Director
Director
An introduction to Jarman's 'The Garden'.
Director
Neuro-diverse artist Eden Kötting’s remarkable drawings, paintings and collages create an illusory, animated world where the rules change and everything is possible.
Director
BECAUSE THE REST IS SILENCE reconfigures aspects of Kötting’s previous moving image works, which focus on the idea of place. But perhaps more importantly the potential for temporal disjunction, memory, misremembrance and the persistence of the past within much of his work. An hauntological gadabout inclusive of images and out-takes from his journeying and the films EDITH WALKS, GALLIVANT, LEK AND THE DOGS & WATLING STREET. However, the glue that holds much of the film together is the sound and music gleaned from his INSIDEOUT CD published through Sonic Arts Network many moons ago. Films of memory breed more films of memory. Ultimately Memory begets more memory.
Editor
From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.
From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.
Writer
From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.
Director
From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.
Editor
A video postcard: "Ubi amor ibi oculus" ("Where love is, there is insight").
Writer
A video postcard: "Ubi amor ibi oculus" ("Where love is, there is insight").
Director
A video postcard: "Ubi amor ibi oculus" ("Where love is, there is insight").
Editor
Back stroke butterfly, front crawl and bras, we are awash in an ocean of bubbles. Meanwhile Captain Ahab sets sail on his magic carpet in search of the whale. All is not well in the world but Eden is there, fresh from her garden, tuning into “The Far Away Land”. We are deep in the cloud of our own making but help is at hand, and everything might yet be alright.
Cinematography
Back stroke butterfly, front crawl and bras, we are awash in an ocean of bubbles. Meanwhile Captain Ahab sets sail on his magic carpet in search of the whale. All is not well in the world but Eden is there, fresh from her garden, tuning into “The Far Away Land”. We are deep in the cloud of our own making but help is at hand, and everything might yet be alright.
Writer
Back stroke butterfly, front crawl and bras, we are awash in an ocean of bubbles. Meanwhile Captain Ahab sets sail on his magic carpet in search of the whale. All is not well in the world but Eden is there, fresh from her garden, tuning into “The Far Away Land”. We are deep in the cloud of our own making but help is at hand, and everything might yet be alright.
Director
Back stroke butterfly, front crawl and bras, we are awash in an ocean of bubbles. Meanwhile Captain Ahab sets sail on his magic carpet in search of the whale. All is not well in the world but Eden is there, fresh from her garden, tuning into “The Far Away Land”. We are deep in the cloud of our own making but help is at hand, and everything might yet be alright.
Director
An adaptation of Hattie Naylor's play, Ivan and the Dogs, which follows the true story of Ivan Mishukov, who walked out of his Moscow apartment at the age of four and spent two years living on the city streets where he was adopted by a pack of wild dogs.
Director
In a hinterland within the 'elsewhere', a lone character meanders in search of meaning and understanding. Hither and dither doth he wander reflecting upon all things that came before and all things hereafter. The work is a companion piece to Kötting's latest feature film LEK AND THE DOGS and was shot in the Atacama desert in Chile.
Director
A companion piece to Andrew and Eden Kötting’s FORGOTTEN THE QUEEN except this time we are sailing into a male storm, a place of make believe and disaster where dog eats dog. This world is teeming with hidden dangers, orchestrated by voodoo, pooh, men in frocks and dogs. Yet many a man is making friends with death, even as we speak, because it proves to be a lot easier than logic. So, let the scatological begin….
Self
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Cinematography
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Sound
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Music
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Editor
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Self
Iain Sinclair walks a section of Watling Street, the Roman road said to have much older origins, from Canterbury to London.
Director
A film shot on an iPhone with a super 8 app documenting a walk made by Andrew Kötting with Iain Sinclair from Dover to London along Watling Street, sometimes in the company of John Rogers and sometimes in the company of Anne Caron-Delion.
Director
Edith Walks is a 60 minute 66 second feature film inspired by a walk from Waltham Abbey in Essex via Battle Abbey to St Leonards-on-Sea in East Sussex. The film documents a pilgrimage in memory of Edith Swan Neck. The 108 mile journey, as the crow flies, allows the audience to reflect upon all things Edith. A conversation in Northampton between Alan Moore, Iain Sinclair and Edith Swan Neck is also a key element to the unfolding 'story'. With images shot using digital super 8 iPhone's and sound recorded using a specially constructed music box with a boom microphone the film unfolds chronologically but in a completely unpredictable way. The numerous encounters and impromptu performances en route are proof, as if needed, that the angels of happenstance were to looking down upon the troop, with EDITH as their hallucination
Director
Super 8 project for Coastal Currents 2017 by Hastings Film Makers and musicians. Produced by Mark French. Filmed in charity shops in Hastings & St Leonards, East Sussex UK. 1 roll of super 8 film 'everything' shot in camera. Eden wears her Jack-in-the Green costume and takes us into her inscape and hinterland.
