David Blandy / Sons of Slaves / “Sometimes funny and sometimes disturbing, I want my work to ask the difficult question of just how much of my self is formed by the mass media of records, films and television, and whether I have an identity outside that.”
		Ben Callaway / Carousel / “The works are constructed from anonymous, secondary footage taken from a diverse range of documentary, educational, promotional or amateur videos. Ben Callaway stresses the materiality of the medium through different manipulations of the source material: the images are dissolved by repeated analogue transfers, and then reconstructed in digital format, while their speed is also radically altered throughout the process"
		Duncan Campbell and Maryhill / Quartet / “The soundtrack to this montage of photographs was from the Edinburgh-born actor Ewan Bremner (perhaps best known as Spud in the film Trainspotting) monologue, which combined excerpts of dense sociological theory with looser, stream-of-consciousness passages. The audience had to work hard to make sense of the work, which was on one hand seductive, and on the other frustrating.”
	Copyright the artist, courtesy Haunch of Venison London/Zurich	Ergin Çavuşoğlu / Impasse / Ergin Çavuşoğlu’s films concentrate on the dark and uncanny aspects of urban space and tend to draw attention to banal signs, the seemingly ordinary in teraction of individuals, and the tension this may potentially generate. His work is imbued by a looming, disconcerting or dramatic atmosphere, a latent tension, which hints to what might happen. Often, there is a matter-of-fact, at times upsetting yet totally ‘real’ sense of apathy to be found in some of the episodes he focuses his attention on.”
		Spartacus Chetwynd / Erotics and Bestiality / “My work is meant to be taken really seriously... If you watch this and think this is ‘ridiculous, messy crap!’ then you’ll be missing the flexation gland in the side of your head you need to enjoy contemporary art. I really like what Jim Steinman has to say about his work with Meat Loaf. His aim was to make music that was ‘feverish, strong, romantic, violent, rebellious, fun and heroic.’ Wow! When I first made the collages they cost 20p, it was a form of rebellion that didn’t last very long.”
		Kate Cooper / Untitled / Kate: Previously you believed the piece to be exploitative; do you still think that applies? Kathy: No I don’t think it does. I still find it quite interesting that your work is around your family and it will be even more interesting to see how you move on from that. In one way I suppose, it’s quite nice, it’s quite personal and I understand the art probably better because it is about your family...in one way you know, it’s a laugh isn’t it, from our point of view? You know your nana and grandad are going to be on a DVD, and other people are going to be watching it. It’s always been a joke to us, and for that to actually become reality and become a piece of art is still quite funny to us.
		Ann Course / The News / “Ann’s world is a really runty one. It’s populated by stubby grubs, broke-necked zombies, fetuses, fuck monkeys, pointy-heads, and processed meats. No chance of a personage, disguising their how’s-your-father with well-oiled how-do-you-dos; here, when Narcissus looks in the water, SHIT stares back"
		Katy Dove / Melodia / Katy Dove describes experience using animation, sound, drawing and painting. The starting point could be a piece of improvised music made with friends, a walk, or an open-ended drawing. Experiential reference points allow the viewer access to the work through their own experience, in the moment. No previous knowledge of the experience is necessary. Universal themes arise as the subconscious mind creates models to explain existence.
		Max Hattler / Collision / The idea of Islamic patterns, American quilts, and the colours and geometry of the flags as an abstract field of reflection.
	Courtesy Jay Jopling, White Cube, London	Runa Islam / Conditional Probability (outtakes) / The work reflects and draws on the students’ expectations, perspectives and the specific architecture of the site and the surrounding area.
		Kevin Heavey / CloudR / In CloudR, Friedrich Nietzsche and Charlton Heston explore ideas of beauty and danger, with a little bit of fun at the expense of Bertrand Russell. plans are hatched but fade off into nothingness. Heavey’s work embraces technology balancing his aesthetic of
		Anja M. Kirschner / POLLY II - Plan for a Revolution in Docklands (trailer) / Set in the not-so-distant future POLLY II – part satirical sci-fi, part soap opera and Brechtian ‘Lehrstück’ – portrays the lives of pirates and outcasts surviving in the flooded ruins of East London, a lawless zone set to become the latest in luxury waterside living according to government plans and venturing developers’ wet dreams.
	Courtesy the artist; Galerie Kamel Mennour, Paris	Zineb Sedira / And the Road Goes On... / And the road goes on... is a re-discovery of Algeria. The travelogue focuses upon the incidence of human presence in a stunning natural setting, drawing the spectator into a seductive space. Yet, the work presents an aspect of the country in its day-to-day normality.
		Andrew Kötting / Of an Ode to a Deadad / The film was made in one take over a period of four hours, using a manual time-lapse facility on a Sony PD170 DV Camera. It was shot up in the Faroe Islands whilst looking down onto the small village of Tjornuvík. The voiceover is an ode to my dead father, which was written and recorded earlier in the morning in one of the small Faroese crofts that the camera looks down upon.
