Jarman Award 2024 tour
The Film London Jarman Award 2024
Composite of stills by the Film London Jarman Award 2024 shortlist (from top left to bottom right): Rosalind Nashashibi, The Invisible Worm (2024); Larry Achiampong, A Letter (Side B) (2023); Maryam Tafakory, Nazarbazi (2022); Melanie Manchot, Liquid Skin (2023); Sin Wai Kin, Dreaming the End (2022); Maeve Brennan, An Excavation (2022)
This year’s Film London Jarman Award tour will see the best in contemporary artists’ filmmaking taken to venues across the UK from 3 October – 1 December. The tour will offer audiences the chance to explore an extraordinary range of boundary pushing work by the six artists shortlisted for the prestigious £10,000 prize.
The 2024 tour will visit venues across England, Wales, Scotland and Northern Ireland, with screenings and artist talks at 7 major arts venues in Glasgow, Belfast, Nottingham, Eastbourne, London, Cardiff and Bristol, accompanied by the opportunity to watch recent works by all the artists. The tour will include a special showcase weekend with all the six artists on 16 & 17 November at Whitechapel Gallery, London.
The recipient of the Award and £10,000 prize will be announced on Monday 25 November. Audiences will have a final opportunity to watch the shortlisted artists' work throughout the weekend of 30 November–1 December, where the touring programme will be screening on loop at Whitechapel Gallery.
Jarman Award 2024 tour events
Films in the Jarman Award 2024 touring programme
- Larry Achiampong, A Letter (Side B) (2023), 20’
- Maeve Brennan, An Excavation (2022), 20’
- Melanie Manchot, Liquid Skin (2023), 23’
- Rosalind Nashashibi, The Invisible Worm (2024), 17’
- Sin Wai Kin, Dreaming the End (2023), 21’
- Maryam Tafakory, Nazarbazi (2022), 19’
Films in the programme use archival footage, infrared and hacked console cameras, analogue film and costume to explore subjects from multifarious identities, non-linear time and inter-generational trauma to political censorship and night-time contemporary labour.
Sin Wai Kin’s visually striking and immersive work Dreaming the End uses a range of characters to explore binaries and the categories we create to make sense of experience. Through the lens of archaeology, and the illicit trade of ancient relics, Maeve Brennan’s An Excavation looks at history's interaction with our modern life, giving context to the present moment. Shot on a hacked Game Boy camera, Larry Achiampong’s film A Letter (Side B) negotiates urgent issues of depression, digital anxiety and inter-generational trauma, as it looks at institutional structures that threaten the lives of migrants and refugee families.
Melanie Manchot’s mesmerising nocturnal film Liquid Skin shines a light on night-time workers in Germany’s Rhine region, allowing the people she collaborates with to have a voice and to tell their own story. Drawing from William Blake’s 1794 poem ‘The Sick Rose’, Rosalind Nashashibi allowed her film The Invisible Worm to grow like a weed out of the daily life of her own community. An exploration of non-linear time and corruption, Nashashibi’s work is brimming with the joy and physicality of her analogue film medium. Maryam Tafakory’s work layers archival films, text and images to explore issues of censorship and prohibition. Her film Nazarbazi, translating as ‘The play of glances’, posits that if we try to erase something it inevitably becomes more pronounced and expands.
