Transit Arts – The Territorial Sea
This month I attended another film screening that was organised by Transit Arts. I think this is the 3rd film screening event of theirs that I’ve attended. The films that I’ve seen as socially aware, political and relevant. I’m not going to describe the content of the films too much (no spoilers here).
The Territorial Sea
Three films were shown as part of ‘Document 2018 Human Rights Film Festival’ in Glasgow. The films were different from each other in their approach (and perhaps budget as well?), with more production and post-production involved than others. all three films were very thought provoking, particularly the first film to be shown ‘Forensic Oceanography’.
Text below is from Transit Arts website:
‘The Territorial Sea is a programme of recent moving image featuring stories of struggle from sovereign waters. Works by Forensic Oceanography, Taus Makhacheva and Francisco Rodríguez document tragic maritime passages, variously pointing to the cultures of neglect, spectacle and cruelty which permit ongoing catastrophe. Mapping the geopolitics of water through re-enactment, surveillance analysis, and oral history, these short films build a portrait of the sea: parts deadly and sublime. Twelve nautical miles from the baseline of a coastal state, the territorial sea is a drifting stage for violent border policy and humanitarian crises.
The Territorial Sea is curated by Marcus Jack, director of Transit Arts, with thanks to Le Fresnoy, Tourcoing; narrative projects, London; and Forensic Architecture.’
Programme
Forensic Oceanography, Liquid Traces: The Left-to-Die Boat, 2014. HD video, 18 min.
This is an image from the film. The film had commentary throughout and the first 2/3 of the screen focused on presenting data sets and satellite imagery that showed the journey of a boat leaving Libya with approx 65 migrants and where the boat went and who interacted with it. Forensic Oceanography is part of Forensic Architecture, who were nominated for this years Turner Prize.
Taus Makhacheva, Baida, 2017. HD video, 16 min.
A group of art pilgrims from sail on a boat from the Venice Biennale hoping to see a performance by fisherman on their upturned boat in the middle of the sea. There is a searing irony and criticism of spectacle as culture in this film. It is unclear if the dialogue of the art group is scripted or un-scripted.
Francisco Rodríguez, Una luna de hierro (A Moon Made of Iron), 2018. 16mm transferred to digital, 28 min.
Explores the fate of four Chinese workers who jumped off a boat hoping to get to the Chilean main land. The official line was that it was suicides, however the presence of life jackets, money and passports would suggest otherwise. 
Stalking The Image: Margaret Tait and Her Legacy
Gallery of Modern Art, Glasgow
8 November 2018 – 5 May 2019
‘Orcadian artist, poet and filmmaker Margaret Tait is acknowledged as one of Scotland’s most innovative independent filmmakers. From the 1950s onwards, she made more than 30 experimental ‘film-poems’, which have been woefully overlooked. This exhibition provides an opportunity to honour Tait’s achievements in her centenary year alongside work by nine contemporary artists and filmmakers, many of whom have been inspired by Tait.’
I will be honest, after viewing the films at Territorial Sea screening, this show seemed somewhat pedestrian in comparison. There was a lot of archival material related to Margaret Tait and they were showing some of her films. There was also a screening schedule of previous award winners. I didn’t find the film that was been showing when I visited terribly interesting.
above: Margret Tait’s medium of choice was a Bolex 16mm camera. 
Some of Margaret Tait’s story boards.
Turner Prize 2018 – Thoughts
I watched the live event on the BBC News channel. I’m not sure who should have won to be honest. If I did have an opinion as to who should have one, no doubt it would be contrary to what the panel would have decided. Some thoughts:
- I think the boundaries with film is now very blurred, which is a good thing. Documentary is an art form in itself and is just as creative as experimental film
- Charlotte Prodger: It seems they had to make a point of emphasising that one of the artists used a mobile phone (an iPhone). Would it sound as good if it was labeled ‘Huawai artist wins Turner Prize’, would they change it to read ‘Android artist…..’. I find it intriguing the language and terms they use to make sure something fits within the art world. I think it is good that she did actually win, as it demonstrates that you don’t need to spend thousands of pounds to make a film. Perhaps the new and updated saying should be : all you need is a good story and an iPhone.
- I can’t comment extensively on the films, as I was only able to view snippets of them via the new channels and Tate website, but from what I have seen they are sincere and authentic encounters with the world.
- Momaiemen’s films seem to be feature length films that would appear at film festivals? I think it is a good thing that artists are exploring subjects from the past, such as Colonisation and World War two
- Forensic architecture function in a similar fashion to the Bellingcat website. I was lucky enough to see one of their films (see Territorial Sea above). Amazing work.
- Luke Willis Thompson – I think previously there was a strong back lash from the Black community, accusing Willis Thompson of effectively ‘cashing in on black suffering’. It is something that I have always been conscious about, how much of other countries cultures and also creed’s and race’s can we explore without being seen as interfering or ‘cashing in’ on it?
- There now appears to be a strong appetite for delving into the auto-biographical and personal areas. I am glad the views on this has changed and it now seems to be fully supported. We are only here on this planet for an all too brief and fleeting moment, so why does someone or something feel it has the authority to decide what we should do with this time and if we want to ask the questions about our own lives and experiences then it is perfectly fine with me
FORENSIC ARCHITECTURE
An interdisciplinary team that includes architects, filmmakers, lawyers and scientists, Forensic Architecture’s work uses the built environment as a starting point for explorations into human rights violations.
The Long Duration of a Split Second
NAEEM MOHAIEMEN
Encompassing films, installations, and essays, his practice investigates transnational left politics in the period after the Second World War, the legacies of decolonisation and the erasing and rewriting of memories of political utopias.
Tripoli Cancelled 2017 (93 min)
Two Meetings and a Funeral 2017 (89 min)
CHARLOTTE PRODGER (WINNER)
She works predominantly with moving image, sculpture, writing and performance. Her work explores issues surrounding queer identity, landscape, language technology and time.
BRIDGIT 2016 (33 min)
LUKE WILLIS THOMPSON
Working across film, performance, installation and sculpture, his works tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration.
Cemetery of Uniforms and Liveries 2016 (9 min 10 sec)
Autoportrait 2017 (8 min 50 sec)
_Human 2018 (9 min 30 sec)