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Neil Gaiman Storytelling

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David Lynch Storytelling

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Margaret Atwood Storytelling

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Journaling: Observing the World

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Monologues

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"It's strangely powerful" – step inside the Empathy Museum

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The Art of Generous Listening | Krista Tippett | Talks at Google

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Sophie Calle This work began by a real letter, a break-up letter addressed to me by mail. A letter written in such a way that I didn't know how to answer, it seems very recent. I asked a girlfriend of mine that was there the day I received it, how she would answer such a letter. It gave me the idea immediately to give that letter to a woman to read because I thought it was specifically a letter from a man to a woman. I chose women by their profession. I decided to give the letter to a woman who was used to interpreting. So they were very obtuse at the beginning but as a writer she could study the style and language of the syntax. Then I started to find the most subtle way of interpretation, like the crossword woman that agreed with the words of the letter, poised at mid point with them etc. Because of Venice we are now one year later. I realise the problem of the language in such a work. There is a lot of text, and I try to find another kind of way to interpret the language like a dancer, singer, or actress, to at least make it more accessible. This work is not the only work I have. I am also invited by Rob Storr in the international show where I have a work called Pa Pu Saisir La Mort, which is possible to catch there. The day I learned that I was invited to be in the French Pavilion I also learned that my mother had one month left to live and when I told her about Venice she said, 'Well I think I won't be there.' So I wanted her to be there and I filmed her last hours and here I am showing even the last minute of her life when I didn't know if she was alive or dead. That moment that I have caught, where you don't know, you could put your finger, like on the last book, the last mile, the last phrase, the last words, but the last second, the last breath was impossible to catch. But it's true that when anything happens to me that seems to have a deepness or a shocking aspect, whatever catches my attention, I have a little idea in the back of my head that I may use it sometime. I don't want anything from the visitors. They are free to do what they want. I cannot give the rules of the game of the project or give the rules of the game for the visitors of how to take it. It is not anymore my problem. I mean it is their territory after all, not mine.

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Sophie Calle interview at the Venice Biennale

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Notes on Blindness trailer - in cinemas & on demand from 1 July 2016

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Ken Burns documentary process PDF

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Beyond the Skin pdf

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Scene from "10 on Ten" Pt. 3 - The Subject

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Scene from "10 on Ten" Pt. 4 - The Script

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Scene from "10 on Ten" Pt. 5 - The Location

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Ahmad Kiarostami Talks About His Father’s Final Passion Project, 24 FRAMES

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Scene from "10 on Ten" Pt. 2 - The Camera

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Scene from "10 on Ten" Pt. 1 - Introduction

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Sir John Akomfrah | Artist | Royal Academy of Arts

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John Akomfrah is a widely respected artist and filmmaker, whose works are characterised by their investigations into memory, postcolonialism, temporality and aesthetics and often explores the experiences of mi...

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John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics and often explore the experiences of migrant diasporas globally. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside artists David Lawson and Lina Gopaul, who he still collaborates with today. Their first film, Handsworth Songs (1986) explored events surrounding the 1985 riots in Birmingham and London through a charged combination of archive footage, still photos, newly shot material and newsreel. The film won several international prizes and established a multi-layered visual style that has become a recognisable motif of Akomfrah's practice. Other works include the three-screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes experiences of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism.

In 2015, Akomfrah premiered his three-screen film installation Vertigo Sea (2015), which explores what Ralph Waldo Emerson calls 'the sublime seas'. Fusing archival material, readings from classical sources and newly shot footage, Akomfrah's piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. In 2017, Akomfrah presented his largest film installation to date, Purple (2017), at the Barbican in London, co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston, Museu Coleção Berardo, Lisbon and Garage Museum of Contemporary Art, Moscow. The six-channel video installation addresses climate change, human communities and wilderness. More recently, Akomfrah debuted Precarity (2017) at Prospect 4 New Orleans, following the life of forgotten New Orleans jazz trumpeter Charles 'Buddy' Bolden. In 2018, Akomfrah participated in the UK wide World War One arts programme 14-18 Now, with his multiscreen installation Mimesis: African Soldier (2018), which commemorated African and colonial participants who fought, served and perished during The Great War. In 2019, on the occasion of his participation at the first Ghana Pavilion at the 58th Venice Biennale, John Akomfrah presented Four Nocturnes (2019), a three-channel piece that reflects on the complex intertwined relationship between humanity's destruction of the natural world and our destruction of ourselves.

