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Tate Modern Film

All Bodies radiate light

28 October 2022 at 19.00–19.45 and 20.30–21.30
A single flower hangs from a stem against a dark background

Beatriz Santiago Muñoz, Farmacopea 2013, film still. Courtesy the artist

  • Programme
  • About Counter Encounters
  • Transcript for Suite!
  • Accessibility
  • Related Events

Join a two-part programme exploring artists’ approaches to plant-human politics and rooted futures

Curated by Counter Encounters collective, the two-day Encounters over Several Plants series opens with a double bill presented as part of Tate Modern Lates.

Employing archival images of the United States’ occupation of the Philippines (1898–1946), Shireen Seno’s To Pick a Flower 2021 explores how the meaning and uses of nature were altered by colonial rule. Her short essay film demonstrates the historical similarities between human and plant extraction and commodification, and shows photography’s role in instilling twentieth-century Western ideologies on ‘natural resources’.

Beatriz Santiago Munoz’s Farmacopea compares historical processes and natural landscapes, focusing on the plants of Puerto Rico. With mesmerising visuals and caustic wit, it focuses on Hippomane mancinella, one of the most toxic plants in the world. The plant was almost eradicated due to the harm it can pose to humans, but this led to transformative changes to Puerto Rico’s ecology and socio-economic environment.

Aria Dean has made several works dedicated to the extremely fast-growing plant, kudzu, which is ‘native’ to Asia but has become a notorious ‘invasive’ in the United States and Europe. All Bodies radiate light includes a reading of her brief essay on the maligned plant, which playfully traces its growth environments and challenges its reputation, as well as her short work Suite!, a speculative animation of the eponymous plant.

Adham Faramawy’s performative video The air is subtle, various and sweet, meanwhile explores family relations and community traumas as they intertwine with changes to land, to the regime of plant taxonomy, and to Indigeneity in Faramawy’s home in the UK and his father’s home in Egypt.

Programme

Part One: 19.00–19.45

  • Shireen Seno, To Pick a Flower 2021, HD video, colour, sound, 17 min, captioned
  • Beatriz Santiago Muñoz, Farmacopea 2013, 16 mm film transferred to digital video, colour, silent, 6 min

Part Two: 20.30–21.30

  • Aria Dean, Studio Parasite 2022, recorded reading
  • Adham Faramawy, The air is subtle, various and sweet 2020-21, HD video, colour, sound, 35 min, captioned
  • Aria Dean, Suite! 2021, digital video, colour, sound, 7 min, captioned

Composed of Laura Huertas Millan, Onyeka Igwe and Rachael Rakes, Counter Encounters is a curatorial and research initiative active since 2019. They engage forms of anti- and alter- ethnographies in cinema and contemporary art. They have presented programmes and exhibitions at Centre Pompidou, Paris; Art of the Real at Lincoln Center, New York); and It’s a Mutant Space conference, Stedelijk Museum, Amsterdam.

The collective recently contributed a text to the catalogue for the exhibition No Master Territories at Haus der Kulturen der Welt, Berlin, and are editing the October issue of the journal World Records.

Female voice: Hello.

I have this strange surge of anxiety, timed like waves, that I think might be peace, spackled over with discomfort at its sight.

Each moment will exist only insofar as it has exterminated the present moment, its father.

A world that dies and is reborn in every instant.

The total inconstancy of all reality is a terrible and overwhelming image. What it represents is analogous to the sensations of someone caught in an earthquake who loses their trust in solid ground.

We fall in all directions.

I am aware that I have a bit of a reputation as a Sophist, more interested in seeming to be clever than in truly being wise, more ambitious to establish a new and false sect than to support that which is old and true; a bird catcher, trying to capture splendor and glory; an unquiet spirit, trying to undermine the foundations of good discipline by using siege engines of perversity.

I certainly make no falsehood, if I err, it is by accident, and I do strive for love of victory itself– because empty success and hollow victory are enemies of God, vile, and without honor, and such are not truly triumphs–rather, I suffer, torment and tire myself for love of true knowledge and contemplation.

In the spaces where there is no world, there be only void. . . On all sides there is enormous room for more things, in all directions the universe is without limit or end.

Make it nastier on the low line, low life.

Do you know what lies at the bottom of the main stream?

Bodies swollen with, lost in, time. Out of it, sight.

Psychic taxation schematic with a spacious center.

She sits and reads me Wittgenstein in one long breath. A rude and awful form of eloquence.

How do you do a character study of no one?

A knight of the grail in a secular world.

We're talking infinite worlds, new worlds, no center point.

The problem of reality's fracturing revealing reality's natural, inherent, a priori fracture. The problem of the misidentification of this very problem. Tagging and bagging it as something else entirely.

The winter of our lives, when the weather is no longer quite so mild and extremity not only looms but draws us in like a fire licking around a living room in the distance. A great wind of insurrection in the world, a cold harsh, arctic wind, a murderous but thoroughly bracing wind that cleanses inescapably, like the imperceptible tide of death. They dare not venture outside, except for she who is intoxicated by this icy and refreshing violence. A slap in the face.

All Tate Modern entrances are step-free. You can enter via the Turbine Hall and into the Natalie Bell Building on Holland Street, or into the Blavatnik Building on Sumner street.

The Starr Cinema is on Level 1 of the Natalie Bell Building. There are lifts to every floor of the Blavatnik and Nathalie Bell buildings. Alternatively you can take the stairs.

There is space for wheelchairs and a hearing loop is available.

All works screened in the Starr Cinema have English captions.

  • Fully accessible toilets are located on every floor on the concourses.
  • A quiet room is available to use in the Natalie Bell Building on Level 4.
  • Ear defenders can be borrowed from the Ticket desks.

To help plan your visit to Tate Modern, have a look at our visual story. It includes photographs and information about what you can expect from a visit to the gallery.

Download Tate Modern map PDF

For more information before your visit:

  • Email hello@tate.org.uk
  • Call +44 (0)20 7887 8888 – option 1 (daily 09.45–18.00)
Check all Tate Modern accessibility information

Tate Modern

Starr Cinema

Bankside
London SE1 9TG
Plan your visit

Dates

28 October 2022 at 19.00–19.45

28 October 2022 at 20.30–21.30

Part of Tate Modern Lates

Please note each screening requires a free ticket, available to collect from the Starr Cinema, on a first-come, first-served basis from 18.00

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