18 July, 7-10 pm
Arvo Leo film programme
19.30: screening The Orchids/Had the Look of Flowers That Are Looked At (2018) and Two Gardens (2019)
20.00: short q&a and small break
20:30: screening Fish Plane, Heart Clock (full feature film, HD video, 60 min., 2014)
Let us know you’re coming by sending an email to firstname.lastname@example.org
As part of the exhibition Sun Windows Moon Tendrils by Arvo Leo, Hotel Maria Kapel [HMK] organises a special film programme on 18 July. A selection of three films will be screened, followed by a short Q&A with the artist: The Orchids/Had the Look of Flowers That Are Looked At and Two Gardens, which are both part of the exhibition, and Leo’s full feature film Fish Plane, Heart Clock.
Fish Plane, Heart Clock is a film that celebrates and responds to the work of the Inuit hunter-turned-artist Pudlo Pudlat (1916–1992). For many years Pudlo Pudlat lived a traditional semi-nomadic life on Baffin Island in the Canadian Arctic. Eventually, in his forties, after a hunting injury, he moved to the settlement of Kinngait (Cape Dorset) where he began making drawings with materials provided by the newly established Kinngait Studios, the first Inuit printmaking program. Over the next thirty years Pudlo would produce over 4000 drawings and paintings with graphite, felt markers, coloured pencils, and acrylics; many of which have never been exhibited.
Twenty-two years after Pudlo’s death, Arvo Leo travelled to Kinngait to spend the spring living where Pudlo made his work. In Fish Plane, Heart Clock, many images of Pudlo’s drawings are shown alongside filmic tableaux vivants and documentary moments filmed by Arvo Leo while he lived in Kinngait. Arvo portrays the daily life of a community in seasonal transition while also subtly evoking the surreal and enigmatic energy that is intrinsic to Pudlo’s art.
Fish Plane, Heart Clock is foremost a lyrical celebration of Pudlo’s work but it is also a realistic and magical realistic document of contemporary life in Kinngait. What is shown to us is not entirely real, nor is it entirely fictional. It is not an artist documentary, nor is it an ethnographic film, nor is it a structuralist film; it exists somewhere in between these genres, subverting and collaging some of their respective tropes and methods in the process. Fish Plane, Heart Clock is a corpse whose body parts were discovered from research, fieldwork and improvisation and sewn together with montage.
Image: Film-still from Fish Plane, Heart Clock (2014) showing a drawing by Pudlo Pudlat, A Good Catch (1980), National Gallery of Canada; and four walrus penis bones (multiplied). Film-still courtesy of the artist. Drawing © Dorset Fine Arts.