Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
In seven chapters, we travel through a city that seems recognisable, but becomes increasingly absurd. A woman struggles to understand what’s happening, and what she can do about it. Her story is fractured, fragmented: she is portrayed by two different actors. Where is all the money coming from, and where is it going? How can she get back the control that’s been taken from her? Meanwhile, bureaucrats argue about the placement of ugly public art, and people take their possessions and go, out to the woods and the waste ground. They build strange camps that don’t seem to contain any dwellings. Slowly, the woman decides on a desperate strategy to stop the crisis that’s developing around her.
Daniel Jewesbury (b. London 1972) studied Fine Art in Dublin, and then lived in Belfast for over 20 years. He moved to Gothenburg in 2017.
Daniel uses film to find ways of re-imagining our relationship to the world around us. One recurring theme is the death of the city as an ideal: a space in which we could come together to build community and collectivity. As our cities have increasingly become just instruments for producing private profit, we have been driven further from the processes which shape them, and which shape us.
Daniel works with both 16mm and digital video, and is curious about the particular materiality that results from working between analogue and digital.
Daniel also works in other media. His long-term project Looking at the Woman in a Bomb Blast reinterprets the history of sexualised violence in Western art. It encompasses a series of performances, a forthcoming artist’s book and, in the early stages of development, an opera.
