Video Days: Week Three Screenings

Jan - Mar 2022
Karol Radziszewski: QAI/GB-NGM
Mar - May 2022
Reactor: Here, the Gold Ones flatter
Sep - Dec 2021
Bonington Vitrines #17: Andrew Logan, Alternative Miss World
Sep - Dec 2021
Andrew Logan: The Joy of Sculpture
Apr - May 2021
Reactor: Here, the Gold Ones meet
Oct - Dec 2020
Sophie Cundale: The Near Room
Feb - Mar 2020
Matt Woodham: Sensing Systems (streaming online)
Jan - Jan 2020
Nick Chaffe: Motif Residency exhibition
Nov - Feb 2020
Sep - Nov 2019
Waking the witch: Old ways, new rites
Apr - May 2019
The Big Head Man
Sep - Nov 2019
Bonington Vitrines #13: Wayne Burrows – Works from the Hallucinated Archive
Apr - May 2020
Bonington Vitrines #16: The Captive Conscious (POSTPONED)
Feb - Mar 2020
Bonington Vitrines #15: Nomadic Vitrine with Mick Peter (CLOSED)
Nov - Feb 2020
Bonington Vitrines #14: Journeys to Nottingham from the Windrush Generation
Apr - May 2019
Bonington Vitrines #12: Complaint
Jan - Feb 2019
Bonington Vitrines #10: Jewell
Feb - Feb 2019
UKYA City Takeover
Apr - May 2019
Chloé Maratta and Joanne Robertson
Mar - Mar 2019
The Community Live in Nottingham
Nov - Dec 2018
Nov - Dec 2018
Bonington Vitrines #9: Towards The Serving Library Annual
Nov - Dec 2018
Emily Andersen Portraits: Black & White Book launch and exhibition
Sep - Oct 2018
Jan - Feb 2019
Sep - Oct 2018
Apr - Apr 2018
Video Days Preview
Apr - May 2018
Video Days
Apr - Apr 2018
Video Days: Week One Screenings
Apr - Apr 2018
Video Days: Week Two Screenings
Apr - May 2018
Video Days: Week Three Screenings
May - May 2018
Video Days: Week Four Screenings
May - May 2018
Video Days: Week Five Screenings
Apr - May 2018
Bonington Vitrines #7: The Bonington building, est. 1969
Feb - Mar 2018
Bonington Vitrines #6: One Eye on the Road – festival and traveller culture since the 1980s
Feb - Mar 2018
Jan - Feb 2018
Bonington Vitrines #5: Communicating the Contemporary – The ICA Bulletin 1950s to 1990s
Nov - Dec 2017
Bonington Vitrines #4: Sara MacKillop publications, 2008–2017
Sep - Oct 2017
Bonington Vitrines #3: London’s Calling
Jan - Feb 2018
Ruth Angel Edwards: Wheel of the Year
Nov - Dec 2017
Sara MacKillop: One Room Living
Sep - Oct 2017
It’s Our Playground: Artificial Sensibility
Apr - May 2017
Sep - Oct 2016
Oct - Dec 2016
Jan - Feb 2017
Jan - Feb 2017
Bonington Vitrines #2: Marbled Reams
Oct - Dec 2016
Bonington Vitrines #1: Selections from the Raw Print Archive
Feb - Mar 2017
Feb - Mar 2016
Imprints of Culture: Block Printed Textiles of India

30 Apr - 5 May 2018


Video Days: Week Three Screenings

Video Days takes its title from the 90s skateboard video by Blind Skateboards. Produced in 1991 by American skateboarder and filmmaker, Spike Jonze, the iconic video depicts street and park skating in the US, and is considered one of the most influential skate videos of its time.

For the duration of 25 days the gallery will be transformed into an open cinema. Running daily, Video Days presents a different film or series of short films each day from different decades and genres. The films screened share several common themes, most prevalent is their relationship to the built environment.

All films/performances are played on repeat unless specified otherwise.

The films on display do not come with a British Board of Film Classification (BBFC)
. We therefore advise that some of the films shown may contain scenes of nudity, discrimination, violence, drugs, imitable behaviour, and language unsuitable for young or vulnerable viewers. If you have any questions prior to visiting the gallery, please get in touch.




» Monday 30 April
Simon MartinCarlton, 2006, (9 mins). Courtesy of LUX, London.
Looped all day.

