In 2009 the work was shown at the Dean Gallery as part of the exhibition ‘Running Time: Artists’ Film in Scotland 1960 til Now’ and in 2010 the full installation was exhibited in HD format at the Reg Vardy Gallery, Sunderland.During exhibitions these three films are screened simultaneously on separate projectors, as loops, in one space.
If you don't live in a big city, these will feel very familiar. Around 19,000 people attend their football matches, and in the spirit of my project Port Glasgow, which was delivered uniquely to all 8,000 homes in the Port by the local boys football team, this project is also being returned to the local community through football. 1966, UK) is nominated for the publication Parade published by the Centre d’Art GwinZegal, Guingamp, France (2019).
It was filmed at four thousand frames a second using a camera normally employed in car-crash testing, in a specially constructed interior.The film is projected onto a hanging frame, with the 16mm projector also clearly visible in the exhibition space. Pointing to his picture of a baton twirler in front of a back of hunting dogs (see top image), he explains that it took three days to pose satisfactorily, with all the subjects -- human and non-human -- looking down the lens.
Locals bring their proposals and claims to a clinic held by the British Army on a weekly basis at this patrol base in Helmand. Parade # 7 is the iconic image from Mark Neville’s critically acclaimed book ‘Parade’, nominated for the Deutsche Börse Photography Foundation Prize 2020 and currently on show at The Photographers’ Gallery, London. Interestingly, this went far beyond the name of the territory - various groups of immigrants between the 3rd and 6th centuries established their own petty kingdoms in Brittany named after their original tribes in Great Britain, and the relations between ‘mother tribes’ and colonies often lasted for centuries.
As the camera tracks the work floor from on high, all sense of scale is lost, and the space seems alternately transformed into a small maquette,a British abstract painting, or a Ben Nicholson relief.The Ghost of Stanley Spencer watches over me, Mark Neville, 2006Commissioned by Tramway, Glasgow, for the exhibition ‘What Makes You and I Different’The title and content of this film recalls a photograph by Bas Jan Ader, an image which was dependant on the artifice and melodrama of the artist’s act of placing himself before the camera while crying. the point of light seems to creep slowly up its surface, its speed apparently increasing when it approaches the far side of the room, as it covers a greater space in the same period of time. But he emerged somewhere unexpected: a vision of ‘ecotopia’.“This idea of ecotopia underpins all the images — this kind of search for happiness or utopia, through a relationship with the land and food, and animals — and suggests that this is the way forward, basically,” he explained, at the Photographers’ Gallery in London.The British photographer began shooting the series of portraits of local Breton farmers on the day of Britain’s decision to leave the European Union, in response to his own feeling of disappointment at the political turn toward border-building. Neville connects art and social documentary practices. Mark Neville began shooting semi-staged portraits in the French region of Brittany in a funk at Britain’s divisive Brexit referendum.
"You wouldn't normally see a pig on the bonnet of a car, for example," he said of his stylized images. Braddock lost its importance with the collapse of the steel industry in the US in the 1970s and 1980s.This coincided with the crack cocaine epidemic of the early 1980s, and the combination of the two woes nearly destroyed the community. Invalid username, email and/or password