Director
Artist and film-maker Andrew Kötting re-vists his graduation film Klipperty Klöpp. A post punk piece of pagan sensibility in which a man repeatedly and energetically runs round and round in circles on common ground in Gloucestershire carrying palaeolithic paintings of horses. Part Benny Hill part Joseph Beuys the work is as much a performance piece as it is a exercise in Samuel Beckett parody. In the re-make Kötting's protagonist is a woman moving very slowly within the almost identical landscape to exactly the same soundtrack. Married up edit for edit with the original super 8 footage, Kötting sees the work as a digital artefact dug up and re-presented as a split screen 33 years after the event.
Director
Artist and film-maker Andrew Kötting re-vists his graduation film Klipperty Klöpp. A post punk piece of pagan sensibility in which a man repeatedly and energetically runs round and round in circles on common ground in Gloucestershire chasing a painting of a horse - part Benny Hill part Joseph Beuys. In the re-make Kötting's protagonist is a woman moving very slowly within the almost identical landscape to exactly the same soundtrack. Married up shot for shot with the original super 8 footage, Kötting sees the work as a digital artefact dug up and re-presented 33 years after the event.
Director
FORGOTTEN THE QUEEN is a short animated film that digs into themes inspired by the life of Edith Swan Neck. Eden’s drawings and collages are brought to life by Glenn Whiting and tossed into the time-line like flotsam from a demented passion. Meantime Edith’s eyes fix on the man-shadows overhead, resplendent in their didactic belief systems and stupid hats, which seem to have blighted women since the beginning of time. King Harold would not have approved because despite the fact that time itself can touch you like a feather, stupid men keep firing their bloody arrows.
Director
EDITH LOOPS is a reflection upon all things Edith Swan Neck and her role as the great visionary and Pagan Queen to the muddled British Isles in the wake of The Battle of Hastings 950 years ago.
Director
These pinhole photographs are taken by Anonymous Bosch and document a 108 mile walk in 5 days from Waltham Abbey to Leonards-on- Sea.
London Overground retraces legendary London writer Iain Sinclair’s journey with film-maker Andrew Kötting around the Overground railway on foot for the book of the same name. The film follows Sinclair reprising the walk over the course of a year rather than the day’s walk of the book.
Music
The work might be seen as a mash-up of the films “It's All In The Mind”, “All At Sea”, “Combat - Black Apples” and “Bouyed By The Irrelevance Of Their Own Insignificance”. Drawings and paintings by Eden Kötting and animations by Glenn Whiting. The sound includes elements by Jem Finer and Buster Grey-Jung.
Editor
The work might be seen as a mash-up of the films “It's All In The Mind”, “All At Sea”, “Combat - Black Apples” and “Bouyed By The Irrelevance Of Their Own Insignificance”. Drawings and paintings by Eden Kötting and animations by Glenn Whiting. The sound includes elements by Jem Finer and Buster Grey-Jung.
Cinematography
The work might be seen as a mash-up of the films “It's All In The Mind”, “All At Sea”, “Combat - Black Apples” and “Bouyed By The Irrelevance Of Their Own Insignificance”. Drawings and paintings by Eden Kötting and animations by Glenn Whiting. The sound includes elements by Jem Finer and Buster Grey-Jung.
Writer
The work might be seen as a mash-up of the films “It's All In The Mind”, “All At Sea”, “Combat - Black Apples” and “Bouyed By The Irrelevance Of Their Own Insignificance”. Drawings and paintings by Eden Kötting and animations by Glenn Whiting. The sound includes elements by Jem Finer and Buster Grey-Jung.
Director
The work might be seen as a mash-up of the films “It's All In The Mind”, “All At Sea”, “Combat - Black Apples” and “Bouyed By The Irrelevance Of Their Own Insignificance”. Drawings and paintings by Eden Kötting and animations by Glenn Whiting. The sound includes elements by Jem Finer and Buster Grey-Jung.
Director
A companion piece to the film IT’S ALL IN THE MIND commissioned through Channel 4 for their RANDOM ACTS strand. This time however we are not land-locked, we are all-at-sea. Eden Kötting’s drawings and collages are aquatically themed featuring fish, boats and stars. The work is a moving image celebration of the collages that Eden has been making with her father Andrew for the last five years.
