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  • Sebastian Buerkner Triband 2010 Video still

    Sebastian Buerkner, Triband 2010
    Video still

    Courtesy the artist
    © Sebastian Buerkner

  • Turner Prize 2014 shortlist: James Richards, Rosebud 2013 HD video still

    James Richards, Rosebud 2013
    HD video still, 13 minutes

    Image courtesy the artist; Cabinet, London; and Rodeo, Istanbul
    © James Richards

  • Emily Wardill, The Diamond (Descartes’ Daughter) 2008 16 mm still

    Emily Wardill, The Diamond (Descartes’ Daughter) 2008
    16 mm still

    Courtesy the artist, Jonathan Viner Gallery, London, STANDARD (OSLO), Oslo, Altman-Siegel Gallery, San Francisco and Carlier Gebauer, Berlin
    © Emily Wardill

  • Jayne Parker, Trilogy: Kettle’s Yard 2008 16 mm transferred to video still

    Jayne Parker, Trilogy: Kettle’s Yard 2008
    16 mm transferred to video still

    Courtesy the artist
    © Jayne Parker

  • Laure Prouvost, IT, HIT, HEAT 2010 Video still

    Laure Prouvost, IT, HIT, HEAT 2010
    Video still

    Courtesy the artist and MOTINTERNATIONAL.
    © Laure Prouvost

  • Simon Martin, Louis Ghost Chair 2011

    Simon Martin, Louis Ghost Chair 2011

    Image David Pearson
    Courtesy the artist and MOTINTERNATIONAL
    © Simon Martin

This programme considers the significance of everyday objects and images through studied compositions, crash edits, music and fragmented language.

This screening is paired with Assembly: The Resemblance Of Things I on Sunday 1 December.

Download The Resemblance of Things, programme notes [PDF 3.53 Mb]

Programme

Triband

Sebastian Buerkner, 2010, 4 min

The Diamond (Descartes’ Daughter)

Emily Wardill, 2008,16 mm, colour, 10 min

Louis Ghost Chair

Simon Martin, 2011, 17 min

Trilogy: Kettle’s Yard

Jayne Parker, 2008, 16 mm transferred to video, 25 min

IT, HIT, HEAT

Laure Prouvost, 2010, 7 min

Rosebud

James Richards, 2013, HD video, 13 min

Coda I and Coda II

Peter Gidal, 2013, 16 mm, 100 seconds each

Programme duration: 79 min

Simon Martin’s Louis Ghost Chair was commissioned by Film and Video Umbrella and the Holburne Museum, Bath, in association with Collective, Edinburgh, Northern Gallery for Contemporary Art, Sunderland and Elena Hill. Supported by Arts Council England with additional support from Henry Moore Foundation.

Tate Film is supported by Maja-Hoffmann / LUMA Foundation.

With additional support for Assembly from Bilge Ogut-Cumbusyan and Haro Cumbusyan