One Two Three Swing!

One Two Three Swing! is an installation of interconnected swings affixed to an orange steel line, extending beyond the gallery walls and stretching into the urban landscape and the wider world. The swings act as a human-powered pendulum, converting potential energy into shared movement. Swings are ordinarily meant for individual use, but in this work each swing can seat three people. Those on the swing must together utilise the force of gravity, building up to the instant where falling becomes flying and everyone moves together. In this playful moment, the energy of collective movement is released. One Two Three Swing! invites the audience to explore the power of play and the possibilities of collaboration – possibilities that are realised when we swing into motion together. The shared experience offered by the work may trigger reflections on broader issues such as democracy, collective action and social connectivity. In this sense, SUPERFLEX’s swings are more than just an opportunity for play, they are an experiment in activating collective energy – energy that can perhaps be channeled to change the course of the planet and our path as a society.

Max Cooper - Forgotten Places

Max Cooper: 'Forgotten Places' began as a feeling, chord progression and an idea to make an audio visual project about the lost places in our built environment and the beauty of nature starting to take hold again. For me these sorts of places have always been important for some time away from the city grind when there’s no time for escaping the city. There’s something special about unkept spaces and the form of complexity that emerges along with a reassuring feeling that nature will persist beyond us. I chatted to Kathrin about the ideas and she made an on the spot improvisation for the vocals in the way that only she can, full of expression. I then started looking for imagery of the idea and found Jonk’s amazing photographs of abandoned spaces. He was interested in experimenting with how we could use his work as the basis for a music video so the next challenge was how to turn stills into moving image. The next stage of the project happened with AI art specialist Xander Steenbrugge. In the era when there are often issues around ownership and crediting of AI generated art I was interested in how we could base a project on one artist as the source, Jonk. Xander created predictions of frames linked to the photographs so sometimes we see the spaces before they were abandoned or interpolations between them. Finally, I started chatting to Ukrainian artist Nick Motion about how we could take all of the stills and downstream generated video and combine it with his style of particle work and editing to yield the final audio-synced sequence. So overall it’s a collection of different human and machine approaches as an experiment, to hopefully celebrate the photography of Jonk and capture some of the feeling and merit of our forgotten places. Nick Motion: Every project is a journey. And Forgotten Places is such a special one. For me it was fun deep dive into new software, coding and mathematical concepts. I tried to unleash forces of randomness to create a memorable visual narrative. My main challenge was to create an empty container, interesting enough visually for viewers to interact with. Almost a simulation of a narrative. I believe in the ultimate power of abstraction and chaos. Because it enables the viewer to participate in an act of art. You can only see things you already know, feel, and experience. If you listen carefully you`ll find out — the whole world is a reflection of yourself, and it can't be different. This was my first experience working with AI closely. Thanks to the developers community I have access to useful AI models, without leaving a native work environment. This is amazing how far we can get in the simulation of reality. This gives the opportunity to discover interesting parallels between nature and manmade structures. both physical and abstract

Spote Breeze - Stubborn Optimist & OffTheRIP

Direction & editing • flatspot_. & Qlick • https://cinque-mubarak.com/

Sampha - Only

Director: Dexter Navy @dexternavy Managing Director: Lindsay Turnham Head of Production: Lucy Jones @lj0nes EP: Tara Razavi @missrazavi Prod Co: MJZ @mjzworldwide Prod Co: Happy Place @happyplaceig Producer: Theo Hue Williams @theohuewilliams Commissioner: Scott Wright Management: Hannah Partington @hannah_olxlo DOP: Paul Guilhaume @paul__guilhaume 1AC: Jeff Vine @jeffvine 2AC: Tom Watson @tomwatsun Trainee: Beri Golebiowska @berenikamedia Key Grip: Tom North @thegripcompany Grip: Billy Smith Crane techm: Ross Bainbridge @reb123451 Camera Truck: On The Move PD: Sarah Asmail @sarah.asmail Prop Maker: Naomi Field @naomifeldstudio Props: Lucia Barsegian @luciabarsegian Props: Felix Villiers @catalogue_crepes Construction: Cous de La c/o Toby Caldicott Carpenter: George Bull @g.bull__ Carpenter: Sam Morris SFX: Machine Shop @machineshopsfx Prop Car Supplier: Cinemoto @cinemotohire PC: Maggie Curwin @maggiecurwin PA: Danait Yallow @danait_y 1AD: Zoe Liang @zoboliang 2AD: Eloise Loach @eloiseloach AD Runner: Rosie Burt @rosieeeb Runner: Michael Olatunji Runner: Rudi Barrington @rudibarrington Runner: Ervin Hajdarmata @ervinhajdarmata Costume Designer: Verity May Lane @veritymaylane Costume Stylist: Ellie Rimmer @ellie_r1 Costume Assistant: Dahlia Ichaou @goldiimochaa Costume Intern: Ebony Aboagye @ebonyaboagye MUA/ Hair Stylist: Lauraine Bailey @laurainebailey Sampha stylist: Marq Rise @marq.rise Gaffer: Steve Cameron @stevecameron Electrician: Shaun Clarke @shaundclark Electrician: Liam Quin Trainee: Santiago Toranzo Locations: Charles Somers Location @charlessomerslocations LM: Brendan Hopkinson Splitter Driver: John Oliver Sound Op: Alessandra Fasto @gongirlz Catering: Lords Catering @lordscatering CD: Kharmel Cochrane @kharmelcochranecasting Hero Girl CD: Bonnie Nolan @bonnienolan_ Dancer: Idrissa Camara @nkounde12 Hero Girl: Sienna King @siennawho Camera House: Panavision @panavisionofficial Grip Equipment: The Grip Company @thegripcompany Lighting: SHL @shl.london Sound Designer: George Castle @gcastlesound Sound Designer: James Benn @jim_db SD House: No 8 @no8ldn Colourist: Matt Turner @turners_colour Colour House: Absolute @absolute_post Colour Producer: Ollie Ireland @ollieireland Film Processing and Scan: Cinelab @cinelabuk

