Author: Bruce Allan

Armenia: 3 screenings

Naregatsi Institute, Yerevan 8.7.2014 Naregatsi is a philanthropic non-profit organization pursuing the preservation and promotion of Armenian cultural heritage The Institute was an excellent venue for presenting film and video in Yerevan. My thanks to events manager Victoria and programme director Eka for their warm welcome and to the Naregatsi photographer who documented the first screening. The theatre/cinema boasts a brand new screen and a rather old projector (HDMI will follow soon). Following Victoria Antabian’s initial introduction Mkrtich Tonoyan translated my synopsis of the Difference Screen project to an audience of 25 people including film critics Artsvi Bakhchinyan and Siranush Galstyan. Four young women film critics sat in the

WRO Art Center

Maria Gonchar asks Dear Ben and Bruce, I formulated my screening questions at WRO ART Center in written form. So… Mussolini-Obelisk is still situated in the center of Foro Italico / Foro Mussolini in Rome and even was restored recently. Engelbert Dollfuss, one of the leaders of Austrofascism, has a very groomed grave in the Hietzing cemetery in Vienna. During the Ukrainian independence I have witnessed the process of restoration of monuments which was destroyed or was victims of October revolution’s iconoclasm, as for example “Catherine the Great and her companions – De Ribas, De Volan, Potemkin, Zubov” monument in Odessa, and these companions are an example of monstrous embezzlement

Vol de Nuits, Marseille

  In December 2013 we received an invitation from Pauliina Salminen to present Difference Screen at Vol de Nuits on the 11th April 2014, a date perfectly suited to our itinerary. The screening at Vol de Nuits is a good example of networking processes that have made DS possible. I first met Pauliina and her partner Andrés Jaschek as fellow artists on an international residency, Periferry1.0 (2008) at Guwahati in Assam, NE India Periferry1.0 was the inaugural event in an ongoing series of residencies, workshops, exhibitions and symposia organised by Desire Machine Collective founders Mriganka Madhukaillya and Sonal Jain under the auspices of Khoj India. Periferry uses a former

Gotlands Konstmuseum

                    Ben left, Bruce sitting, with Torbjörn Limé Screening night 11.3.2014. After the busy opening on Friday night when many people were able to see Echo Logo by Phil Dadson and Gordana Andjelic Galic’s Washing installed in the ground floor galleries of the Konstmuseum, our Tuesday evening screening had an intimate feel with twelve guests. Livia Paldi, Director of the Baltic Art Center and composer Simon Vincent from Berlin were among those who joined us for the programme that included two films sourced for the occasion from Denmark and Sweden. Friends He Lost At Sea by Henrik Lund Jørgensen, originally from

Gotlands Konst Museum, Visby, Sweden

Conny Dahl Möller comments on the 2nd half of a screening programme at Gotlands Konst Museum, Visby, Sweden 11 March 2014 / 19:00 – 21:00 Uploaded from C-dur & moll torsdagen den 13:e mars 2014 Difference Screen I tisdags gick jag till Gotlands Konstmuseum för att träffa de två installatörerna Bruce Allan och Ben Eastop som jag, vilket ni redan vet, också träffade dagen innan. Denna gång för att se deras installation Difference Screen som är en samling av flera kortfilmer utav olika konstnärer världen över. Då jag kom lite sent missade jag tyvärr den första halvan av deras presentation men dök som tur var upp lagom till pausen

CZKD The Center for Cultural Decontamination, Belgrade

On Monday 17th February Difference Screen presented a selection of films at CZKD The Center for Cultural Decontamination, Belgrade. They included two works from the Balkans, Renata Poljak’s Staging Actors / Staging Beliefs and Breda Beban’s Walk of the Three Chairs. In Staging Actors / Staging Beliefs (2011) Renata Poljak revisits Boshko Buha an iconic film from her childhood, a tale of young Partisans fighting the Nazis in WW2. Boshko Buha is a tragic hero who dies young “he was only fifteen when he joined the communist movement, and was posthumously awarded with the People’s Hero of Yugoslavia title. Through the film’s continuous screenings both in theaters and on the

de Cinema – de Cuir: Difference Screen, Belgrade

A review by Greg de Cuir, Jr 18 February 2014 Difference Screen I encountered the artist Heba Amin twice in a little more than two days. The first was at the Berlinale as part of the Forum Expanded exhibit What Do We Know When We Know Where Something Is? The second was at the Center for Cultural Decontamination in Belgrade as part of the Difference Screen program. Indeed, what do we know when we know where something is? We know Amin is at home in both the white and black cube but we may not know where, or what, her home is. As depicted in her video My Love For You,

Thoughts and musings

…on the passing of time in the digital age. A message received by BA on New Year’s Day 2014 from Phil Dadson in New Zealand. Unbelievable another year has swept by already .. not sure whether it’s this speedy digital era we live in or whether our brains are changing, or maybe just a symptom of growing old? Is our perception of time passing – the hours of the day, the passage of months and the changes of the season the same in all corners of the planet? Does the passing of time register the same in your town as in mine? in your brain as in mine? It’s intriguing


07.09.2013 ARKO, Seoul. An afternoon programme of Difference Screen films was seen by an appreciative audience at ARKO. Preservation is Future A highlight of NDH in Korea 2013 was the exhibition Preservation is Future at the Moodeung Museum of Contemporary Art, Gwangju. An essay by Annelise Zwez catches its environmental concerns. Annelise presented the essay as an illustrated talk that preceded the Difference Screen programme. Preservation is Future Report azw


Through Mongolia ‘Welcome to the City of Nomads’ hello Ulaanbaatar. Leaving Chinggis Khaan airport we drive into UB, the fast expanding capital of Mongolia. Much of the city is a building site enveloping a huge coal fired power station that dominates its surroundings. A rough road full of traffic and road works leads to wide muddy puddles outside the entrance of the newly built Platinum Hotel. It’s 11.30pm. The only lift, designated for 9 persons, fits 2 with bags. Thunder explodes outside as we enter our room. Next morning we meet Mongolian artists Nandia and Toegi at the Mongolian National Modern Art Gallery, around the corner from Sükhbaatar Square. Together