Akomfrah (born 1957) lives and works in London. His solo exhibitions include Hirshhorn Museum and Sculpture Garden, Washington D.C., USA (2022); Midlands Art Centre, Birmingham, UK (2022); E-WERK, Freiburg, Germany (2022); Remai Modern, Saskatoon, Canada (2022); Towner Eastbourne, Eastbourne, UK (2021); Fundació Antoni Tàpies, Barcelona, Spain (2021); Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2020); Seattle Art Museum, Seattle, WA, USA (2020); Secession, Vienna, Austria (2020); BALTIC, Gateshead, UK (2019); ICA Boston, MA, USA (2019); Museu Coleção Berardo, Lisbon, Portugal (2018); New Museum, New York, NY, USA (2018); Bildmuseet, Umeå University, Umeå, Sweden (2015, 2018); SFMOMA, San Francisco, CA, USA (2018); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (2018); Barbican, London, UK (2017); Whitworth Art Gallery, Manchester, UK (2017); Centro Cultural Banco do Brasil, São Paulo, Brazil (2017); Perth International Arts Festival, John Curtin Gallery, Curtin University, Perth, Australia (2017); The Ian Potter Museum of Art, University of Melbourne, Melbourne, Australia (2017); Centre of Contemporary Art, Christchurch, New Zealand (2016); Turner Contemporary, Margate, UK (2016); Nikolaj Kunsthal, Copenhagen, Denmark (2016); STUK Kunstcentrum, Leuven, Belgium (2016); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011). His participation in international group shows includes: 'Sharjah Biennial 15: Thinking Historically in the Present', Sharjah, United Arab Emirates (2023); 'Global Ghana', The Africa Institute, Sharjah, UAE and Accra, Ghana (2022); 'Fault Lines', North Carolina Museum of Art, Raleigh, USA (2022); 'Posteriority', Museum of Contemporary Art Busan, Busan, South Korea (2021); 'Family - Visions of a shared humanity', Art Gallery of New South Wales, Sydney, Australia (2021); 'Am I Human To You?', Art Museum KUBE, Alesund, Norway (2021); 'Affect Machine: Self-healing in the Post-Capitalist Era', Taipaei Fine Arts Museum, Taipei, Taiwan (2021); 'Terminal', City Gallery, Wellington, New Zealand (2020); Ghana Pavilion, 58th Venice Biennale, Venice, Italy (2019); 'Strange Days: Memories of the Future', New Museum x The Store, London, UK (2018); 'Histórias Afro-Atlânticas', Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil (2018); 'From where I stand, my eye will send a light to you in the North', Te Tuhi Museum, Auckland, New Zealand (2018); Prospect 4, New Orleans, LA, USA (2017); 'Restless Earth', La Triennale di Milano, Milan, Italy (2017); 'Unfinished Conversations', Museum of Modern Art, New York City, NY, USA (2017); 'British Art Show 8' (2015-17); 'All the World's Futures', 56th Venice Biennale, Venice, Italy (2015); 'History is Now: 7 Artists Take On Britain', Hayward Gallery, London, UK (2015); 'Africa Now: Politcal Patterns', SeMA, Seoul, South Korea (2014); Sharjah Biennial 11, Sharjah, United Arab Emirates (2013); Liverpool Biennial, UK (2012) and Taipei Biennial, Taiwan (2012). He has also been featured in many international film festivals, including Sundance Film Festival, Utah, USA (2013 and 2011) and Toronto International Film Festival, Canada (2012). He was awarded the Artes Mundi Prize in 2017. He was awarded a Knighthood for services to the Arts in the 2023 New Year Honours.

Recent, current and forthcoming projects
'John Akomfrah: Purple', Hirshhorn Museum and Sculpture Garden (23 November 2022 - 7 January 2024) 'Rising Sun: Artists in an Uncertain America', African American Museum in Philadelphia (23 March 2023 - 8 October 2023) 'John Akomfrah: Five Murmurations', National Museum of African Art (14 October 2023 - TBA) 'John Akomfrah. A Space of Empathy', Schirn Kunsthalle Frankfurt (9 November 2023 - 28 January 2024) 'John Akomfrah: Arcadia', The Box Plymouth (18 November 2023 - 2024) The British Pavilion, 60th International Art Exhibition - La Biennale di Venezia in 2024

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John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality ...

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NON FICTION GRAPHIC NOVELS

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SelfMadeHero is a quirky independent publishing house committed to producing ground-breaking work in the graphic novel medium.

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An interactive curated database of the people, projects, and technologies transforming documentary in the digital age.

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Guy Sherwin - Metronome (The Short Films), 1975 y continua...