Bakar - I'm Done

EXECUTIVE PRODUCER: ELIZABETH DOONAN @elizabethdoonan PRODUCER: GHANDI EL-CHAMAA @ghandiec PRODUCTION MANAGER: POLLY WOOLLARD @pollywoollard PRODUCTION ASSISTANT: ELLIE CLAPPERTON @ellieclapperton LOCATION MANAGER: RUPERT BOWKETT @bowkett LOCATION MANAGER: ANDREW PEREIRA 1ST AD: JESS HORNE @jesscar_h 3ND AD: JESS LEE RUNNER: DAISY ALEXANDER @daisy_alexander RUNNER: ALEXANDRA DELL’ANNO @alexandradellanno DOP: PAT GOLAN @packdrawn 1ST AC: BECKY LEE @bbleeac 2ND AC: JOE MEDLOCK @joemedlock TRAINEE: ALEX BRANNAN @alexandra.brannan SOUND RECORDIST: SY CROSS RIGGER: ANTHONY LIEBENHALS @ldnanthony PRODUCTION DESIGNER: MAX RANDALL @_maxrandall ART DIRECTOR: LAURIE WALTERS ART ASSISTANT: OTIS MARCHBANK ART ASSISTANT: BEN HUGHES ART ASSISTANT: TIM CROSBIE ARTIST/CAST WARDROBE STYLIST: HANNAH RYAN @hannahelizabethryan ARTIST/CAST WARDROBE ASSISTANT: DULCIE MENZIE @_dolcengabanna ARTIST HAIR/ MAKEUP: GINA BLONDELL @gina_blondell HAIR/ MAKEUP ARTIST: BRITINI CAMPBELL @britinicampbell HAIR/ MAKEUP ARTIST/CAST STYLIST: FEMI KONETH CAST HAIR/MAKEUP: SOFI KEENAN @sofi__jo POST PRODUCTION SUPERVISOR: MATT FULLER CATERING: N5 KITCHEN @n5kitchen LOW LOADER DRIVER: GAVIN MURRAY LOW LOADER GRIP: DARREN SHORT VROOM WITH A VIEW: NICKY CLARKE WINNEBAGO DRIVER: GEOFF SPLITZ PRODUCTION VAN: PAUL HOCKLEY BAND MEMBER: JACK LAVER BAND MEMBER: KIERAN LITTLE POST HOUSE: THE MILL @millchannel EDIT HOUSE: CABIN @cabinedit COLOUR: ELECTRIC THEATRE COLLECTIVE @electric.theatre.collective COLOURIST: JASON WALLIS

H 3 F x Phum Viphurit - Catwalk

Black Pumas - More Than A Love Song

Devendra Banhart - Nun

James Blake - Playing Robots Into Heaven

WARNING: This video may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.

Travis Scott - CIRCUS MAXIMUS

MEDUZA, James Carter - Bad Memories ft. Elley Duhé, FAST BOY

Max Cooper - With Me

'With Me' is a little trip around New Zealand with a spacetime bending alien. For the ‘Motif’ EP, I wanted to explore a range of typical club structures and genres with a bit of my own spice. Musically on “With Me” I went down a chord driven operatic garage experiment with Kathrin deBoer, with a theme of togetherness. I started chatting video ideas with Michael McAffee and we decided to present the themes visually as us spending time with some otherworldly entities, usually invisible, living alongside us, but now revealed. These aliens of sorts also don’t experience time and space as we do, so as we hang out with them, living from their perspective things start to get a bit weird. Michael had a trip planned to New Zealand so his travels formed the basis of the setting with some epic results. It was a fun project to work on - many thanks to Kathrin and Michael for working on it with me. Michael McAfee: Max and I wanted to explore the idea of entities that travelled between & altered space and time with this piece -- As the video progressed, the severity of the rift in space-time would magnify. It seemed appropriate for the visual style of the creatures I design and it allowed me to experiment with compositing my creatures into live action footage. To convey the idea of bending space and time visually, I found that capturing photogrammetry scans and HDRi images of the environment yielded very usable 3D geometry that I could manipulate in CG. Different parameters of the morphing environment are driven by audio stems of the track that Max provided, which made for some nice audio-visual moments. 3D debugging UI elements made their way into the glitch segments, which gave the feeling that these seemingly real scenes are actually the constraints of time & space that are breaking down. A good chunk of this was done in Unreal Engine thanks to the help of Vince McKelvie. Doing these segments in a video game engine allowed us to use custom-made shaders that generate feedback loops in realtime. Everything is filmed handheld on a phone, on location in New Zealand - I wanted it to feel as if the footage captured were isolated sighting of these creatures. You’ll notice that lots of lens flares, handheld shakes, and general visual artifacts are retained in the footage which I thinks help sell the compositing work as well as the ‘random creature encounter’ vibe.