Ringcross Community Centre, 60 Lough Road N7 8RH
Rowan Ings - Never Actually Lost. [2019, 12’55”]
Will Pham – An Viet (Well Settled). [2018, 19’20”]
Bella Riza – Salt House. [2017, 12’39”]
Wilma Stone – A Good Stain. [2016, 5’56”] The Good Kind. [2018, 4’44”]
The films selected have coalesced around themes of family and memory, while engaging with conventions of documentary cinema – primarily the interview and archival footage. Rowan Ings presents a documentary about memory and loss, centred around an interview the artist conducted with a family member suffering from dementia. Will Pham’s An Viet (Well Settled) is an exploration of the history and current state of a the An Viet Foundation in Hackney, a now closed-down community centre which had served Vietnamese refugees for 35 years. Bella Riza’s Salt House ‘offers an intimate glimpse of my father Alper as he returns to his home and native Cyprus. Having left during the war in 1968, it is through re-visiting the island and cooking the dishes from his childhood that he is able to reconnect to his past, and talk openly about memory, identity and migration.’ Wilma Stone will present two films. A Good Stain is an experiment in moving-image set to a recording of psychic and medium Katie Orr. The Good Kind is a work in which the artist explores her recently discovered gypsy ancestry, using this journey to critique the mass-mediation of marginalised groups.
Will Pham is an artist working in video, live performance and socially engaged practice. His work explores intergenerational relationships, community building and refugee narratives within the UK.
Bella Riza is an artist and filmmaker based in London. She recently completed a Masters at the Royal College of Art where she specialised in Moving Image and received the Chris Garnham Prize. Her work explores memory, personal histories and composition in relation to the idea of home.
Wilma Stone is a trans-disciplinary artist. She makes her work by any means necessary, producing diverse artworks ranging from ceramic sculptures to performance works, to artist films. Her films collapse the binary distinctions of fiction and documentary and refute trauma-derived narratives that render marginalised subjects genetically inferior, deviant, and other.