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Andrew Kötting is one of the most resourceful multimedia artists of contemporary Britain, with works ranging from performances inspired by distorted mythologies,  multi-sensory installations, online platforms, book publishings, to, of course, films—in which he applies mixed media and methods. He often adopts the situationist method of psychogeographical wanderings, within the British landscape, as a springboard for his autobiographical research, on the notions of identity, belonging, history and culture. He teases out both a melancholy as much as a Dada aesthetic from contemporary culture.

Our tribute features a sum-total of 20 films, with a selection of short, experimental films, as well as mid-length and feature films—which established him, as an integral member, of the modern British experimental cinema. Kötting, became known for his feature-length experimental documentary “Gallivant” (1996), in which he recorded his wanderings along the British coastline, along with his grandmother and his then 7-year-old, disabled daughter, Eden.

His daughter, an artist in her own right today, is an important reference-point in his work: “[…] through her profound disability [she] has also enabled me – she has inspired me and thwarted me, moved me and annihilated me—because of her, I never became the person I thought I might become”. The autobiographical documentary “Louyre: This Our Still Life” (2011) is a portrait, focusing on Eden’s personality and the French Pyrenees landscape, where Kötting and his family occasionally live. In his fictional film, “This Filthy Earth” (2001), Kötting shows us, the cruel hardships of the British countryside, whilst in the film “Ivan And The Dogs” (2017), he creates a pioneering hybrid, between narrative-fiction and visual-art. The film “By Our Selves” (2015) is a pilgrimage, following the footsteps of 19th century, poet, John Clare. The sacred journey is also the theme of his most recent film “The Whalebone Box” (2019), in which he excavates yet also creates, strange layers of history and mythology.


Film selection, programming: Jacob Skenderidis
Introduction: Youlia Mermigka
 

Cement The Land
Cement The Land
(Cement The Land)


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HΒ 1829 (His Badblöod)
HΒ 1829 (His Badblöod)
(HΒ 1829 (His Badblöod) )


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Nucleus Ambiguous
Nucleus Ambiguous
(Nucleus Ambiguous)


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Bunhill Fields
Bunhill Fields
(Bunhill Fields)


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The Sun Came Dripping a Bucket Full of Gold
The Sun Came Dripping a Bucket Full of Gold
(The Sun Came Dripping a Bucket Full of Gold)


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Things Are Not As They Appear
Things Are Not As They Appear
(Things Are Not As They Appear)


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Klipperty Klöpp - Split Screen
Klipperty Klöpp - Split Screen
(Klipperty Klöpp - Split Screen)


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Their Rancid Words Stagnate Our Ponds
Their Rancid Words Stagnate Our Ponds
(Their Rancid Words Stagnate Our Ponds)


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What Can you See?
What Can you See?
(What Can you See?)


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In Far Away Land
In Far Away Land
(In Far Away Land)


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This Filthy Earth
This Filthy Earth
(This Filthy Earth)


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Louyre: This Our Still Life
Louyre: This Our Still Life
(Louyre: This Our Still Life)


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By Our Selves
By Our Selves
(By Our Selves)


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Lek And The Dogs
Lek And The Dogs
(Lek And The Dogs)


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The Whalebone Box
The Whalebone Box
(The Whalebone Box )


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