The nine minutes of Simon Martin’s compelling, memorable film Carlton (2006) are devoted to a cultural philosophical meditation upon the Carlton cabinet, designed by Ettore Sottsass in 1981, and a founding example of the work made by the radical design group Memphis, established in Milan that same year. Outlandish, mischievous, heroically quirky – riding a perilous back-curve between supreme aesthetic poise and assuredly knowing kitsch – Memphis design was as much the articulation of an anti-historicist mission statement as it was a deft-footed style surf on the surging tides of 1980s excess.


» Tuesday 1 May
Berwick Street CollectiveNight Cleaners, 1975, (90 mins). Courtesy of LUX, London.
Screening times: 10 am, 11.45 am, 1.30 pm, 3.15 pm

Nightcleaners Part 1 was a documentary made by members of the Berwick Street Collective (Marc Karlin , Mary Kelly, James Scott and Humphry Trevelyan ), about the campaign to unionize the women who cleaned office blocks at night and who were being victimized and underpaid. Intending at the outset to make a campaign film, the Collective was forced to turn to new forms in order to represent the forces at work between the cleaners, the Cleaner’s Action Group and the unions – and the complex nature of the campaign itself. The result was an intensely self-reflexive film, which implicated both the filmmakers and the audience in the processes of precarious, invisible labour. It is increasingly recognised as a key work of the 1970s and as an important precursor, in both subject matter and form, to current political art practice.


» Wednesday 2 May
Rollo Jackson
Gang Signs & Prayer, 2017.
Looped all day in sequence.

A visual testament to Stormzy’s life and upbringing, the film chronicles Stormzy’s inner battles and temptations as he becomes master of his own destiny. “Return of the Rucksack,” “Bad Boys” and “100 Bags,” taken from Stormzy’s award winning debut studio album “Gang Signs & Prayer,” serve as the soundtrack to the film of the same name.

“Young youts like myself, that grow up in the hood, we often don’t know that we are actually the masters of our own destiny,” says Stormzy. “There are so many things that steer us in the wrong direction however, we decide what happens in our own lives and like my album, I endeavoured for this film to portray just that. Derived from my album Gang Signs & Prayer, and written and directed by the legend that is Rollo, I’ll let the visual do the talking.”

Rollo Jackson,
 Slimzee’s Going on Terrible, 2014.
Looped all day in sequence.

Slimzee (‘Godfather of Grime’) was the co-founder of Rinse FM and DJ in the UK Garage collective ‘Pay As You Go Cartel’.

Slimzee’s Going on Terrible
charts his life, following his early days in pirate radio to receiving a career-threatening Asbo. Features old & new footage and interviews from fellow DJ’s & MC’s and even his own mother. 


» Thursday 3 May
A series of films by Frank Abbott, 10 am – 5 pm
Looped all day.


[CANCELLED] Frank Abbott, Neither Here Nor There: Displaced over 40 years, 1978-2018, live performance, 6 pm – 7 pm

Displaced over 40 years, Frank Abbott performs a live retrospective of his hand-held projector work.

*** Please note the evening performance has been cancelled due to unforeseen circumstances. ***



» Friday 4 May
Mark Leckey, The March of the Big White Barbarians, 2005, (5 mins). Courtesy of LUX, London.
Looped all day.

London’s Public Sculptures are articulated by concrete poetry of Maurice Lemaitre in a free translation by Leckey’s Jack Too Jack.

“After doing the thing with the Epstein [sculpture], I went out actively looking for public sculptures, other monumental sculptures … again, this language feels lost to me … I know what they mean but they seem very distant … they felt neglected, and I wanted to try to sing them back, to reanimate them and make them alive again, because they seemed dead” – Mark Leckey.


» Saturday 5 May
Eric BaudelaireAlso Known As Jihadi, 2017, (99 mins). Courtesy of LUX, London.
Screening times: 11 am and 1 pm

Produced in the wake of the 2015 terrorist attacks in Paris, the film traces the journey and trial of a young man from the suburbs of Paris who travelled via Egypt to Syria to join the Al-Nusra Front (al-Qaeda). The subject’s path to radicalism is explored both through judicial transcripts and through a series of landscape shots filmed at the locations traversed by the subject: a biography determined not by what the subject did, but by what the subject saw. In this way, Baudelaire’s film positions itself as both a remake and a test of the landscape theory proposed by Japanese filmmaker Masao Adachi in his 1969 masterpiece A.K.A. Serial Killer, questioning how these landscapes reflect the social and political structures that form the backdrop for this journey of alienation and return.


Select other screenings:


» Video Days: week one screenings
Video Days: week two screenings
» Video Days: week four screenings
» Video Days: week five screenings