Details
Date:

April 26

Time:

06:30 pm - 09:30 pm

Venue

Marlborough Pub & Theatre

4 Princes Street

Brighton, United Kingdom, BN2 1RD

FILM SCREENING
Trojan Horse / Rainbow Flag
Friday 26th April 2019
The Marlborough Pub & Theatre
6:30PM doors and bar, 7:00PM screening

Films about LGBTQI+ space by: Sam Ashby, Rob Crosse, Ian Giles, Mathew Parkin and Hannah Quinlan & Rosie Hastings

Free – booking recommended
http://www.marlboroughtheatre.org.uk/event/trojan-horse-rainbow-flag/

At a time when queer spaces are increasingly under threat from gentrification, Trojan Horse / Rainbow Flag is a programme of films and video works by LGTBQI+ artists exploring the historical significance, present urgency and future possibilities of queer spaces as sites of political resistance, community and desire.

“The Joiners Arm smelt, tasted, sounded and felt like freedom” Dan Glass, 2018

Curated by artist and filmmaker Ian Giles, the programme is presented by videoclub at The Marlborough Pub & Theatre. Departing from Giles’ newly commissioned film about the closure of the Joiners Arms pub and nightclub on Hackney Road, the programme features works by artists and peers: Sam Ashby, Rob Crosse, Mathew Parkin and Hannah Quinlan & Rosie Hastings. Supported by Arts Council England.

A publication featuring a text by Paul Clinton alongside the transcript from Giles’ film will be distributed at the screening.

Following the screenings there will be an informal discussion about queer spaces.

About the films

Within his filmmaking process, Ian Giles continues his employment of first-hand research, and participatory workshops as structures to produce a social network. By working directly with members of Friends of the Joiners Arms (a community campaign group), Giles’ film Trojan Horse/Rainbow Flag examines the campaign to save the Joiners Arms – an iconic LGBTQI+ space. The film’s title was inspired by campaigner Amy Roberts, when describing the cynical approach of property developers seeking to push through proposals to erase queer spaces by disingenuously claiming that their LGBTQI+ status would remain unchanged post-development. His films have been screened at MoMA PS1, New York and Stedelijk Museum, Amsterdam.

Sam Ashby’s The Colour of His Hair is based on an unrealised 1964 film script written by The Homosexual Law Reform Society – a British organisation that campaigned for the decriminalisation of male homosexual relations. Ashby’s film draws on oral histories and news clippings to create a crucial meditation on queer life before and after the UK partially legalised homosexuality in 1967. Sam’s film was co-funded by the BFI and Wellcome Trust and premiered at International Film Festival Rotterdam.

Rob Crosse’s Prime Time follows a group of older gay men as they travel together on an organised trip on a cruise ship. Crosse’s incisive eye sensitively follows the group on their journey, and the vast ocean is an omnipresence here too – adding to the sense that Prime Time is, more than anything, a vital meditation on the passing of time. His films have been shown at Jerwood Space, London and Grundy Art Gallery, Blackpool.

Mathew Parkin filmed Kake on a camcorder during visits to his lover’s farm in rural Scotland. The resulting work is intensely personal – a quietly yet all-pervasively erotic contemplation of queer rural life that invites us to recontextualise queer bodies beyond the usual urban centres that tend to dominate LGBTQI+ narratives. His work has been presented at Tramway, Glasgow and Grand Union, Birmingham.

Pink Room presents an empty gay bar drawn from Hannah Quinlan and Rosie Hastings’ self-compiled moving image archive – an urgent strategy of resistance against the gentrifying forces that are rapidly erasing the UK’s LGBTQI+ spaces. By filming spaces devoid of revellers, the artists reveal the complex visual language they employ in their self-representation as gay. Their work has been exhibited at the Whitechapel Gallery, London and the 15th Venice Architecture Biennale.

.