All This Can Happen
19 Nov 2013
All This Can Happen, new film by award-winning artists Siobhan Davies and David Hinton, takes a meditative walk through the everyday, following in the footsteps of the protagonist from the short story The Walk (1917) by Robert Walser.
A series of small adventures and chance encounters take the walker from idiosyncratic observations of ordinary events towards a deeper pondering on the comedy, heartbreak and ceaseless variety of life.
Made entirely from early archive photographs and footage from the earliest days of cinema, All This Can Happen uses a variety of split-screen techniques, as well as constantly changing speeds and densities of images, to render an eccentric journey of the mind.
Exclusive London Screenings:
19 November 2013
£10/£8 Concessions/£7 ICA Members
Introduced by Gregor Muir (Executive Director, ICA) with a discussion and Q&A by directors Siobhan Davies and David Hinton, led by Gareth Evans (Film Curator, Whitechapel Gallery)
7 & 8 December 2013
£8/£6 Concessions/£5 ICA Members
Responding so appropriately and with such originality to Walser's words, David and Siobhan have created a glorious fantasy of the modern world, a dream of modernist sensibility that engages with the mind and machines and madness, sexuality and shopping, poetry and photography and (obliquely) politics, city and country, culture and nature, ways of moving and ways of seeing. - John Wyver
In addition to festival screenings worldwide, All This Can Happen continues to tour globally to major institutions including Arnolfini (Bristol), The Museum of Modern Art (Poland), La Cinémathèque Française (Paris), Hirshhorn Museum Smithsonian Institution (Washington DC), The Institute of Contemporary Arts (London) and National Gallery of Art (Washington DC).
All screenings at the ICA are accompanied by Lying in Wait (2009, 9 minutes) by Idris Khan and Sarah Warsop
All This Can Happen, dir Siobhan Davies and David Hinton, UK 2012, 50 mins, cert TBC
A Siobhan Davies Dance Production made in partnership with the British Film Institute and with support from the Siobhan Davies Commissioning Fund