A rare screening of Vive Le Punk [1993], an exclusive documentary made by Roger K Burton, featuring Malcolm McLaren & Vivienne Westwood. The couple were captured on film at the Horse Hospital on the eve of our very first exhibition, Vive Le Punk. We will also be displaying select pieces featured in the original exhibition.

Day 7 of Disappearing Images, and the final event of the festival. Featuring live performance from Capital City with Wounder, and Angusraze.

Day 6 of Disappearing Images. Plastique Fantastique present SYNCRET-TEK ANGEL, featuring Gentle Stranger, dove / Christine Kirubi and National Rails.

Day 5 of Disappearing Images. Featuring live performance from Charlie Osborne, a new piece, La Busqueda by Richard Layzell, and Ship Sket.

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.

Day 3 of Disappearing Images. Featuring a talk from Mark Leckey and screenings from Klein, R.I.P. Germain, and 54 the Gate.

Day 2 of Disappearing Images. Featuring screenings from Open Secret and bod [包家巷], with live performance from Daniel Gatenio.

Day 1 of Disappearing Images. Featuring Alya Al-Sultani / Fatima Lahham / nunez (trio) | Kenichi Iwasa / Regan Bowering / Harry Murdoch (trio)

An evening of music, performance, film and drag with Mikey Kirkpatrick, Jackson Burton, Nicholas McArthur & Mercedes Benz 1999. 

Louis Grace release party, with performance and film screening. Also featuring Lottie, Rael, and Adaer.

Father of Lies is a film and performance-based installation that looks at mainstream media and it’s role within the facilitation of Genocide, war and societal division

Mark Pilkington, author of the UFO meta-conspiracy classic Mirage Men, presents a curated selection of his favourite filmic artefacts from the flying saucer era and beyond. Against the backdrop of the longest sustained wave of UFO coverage in the United States since the 1940s—culminating in a series of inconclusive congressional hearings—this lecture examines how moving images shape belief, doubt, and wonder.

Project DIVFUSE is presenting its second off-site event and a first one at The Horse Hospital. Bringing together several artists who have exhibited or performed at Project DIVFUSE micro art space in Lower Clapton E5 since its doors first opened to the public in July 2021, this is an evening to showcase sound inspired films.

Two films. Two sound systems. One evening exploring what happens when technology becomes ritual, and machines become the medium of devotion. This event centres the apparatus: the speaker stack, the camera, the signal chain — instruments of extreme and intimate expression.

INTERMISSIONS: An audio-visual showcase by the 24/25 FLAMIN Fellows

An evening that moves between embodied rhythm, disembodied choreography, and live improvisation, featuring The Drum Also Dances and Breath Quartet

Often dismissed as gratuitous or artistically empty, gore remains one of horror cinema’s most contested pleasures. This lecture reframes gore as an aesthetic practice rooted in tactility, craft, and collaboration. Tracing the devaluation of gore films and their fandoms, it situates graphic violence within broader artistic traditions and examines practical effects as a form of resistance to digital smoothness.

A unique interaction of film and live performance, where the narrator/performer exists in many different shapes and places.

A series of afternoon underground queer cinema at The Horse Hospital. Nitrate Kisses (1992) is the first feature documentary by Barbara Hammer, a pioneer of lesbian cinema. It weaves striking images of four gay and lesbian couples with footage of an unearthed forbidden and invisible history. Archival footage from the first gay film in the U.S., Lot In Sodom (1933) is interwoven in this haunting documentary. This will be screened proceeded the film, with a live score.

Mindwarcinema present a screening of the cult classic The Arrival (1980), directed by Ruth Norman of The Unarius Academy of Science. The screening will be accompanied by an in conversation between Tanner F Boyle, author of Getting Spooked and The Fortean Influence on Science Fiction) and Mark Pilkington (author of Mirage Men and publisher of Stranger Attractor Press).

A series of afternoon underground queer cinema at The Horse Hospital. Black is… Black Ain’t (1995) is the final film of director Marlon Riggs. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of Blackness. Hooked up to an IV in his hospital bed, Riggs takes strength for his struggle against AIDS from the continual resilience of the African Americans in the face of overwhelming oppression. The screening is proceeded by a selection of shorts by video artist Tom Rubnitz.

His House (2020) is a ghost story about displacement, precarity, and the inescapable afterlives of empire. This lecture situates the film within a global “horror cinema of precarity” that uses the genre to address marginalised experiences. Drawing on postcolonial Gothic and hauntological theory, it explores how Britain’s imperial and capitalist legacies haunt the film atmospherically rather than corporeally.

A series of afternoon underground queer cinema at The Horse Hospital. Buddies (1985), directed by Arthur Bressan Jr., was the first narrative film made about AIDS. Alongside Buddies, Bressan is known for the documentary Gay USA and a number of pornographic films. The screening will be proceeded by a selection of shorts directed by the video artist and AIDS activist Tom Rubnitz.

A multidisciplinary bill, mixing auto-fictional film, live vocals from the heart and independent performance makers Luisa D Rozo and THE3KAYAS, alongside fine tune slector Nymity

What remains in the body after COVID-era anti-Asian racism? A multidisciplinary event exploring how anti-Asian hate during COVID registered in the body and how it might be released together with live performances from Ming Chin Hsieh and Angela Wai Nok Hui

From Greed (1924) to post-apocalyptic cinema, the desert has served as one of horror’s most unforgiving landscapes. This lecture, presented by Ken Hollings for Miskatonic Institute of Horror Studies, traces how the American desert became a site of monsters, mutations, and moral collapse, shaped by atomic testing, exploitation cinema, and low-budget genre filmmaking.

This lecture, presented by Nedim Hassan for Miskatonic Institute of Horror Studies examines how metal fans and musicians were cast as “folk devils” within the 1980s culture wars, and how a cycle of horror films—including Trick or Treat and Black Roses—absorbed and refracted these anxieties.

A screening of three films exploring the metaphysics of electromagnetic communication, psyops, and conspiracy. Craig Baldwin’s Tribulation 99: Alien Anomalies Under America (1992), Riar Rizaldi’s Tellurian Drama (2020), and Signal Warfare Research Unit’s T2S.

Amurmur is a platform celebrating memory, enshrinement and archives. For our first event, through readings and budding projects, a selection of artists share their impassioned ways of engaging with the past. Followed by a screening of a film by Ines Barquet and Ximena Prieto, based on an idea by Alexia Marmara.