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John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics and often explore the experiences of migrant diasporas globally. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside artists David Lawson and Lina Gopaul, who he still collaborates with today. Their first film, Handsworth Songs (1986) explored events surrounding the 1985 riots in Birmingham and London through a charged combination of archive footage, still photos, newly shot material and newsreel. The film won several international prizes and established a multi-layered visual style that has become a recognisable motif of Akomfrah's practice. Other works include the three-screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes experiences of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism.

In 2015, Akomfrah premiered his three-screen film installation Vertigo Sea (2015), which explores what Ralph Waldo Emerson calls 'the sublime seas'. Fusing archival material, readings from classical sources and newly shot footage, Akomfrah's piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. In 2017, Akomfrah presented his largest film installation to date, Purple (2017), at the Barbican in London, co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston, Museu Coleção Berardo, Lisbon and Garage Museum of Contemporary Art, Moscow. The six-channel video installation addresses climate change, human communities and wilderness. More recently, Akomfrah debuted Precarity (2017) at Prospect 4 New Orleans, following the life of forgotten New Orleans jazz trumpeter Charles 'Buddy' Bolden. In 2018, Akomfrah participated in the UK wide World War One arts programme 14-18 Now, with his multiscreen installation Mimesis: African Soldier (2018), which commemorated African and colonial participants who fought, served and perished during The Great War. In 2019, on the occasion of his participation at the first Ghana Pavilion at the 58th Venice Biennale, John Akomfrah presented Four Nocturnes (2019), a three-channel piece that reflects on the complex intertwined relationship between humanity's destruction of the natural world and our destruction of ourselves.

Akomfrah (born 1957) lives and works in London. His solo exhibitions include Hirshhorn Museum and Sculpture Garden, Washington D.C., USA (2022); Midlands Art Centre, Birmingham, UK (2022); E-WERK, Freiburg, Germany (2022); Remai Modern, Saskatoon, Canada (2022); Towner Eastbourne, Eastbourne, UK (2021); Fundació Antoni Tàpies, Barcelona, Spain (2021); Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2020); Seattle Art Museum, Seattle, WA, USA (2020); Secession, Vienna, Austria (2020); BALTIC, Gateshead, UK (2019); ICA Boston, MA, USA (2019); Museu Coleção Berardo, Lisbon, Portugal (2018); New Museum, New York, NY, USA (2018); Bildmuseet, Umeå University, Umeå, Sweden (2015, 2018); SFMOMA, San Francisco, CA, USA (2018); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (2018); Barbican, London, UK (2017); Whitworth Art Gallery, Manchester, UK (2017); Centro Cultural Banco do Brasil, São Paulo, Brazil (2017); Perth International Arts Festival, John Curtin Gallery, Curtin University, Perth, Australia (2017); The Ian Potter Museum of Art, University of Melbourne, Melbourne, Australia (2017); Centre of Contemporary Art, Christchurch, New Zealand (2016); Turner Contemporary, Margate, UK (2016); Nikolaj Kunsthal, Copenhagen, Denmark (2016); STUK Kunstcentrum, Leuven, Belgium (2016); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011). His participation in international group shows includes: 'Sharjah Biennial 15: Thinking Historically in the Present', Sharjah, United Arab Emirates (2023); 'Global Ghana', The Africa Institute, Sharjah, UAE and Accra, Ghana (2022); 'Fault Lines', North Carolina Museum of Art, Raleigh, USA (2022); 'Posteriority', Museum of Contemporary Art Busan, Busan, South Korea (2021); 'Family - Visions of a shared humanity', Art Gallery of New South Wales, Sydney, Australia (2021); 'Am I Human To You?', Art Museum KUBE, Alesund, Norway (2021); 'Affect Machine: Self-healing in the Post-Capitalist Era', Taipaei Fine Arts Museum, Taipei, Taiwan (2021); 'Terminal', City Gallery, Wellington, New Zealand (2020); Ghana Pavilion, 58th Venice Biennale, Venice, Italy (2019); 'Strange Days: Memories of the Future', New Museum x The Store, London, UK (2018); 'Histórias Afro-Atlânticas', Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil (2018); 'From where I stand, my eye will send a light to you in the North', Te Tuhi Museum, Auckland, New Zealand (2018); Prospect 4, New Orleans, LA, USA (2017); 'Restless Earth', La Triennale di Milano, Milan, Italy (2017); 'Unfinished Conversations', Museum of Modern Art, New York City, NY, USA (2017); 'British Art Show 8' (2015-17); 'All the World's Futures', 56th Venice Biennale, Venice, Italy (2015); 'History is Now: 7 Artists Take On Britain', Hayward Gallery, London, UK (2015); 'Africa Now: Politcal Patterns', SeMA, Seoul, South Korea (2014); Sharjah Biennial 11, Sharjah, United Arab Emirates (2013); Liverpool Biennial, UK (2012) and Taipei Biennial, Taiwan (2012). He has also been featured in many international film festivals, including Sundance Film Festival, Utah, USA (2013 and 2011) and Toronto International Film Festival, Canada (2012). He was awarded the Artes Mundi Prize in 2017. He was awarded a Knighthood for services to the Arts in the 2023 New Year Honours.

