Day 4 of Disappearing Images. Existers presents an installation of video and audio works by Hexstatic, R.I.P. Germain, London Community Video Archive, Richard Parry, John Smith, and Gee Vaucher & Mick Duffield.
Doors 7pm
Tickets: Sliding Scale (free poster print for tickets over £6!)
Full Festival Pass: £50
Existers present a one-night-only installation of video and audio works in The Horse Hospital. Multiple screens, multiple directions.
https://www.existersgallery.com/
Hexstatic are Stuart Warren Hill and Robin Brunson, and together they have been consistently breaking new ground in Audio and Visual entertainment since 1995.
The London Community Video Archive (LCVA) collects, preserves and shares community videos made between 1969 and 1994 in London and the South East.
Richard Parry (b. Hull, 1983) is a contemporary artist working across Painting, Land Art and Field Recording. He works from a "haunted studio" in Glasgow.
John Smith was born in Walthamstow, London in 1952. He studied at North-East London Polytechnic and the Royal College of Art, after which he became an active member of the London Filmmakers’ Co-op. Since 1972 Smith has made over sixty film, video and installation works that have been shown in independent cinemas, art galleries, museums and on television around the world. His films have been awarded major prizes at international film festivals in Oberhausen, Leipzig, Hamburg, Vila do Conde, Tampere, Zagreb, Stuttgart, Graz, Geneva, Uppsala, Pamplona, Bordeaux, Lucca, Urbino, Palermo, Split, Cork, Seoul, Ann Arbor and Chicago. He received a Paul Hamlyn Foundation Award for Artists in 2011, and in 2013 he was the winner of the Jarman Award. In 2026 his film ‘Being John Smith’ was a finalist for the European Film Academy Awards.
Gee Vaucher and Mick Duffield began collaborating on making films together as members of the anarcho-punk collective Crass.
R.I.P. Germain’s practice is anti-didactic, sitting instead in a baggy space of iteration, loose attempts at classification, description and discussion that remain resistant to comfortable moral certainties, or stable meanings and values. Demonstrating an application of the tools and logics of artmaking, and the development of a visual language applied to topics that are routinely flattened – whether it is to glamorise or demonise – R.I.P. Germain seeks to unpick and analyse, and provide some cognitive space around the hyperobjects of Black culture. Suspicious of stable meaning making, R.I.P. Germain’s interests lie with uncovering things that may be uncomfortable, while resisting the urge to over explain or claim authority. The multidimensionality and possible inversions of perspective inherent in the work are then techniques to question where privilege lies, and ask us to personally examine our subject position and how we might have arrived at the place we have.
