 AFTER IMAGE The Venice Biennial British Pavilion This was the ICF’s inaugural dialogue in a series of events addressing platforms of production and exhibition of the moving image, that continued at the Istanbul Biennial and during The London Film Festival in 2009. In celebration of the work of Steve McQueen The ICF hosted a symposium that asked a distinguished panel to reflect on the ways in which the contemporary moving image has become radicalised as a medium of democratic artistic enquiry. Steve McQueen presented a work in the British Pavilion which generated considerable international expectation. This exhibition reflected the ideas of the Director of the 53rd International Art Exhibition, Daniel Birnbaum, that explored through Making Worlds, the production of ‘vision’ or the projection of a world seen Particular interests in discussion were how artists have engaged with the mainstream processes of production in cinema whilst retaining their aesthetic and political edge. Does this dialogue between cinema, galleries and digital platforms challenge the curator to find new ways to make the staging of vision memorable and modeled through the work of art?
 The discussion on cinema and artists, focused particularly on the films of Steve McQueen with invited speakers: John Akomfrah,
Clive Gillman, Teka Selman, Allison Thompson, the panel was chaired by Mark Waugh. Supported by Arts Council England and Engage: the National Association for Gallery Education and The British Council.
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 Regarding the Wild
Curated by Basia Goszczynska Chashama Gallery One Brooklyn Bridge Park (360 Furman Street) Brooklyn, New York 11201 Regarding the Wild is a group exhibition that brings together the work of thirteen international artists responding to the natural world—as it pertains to material, phenomena and representations within mass media. The artists vary in their approaches: from the critical considerations taken up by Alison Nguyen, to attempts at reconnection typified by the work of Heidi Daehler. Others, including Sharon Norwood and Matt Arbuckle, consider how to portray wildness in formal terms or as an integral part of the creative process. Collectively, the works in this exhibition harness the frenetic energy of our time, distilling political, social and environmental chaos. In you can’t plan a perfect day, sometimes it just happens, Alison Nguyen creates a banal epic comprised of appropriated footage of lens flare that—through sheer repetition—drains the symbol of its meaning. The piece at once critiques and eerily meditates on visual codes for authenticity, whiteness, and spirituality used in contemporary American advertisements. Employing a painted portal motif as metaphor, Heidi Daehler reflects on an inner life that is inextricably connected to a paradoxically soothing and frightening natural world while Gabriel Ramos explores a line’s expressive potential for wildness in a sculpture that bursts off the wall. Nellie Appleby’s large cyanotypes harness the frenzied energy of leaves, branches and her own body in a creative process that relies on an intimate collaboration with nature and chance.  Drowning The Moon, installation by Eric Lesdema for The Astrologer Who Fell Into A well.
 Neoism, Plagiarism & Praxis is concerned with what's been happening at the edges of culture since the demise of Fluxus and the Situationists. It provides inside information on the Neoists, Plagiarists, Art Strikers, London Psychogeographical Association,
K Foundation and other groups that are even more obscure.  Sachiko Abe photographed performing Cut Papers, for Manuel Vason's Art & Communication project.
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