Recent, current and forthcoming projects
'John Akomfrah: Purple', Hirshhorn Museum and Sculpture Garden (23 November 2022 - 7 January 2024) 'Rising Sun: Artists in an Uncertain America', African American Museum in Philadelphia (23 March 2023 - 8 October 2023) 'John Akomfrah: Five Murmurations', National Museum of African Art (14 October 2023 - TBA) 'John Akomfrah. A Space of Empathy', Schirn Kunsthalle Frankfurt (9 November 2023 - 28 January 2024) 'John Akomfrah: Arcadia', The Box Plymouth (18 November 2023 - 2024) The British Pavilion, 60th International Art Exhibition - La Biennale di Venezia in 2024

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John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality ...

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Hello? Is anyone there? Ok ,Hello, stranger, I want to tell you a story about a little girl named Bay. She like a square, she felt trapped within frames of various sizes. Everything at her high school was square, from the bedsheets to the office formations, and even the requirement to stand textbooks upright when reading. 'No rules, no order' was a constant refrain that echoed in her ears, a stark reminder of the rigid world she inhabited.

Until today, insecurity has always been the root of her growth - the fear of being questioned, the fear of rejection, the fear of being belittled. Therefore, she had to invest more energy and effort to gradually become a better version of herself.

To this day, she is unable to face anyone showing disappointment in her, so she nervously upholds the image she holds in everyone's heart. She strives to be the person her parents demand, the person her friends expect, the person her partner desires, and the person demanded by her work and society. She is anxious and fearful about all of this, but it is through these struggles that she has finally grown.

Finally, I want to say, hello stranger, I am Bay. Bye~

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贺论一 - 贺论一的专辑

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Jin

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chengliuxiao

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Madhumita

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'How to' with John Wilson.

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How To with John Wilson: Official Trailer | HBO

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83K views · 1.2K reactions | "Play," by SAMUEL BECKETT, directed Anthony Minghella, starrig Alan Rickman, Kristin Scott Thomas, Juliet Stevenson. 2001. (From Beckett on Film.) | SAMUEL BECKETT

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"Play," by SAMUEL BECKETT, directed Anthony Minghella, starrig Alan Rickman, Kristin Scott Thomas, Juliet Stevenson. 2001. (From Beckett on Film.)

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I Remember Joe Brainard by Falling Tree Productions

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Transcript: https://iremembertranscript.tiiny.site

In 1969 when the artist Joe Brainard stumbled upon a simple writing device, he had sleepless nights of frantic writing, charting out his memory in hundreds of fragments – all beginning with the words I Remember – from coldcream on his mother’s face to the experience of falling in love.

In a letter to his friend, the poet Anne Waldman, he reported ecstatically, "I feel very much like God writing the Bible. I mean, I feel like I’m not really writing it, but that it is because of me that it is being written".

Brainard was never driven by nostalgia, but found that the more precisely he described his memories, the deeper the reader could relate. In this process Joe discovered that I Remember was not about him, but about everybody. The book became a classic, used in writing classes across the world and loved by many.

For this montage of memories, radio producer and poet Pejk Malinovski interviewed ten of Brainard’s close friends and admirers - poets and novelists like Ron Padgett, Ann Lauterbach, Edmund White and Anne Waldman, whose own lives have been shaped by Brainard’s masterpiece.

First broadcast 1st October 2023, BBC Radio 3
Produced by Pejk Malinovski

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Documentary adventures that encourage you to take a closer listen.

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Dominique Petitgand: 10 petites compositions familiales - part 2

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Films Commissioned by Channel 4 Three Minute Wonder Strand

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A journey on the waves of self

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Royal College of Art - School of Communication 5

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Royal College of Art - School of Communication 5

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Swaying in the bus, the wet city reflects the setting sun.

I'm questioning happiness. Before I knew it, September had come to an end,

What I want to say and what I should say.