	Courtesy the artist; Mary Mary, Glasgow	Torsten Lauschmann / The Dust Has Come to Stay (documentation of installation) / As an artist, filmmaker and live performer, Torsten Lauschmann celebrates glitches and out-takes, bits in between and images that might be easy to ignore.
	Copyright the artist, courtesy Maureen Paley.	Daria Martin / Loneliness and the Modern Pentathlon (excerpt) / Loneliness and the Modern Pentathlon archly hangs this rarified sporting discipline on the narrative structure of the British “angry young man” film classic "The Loneliness of the Long Distance Runner" (1962). This newly imagined version is also set in an isolated school in rural England and likewise plumbs themes of individualism versus collectivity.
	Courtesy the artist and Galerie Karin Günther, Hamburg	Alexander Heim / Holz / Pieces of wood thrown onto the floor in front of the camera create different sounds according to their size. The individual falls/notes are cut into an order that could be described as music.
		Ben Rivers / The Hyrcynium Wood / “I found the title in an out of date thesaurus looking up the word ‘mystery’ – which is essentially what this film remains to me.”
		Samuel Stevens / Unite D’Habitation / The film was shot in the grounds of one of Le Corbusier’s Unité d’Habitation that was built in Berlin in 1959. Literally meaning “Housing Union” or “Housing Unit” the Unité project sought to create housing to alleviate the post-war housing shortage but also incorporated Le Corbursier’s vision for communal living by housing all the amenities needed for life in these “vertical villages.”
		Stephen Sutcliffe / Come to the Edge / “I find it difficult to choose. Crossing George Square one weekday afternoon my sister came across the actor Rupert Everett fast asleep on a bench, in Glasgow for a touring production of The Vortex. As teenagers, some friends of mine ran off in a rusty bus to become ‘travellers’. Another friend once claimed to have directed Brix Smith to the Grosvenor Cafe. Would anyone remember, or mind, if I annexed these little experiences? Oscar Wilde did say that only the unimaginative ever invent.”
		Mark Aerial Waller / White Stag / White Stag, a video monitor piece with accompanying drawing and diorama, is a re-interpretation of Ovid’s Diana and Actaeon, set within the confines of a desolate open-air swimming pool. Here Diana, a hunting enthusiast, prompts her understudy, Daggers, to enter the unknown territory beyond the borders of the pool.
	Copyright the artist, courtesy Maureen Paley.	Saskia Olde Wolbers / Placebo (excerpt) / “The voice-over text is unusually well written; while there may be holes in the story or lapses in verisimilitude, they only add to the dreamlike fatalism of the drifting, fragmented tale. But it’s the imagery that makes Placebo so absorbing, a sequence of uninhabited hospital interiors that seem to liquefy and break apart into droplets before one’s eyes.”
		John Wood & Paul Harrison / Black Circle/Hole / John Wood and Paul Harrison treat their constructed, white-cube world as a microcosm of the world-at-large, the schematic nature of their actions creating a miniature theatre of endeavour that links to the Shakespearean idea of the world as a stage.and installation.
	Courtesy the artist and Jay Jopling, White Cube, London	Cerith Wyn Evans / Pasolini Ostia Remix (excerpt) / The film Pasolini Ostia Remix is set on the beach of Ostia where Pier Paolo Pasolini was found dead, murdered in 1975. A group of people are installing a handcrafted wooden structure holding a text composed of fire devices. The sentence that can be read says “on the banks of the livenza silvery willows are growing in wild profusion their boughs dipping into drifting waters”, and is taken from Oedipus Rex (1967), the most autobiographical of Pasolini’s films.
	INTERVIEWS	The featured curators were invited to create an original moving image piece in collaboration with an artist of their choice. The commissioned pieces query the codes and conventions of a filmed interview.
		Steven Eastwood + Benjamin Cook / Hearsay / Hearsay is re-written, video approximated and misheard from an emailed conversation between Benjamin Cook and Steven Eastwood. It is an interview as intervention. Although the performers frequently point, it never makes that much of a point itself. You may well have heard the conversation before.
		Jeremy Deller + Chrissie Iles / A Discussion / Collaboration and participation are central to Deller’s work. He has acted as a curator, producer and director of a broad range of projects – including orchestrating events, films and publications – which have drawn attention to various forms of culture on the fringes of the mainstream, as well as revealing hidden histories.
		Ryan Gander + Hans Ulrich Obrist / Ghostwriter Subtext (Notes on Speaking and Listening) / What’s this called that we’re doing now? Driving? I’m losing my words. Commentary. Yes, a running commentary.
		Laure Prouvost + Michael Connor / Interview : owt / “In her compact, raw-edged video pieces, Laure Prouvost provides narratives that seem to parody the whole genre from which they spring: with their wall-to-wall hyperbole and whimsical fantasy they charm and disturb at the same time.”
		Sophie Fiennes + Slavoj Žižek / The Pervert’s Guide to Cinema / “The film cuts its cloth from the very world of the movies it discusses. By shooting at original locations and on replica sets, it creates the uncanny illusion that Žižek is speaking from within the films themselves.”