in 2014 (Environmental Art). She was on the committee at Transmission Gallery, Glasgow, and in 2018 studied at the City of Glasgow College (Women in Construction). She is a visiting lecturer at Glasgow School of Art and member of Slaghammers, feminist welding group.
Working across a range of video, text and sculpture, the work seeks to investigate the silences and gaps in our ‘official’ narratives. Recent projects have considered gendered spaces and materials, whilst thinking about ways in which we can live our lives differently. Solo shows include: Brace, Jupiter Woods, London (2019); STUDWORK, Glasgow International (2018); Riprap, Atelier am Ecke. Düsseldorf, Germany (2018); Before I could speak, X spoke, Outpost Gallery. Norwich, England (2017); Soft Shoulder, SWG3 Gallery. Glasgow, Scotland (2016).
Minutes draws on material from the archive of Take Root, a women’s self-build group that formed in Glasgow in the 1990s. Working closely with minutes taken from the group’s meetings, moments were developed into scenarios and restaged by members of Slaghammers, a feminist welding group based out of Glasgow Autonomous Space. Layering and sharing experiences of organising, this video was shown as part of the exhibition Brace, a solo show at Jupiter Woods, London.
Adam Benmakhlouf is an artist, writer and educator based between the Highlands and Glasgow. Working across a variety of roles and media, Benmakhlouf’s paintings, prints, sound and video work are borne out of an engagement with informal community groups, grassroots organisations and forms of alternative education.
The works he produces reveal hints of autobiography, friendship and intimacy, which can be tender, honest and candid.