What I didn't say and what I couldn't say.

I want to be aware of the harm I may cause, so as a consequence, I need to prepare myself with resolve.

Words are ultimately just wrapping paper, yet here I am folding origami without giving it to anyone.

Having grown accustomed to this city, I realised I had forgotten to look up at the sky.

This year is coming to an end. I’ve been going back and forth in the same place for so long.

See you again.

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Room 237 in 1 minute

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Films Commissioned by Channel 4 Three Minute Wonder Strand

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Delia Derbyshire - "Falling", from The Dreams (1964)

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Evolver is a collective virtual reality experience which drops audiences deep inside the landscape of the body, following the flow of oxygen through our branching ecosystem, to a single ‘breathing’ cell.

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A 25-minute animated virtual reality experience about schizophrenia, gaming, and connection.

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ECHO IS A BRIDGE TO ANOTHER PERSON'S MEMORY, IDENTITY AND INTIMATE EXPERIENCE.

THERE IS NO JUDGEMENT OF WHO YOU AND I ARE, THERE IS ONLY THIS MOMENT.

THE KEY INTENTION OF THE PROJECT IS TO GENERATE EMPATHY AND COMPASSION BY CONNECTING STRANGERS THROUGH AN EXCHANGE OF FACIAl IDENTITY AND INTIMATE STORY-TELLING. THE MULTI SENSORY EXPERIENCE IS PROVOCATIVE AND IMMERSIVE , USING HIGH END FACIAL TRACKING AND TOUCH SCREEN TECHNOLOGY TO ANIMATE, RECORD AND SHARE DIGITAL NARRATIVES. SITUATED INSIDE A GRAFFITIED PHOTO BOOTH AND GUIDED BY AN AI CHARACTER, LOST IN TRANSMISSION, THE WORK AIMS TO BREAK DOWN PREJUDICE AND ALLOWS YOU TO DISCOVER LAYERS OF YOURSELF ECHOED IN ANOTHER.

THE EXPERIENCE
WHEN ENTERING THE SCULPTURAL BOOTH ,ECHO, THE Al PROTAGONIST, ASKS YOU TO SIT SO THAT SHE CAN CAPTURE YOUR FACE, " I AM YOUR ECHO, COME CLOSER, I CAN HELP YOU CONNECT" .. SHE THEN DIRECTS YOU TO SELECT THE FACE OF ANOTHER WHO WANTS TO CONNECT. EACH FACE REPRESENTS A DEEPLY PERSONAL STORY. AS THE NARRATIVE UNFOLDS YOUR PIXELATING FEATURES SLOWLY INCH AND GLITCH ONTO THE NARRATOR'S FACE, ENDING WITH YOUR LIPS UTTERING THEIR FINAL WORDS. IT IS A STRANGE FEELING AS YOU SEE YOUR FACE SUBTLY HI-JACKED BY THE VIRTUAL OTHER, BLURRING THE BOUNDARIES BETWEEN YOU AND THEM. AS THE NARRATIVE CONCLUDES YOU ARE ASKED IF YOU WOULD LIKE TO SHARE YOUR OWN. THE INSTALLATION THEN FUNCTIONS AS AN INTIMATE, AUTOMATED RECORDING ENVIRONMENT, ALLOWING PRIVACY AND PERSONAL SPACE IN WHICH TO AUTHOR AND SHARE....

VIDEO SYNOPSIS OF ECHO'S INTERNATIONAL JOURNEY - HERE

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ECHO IS A BRIDGE TO ANOTHER PERSON'S MEMORY, IDENTITY AND INTIMATE EXPERIENCE. THERE IS NO JUDGEMENT OF WHO YOU AND I ARE, THERE IS ONLY THIS MOMENT. THE KEY INTENTION OF THE PROJECT IS TO GENERATE EMPATHY AND COMPASSION BY CONNECTING STRANGERS THROUGH AN EXCHANGE OF FACIAl IDENTITY AND INTIMATE STORY-TELLING.

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I am a designer and writer based in London. My work explores the intersection of documentary filmmaking and games and I have exhibited at Tate Briain, Somerset House, and the V&A Museum of Childhood. My first philosophical paper “Inside a Game” was recently published at the Social Epistemology Review and Reply Collective.
Growing up in post-dictatorship Albania and the aftermath of the Kosovo War, I witnessed firsthand how stories frame reality and define how we perceive each other.

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Highrise - Universe Within: Digital Lives in the Global Highrise (Teaser)

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Video wouldn't upload so I shared the link!