Malcolm Le Grice
Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the Paris Biennale No.8, Arte Inglese Oggi, Milan, Une Histoire du Cinema, Paris, Documenta 6, Kassel, X-Screen at the Museum of Modern Art, Vienna, and Behind the Facts at the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'. Le Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and ...
Marking Time (2015)
"3D Video SBS (side by side) format. For viewing on 3D monitor or television" -Le Grice (more)
"3D Video SBS (side by side) format. For viewing on 3D monitor or television" -Le Grice (more)
60 Seconds of Solitude in Year Zero (2011)
An anthology of one-minute films created by 60 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 ... (more)
An anthology of one-minute films created by 60 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 ... (more)
China Tea (1965)
Shot with two 8mm cameras then projected side by side accompanied by an audio tape of "prepared piano". (more)
Shot with two 8mm cameras then projected side by side accompanied by an audio tape of "prepared piano". (more)
Finnegan's Chin (1983)
Digital Still Life (1984)
A single performance made at the National Film Theatre against a blank screen – the performer twice leaves the stage on one side, exits the building and re-enters the stage on the other side – the duration was determined by the time it took to walk out of sight ... (more)
A single performance made at the National Film Theatre against a blank screen – the performer twice leaves the stage on one side, exits the building and re-enters the stage on the other side – the duration was determined by the time it took to walk out of sight ... (more)
Weir (1993)
An encounter with a small man-made waterfall presented in a triptych format. (more)
An encounter with a small man-made waterfall presented in a triptych format. (more)
For the Benefit of Mr. K (1995)
From the earliest point when I started to make film one of the biggest influence on my way of thinking came from Franz Kafka. In particular the titles ‘Castle One’ and ‘Castle Two’ made symbolic reference to Kafka’s book ‘The Castle’. In this book, like ‘The Trial’ ... (more)
From the earliest point when I started to make film one of the biggest influence on my way of thinking came from Franz Kafka. In particular the titles ‘Castle One’ and ‘Castle Two’ made symbolic reference to Kafka’s book ‘The Castle’. In this book, like ‘The Trial’ ... (more)
Birth of a Nation (1997)
Filmmaker Jonas Mekas films 160 underground film people over four decades. (more)
Filmmaker Jonas Mekas films 160 underground film people over four decades. (more)
Joseph's New Coat (1998)
This multi-image work is based on Le Grice's longer, color-field film-loop installation Joseph’s Coat (1973). (more)
This multi-image work is based on Le Grice's longer, color-field film-loop installation Joseph’s Coat (1973). (more)
Even a Cyclops Pays the Ferryman (1998)
An allegory for the passage from being alive to being dead. The cyclops is the one-eyed father - the one-eyed king in the land of the blind - the single lens of the camera - three screens beyond stereoscopy. (more)
An allegory for the passage from being alive to being dead. The cyclops is the one-eyed father - the one-eyed king in the land of the blind - the single lens of the camera - three screens beyond stereoscopy. (more)
Neither Here Nor There (2001)
Osama Bin Laden – Britain and the USA in Iraq as through television reportage – camera only inches from the screen (more)
Osama Bin Laden – Britain and the USA in Iraq as through television reportage – camera only inches from the screen (more)
Travelling with Mark (2003)
A digital manipulation exploiting the transcoding ‘mosaic’ of video shot on a train journey from Berlin to southern Germany with Mark Webber. Transformations of selected sequences, - slowed, recolored, compared. New rhythms - slow thoughts inside a train at speed – ... (more)
A digital manipulation exploiting the transcoding ‘mosaic’ of video shot on a train journey from Berlin to southern Germany with Mark Webber. Transformations of selected sequences, - slowed, recolored, compared. New rhythms - slow thoughts inside a train at speed – ... (more)
Digital Aberration (2004)
Every cheap visual effect in the editing package and a sound track made with free software from a corn-flakes packet. (more)
Every cheap visual effect in the editing package and a sound track made with free software from a corn-flakes packet. (more)
Critical Moments (2004)
‘Critical Moment One’ was an un-planned recording of a one-year old boy exploring shells and sand on a beach. Though the boy was my own grand-son, it was never seen as a ‘home-movie’ – the child’s face is never seen and it was shot over his shoulder - as close to ... (more)
‘Critical Moment One’ was an un-planned recording of a one-year old boy exploring shells and sand on a beach. Though the boy was my own grand-son, it was never seen as a ‘home-movie’ – the child’s face is never seen and it was shot over his shoulder - as close to ... (more)
Lecture to an Academy (2005)
When I reviewed the video material it reminded me of a theatre performance which I recalled as “A Lecture to an Academy”, given by Tutte Lemkow at the Arts Lab in Drury lane in 1968. The performance was a translation of Kafka’s "Ein Bericht für eine Akademie". The ... (more)
When I reviewed the video material it reminded me of a theatre performance which I recalled as “A Lecture to an Academy”, given by Tutte Lemkow at the Arts Lab in Drury lane in 1968. The performance was a translation of Kafka’s "Ein Bericht für eine Akademie". The ... (more)
Again Finnegan (2006)
Originally shot as part of Finnegan’s Chin, this sequence is re-edited as a portrait of performer Jack Murray. It continues the fascination of the forever repeating folk round “I knew a man called Michael Finnegan....”. (more)
Originally shot as part of Finnegan’s Chin, this sequence is re-edited as a portrait of performer Jack Murray. It continues the fascination of the forever repeating folk round “I knew a man called Michael Finnegan....”. (more)
DENISINED - SINEDENIS (2006)
H2O-0C-24.02.06-12.01GMT - 03,50.40W - 50.16.30N (2006)
A simple event becomes rhythmically complex through changes of speed and multiple superimposition. The title refers to the inevitable inclusion of detailed meta-data in all future digital recordings – locating for example global time, place, temperature for example. (more)
A simple event becomes rhythmically complex through changes of speed and multiple superimposition. The title refers to the inevitable inclusion of detailed meta-data in all future digital recordings – locating for example global time, place, temperature for example. (more)
After Monet Water Lilies (2008)
"My experience of Monet’s large-scale panoramic paintings of his water lily garden when I was about 14 years old became a crucial artistic memory. There have been a number of versions of the material I shot in about 1984 of water lilies and reeds in a pond. This [. ... (more)
"My experience of Monet’s large-scale panoramic paintings of his water lily garden when I was about 14 years old became a crucial artistic memory. There have been a number of versions of the material I shot in about 1984 of water lilies and reeds in a pond. This [. ... (more)