Director
In a world of make-believe anything is possible and yet Men are still stuck in their dark holes. Eden Kötting's drawings of trees and animals that make up the work are magical, minimal and Miro-comic. They are a moving image celebration of the collages that she has been making with her father Andrew for the last five years. A daughter-father collaboration in which, drawings and texts are brought together in a collision of sound and picture.
Producer
Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.
Straw Bear
Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.
Director
Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.
Director
A brief portrait of frailty and hanging on
Director
Historical voices and images relay the experiences of tuberculosis, Knightwick Sanatorium and London Fever Hospital.
Director
This film was inspired by Aurelia Petit who invited Andrew Kötting to make a work contemplating themes around the 'Exquisite Corpse' game in which a collection of words and images are collectively assembled. It is the second part of his Head Trilogy and investigates the ideas behind travel into the woods with nothing but a shot gun and animal heads for company.
This work is inspired by the BLACK APPLES OF GOWER – a book by Iain Sinclair. The film investigates the ideas of travel, memory, history and place by cutting off a horses head and sticking it over a middle aged man's face. Made in collaboration with Iain Sinclair and Anonymous Bosch with music by Buster Grey-Jung and support from Common Ground.
Director
This work is inspired by the BLACK APPLES OF GOWER – a book by Iain Sinclair. The film investigates the ideas of travel, memory, history and place by cutting off a horses head and sticking it over a middle aged man's face. Made in collaboration with Iain Sinclair and Anonymous Bosch with music by Buster Grey-Jung and support from Common Ground.
Director
Eden Kötting draws bright images on transparent glass, while talking with her dad about the world and the people who run it.
Eden Kötting draws bright images on transparent glass, while talking with her dad about the world and the people who run it.
Director
A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.
A Straw Bear
At the threshold of the last mystery you have looked into the eyes of your creature self and watched the sun come dripping a bucket full of gold.
Director
At the threshold of the last mystery you have looked into the eyes of your creature self and watched the sun come dripping a bucket full of gold.
Director
'I’m not moaning, you don’t hear me moaning!' These are the words spoken by Gladys Morris, the artist’s dead grandmother, that form, along with other snippets of her conversation, the soundscape for moving image artist Andrew Kötting’s latest work 'The Woman of Kent', a short film that acts as an intervention in the cinema space at Kino Digital in Hawkhurst, Kent. The Woman of Kent interrupts the cinematic experience like an explosion. The words of Gladys are laid over tiny sections of archive moving image showing a Kent that no longer exists, edited together at high speed and interspersed with contemporary pinhole stills of the cinema as it is today. The film will be shown exclusively at the Kino, before regular screenings. The audience may notice the accompanying poster designed by Kötting in the foyer, advertising it as ‘remarkably confusing’ and ‘a forgettable classic’, but other than this will receive no indication of what they are about to witness.
Director
Animals all-at-sea; a cow’s head struggling to make for shore, an owl floundering in the surf or a reindeer awash in the breakers. Buoys of poetic improbability bobbing up and down in a sea of city-life normality.
Director
The worlds of Franz Kafka and Josef Fritzl collide to produce a disturbing insight into the notions of incubation as heard through the ears of someone under duress. Isolation as the process or fact of isolating or being isolated, including the social lack of contact between persons, groups, or whole societies... (Psychology) The failure of an individual to maintain contact with others or genuine communication where interaction with other species persists...
Writer
Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.
Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.
Director
Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.
Writer
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Self
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Writer
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Self
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Writer
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Self
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Writer
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Self
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Writer
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Self
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.
Director
Raw HD time-lapse sequences made for the feature film SWANDOWN re-edited and manipulated.
A deliciously eccentric, yet touching portrait of director Andrew Kotting's daughter Eden as a young woman in their tumbledown Pyrennean farmhouse. Last seen in Gallivant (1996) as a plucky kid touring the coastline of Britain with her Big Granny, Eden, now 23, is here shown painting still lifes and singing along to the radio as the seasons ebb and flow around her. Reminiscent of Stan Brakhage's Dog Star Man, this lo-fi marvel features music by Scanner's Robin Rimbaud and a range of voices from Kotting's sound archive to explore notions of nostalgia, memory and place.
Director
A deliciously eccentric, yet touching portrait of director Andrew Kotting's daughter Eden as a young woman in their tumbledown Pyrennean farmhouse. Last seen in Gallivant (1996) as a plucky kid touring the coastline of Britain with her Big Granny, Eden, now 23, is here shown painting still lifes and singing along to the radio as the seasons ebb and flow around her. Reminiscent of Stan Brakhage's Dog Star Man, this lo-fi marvel features music by Scanner's Robin Rimbaud and a range of voices from Kotting's sound archive to explore notions of nostalgia, memory and place.
Filmed over the course of a week in October 2010, the film captures the everyday life of its Joubert syndrome-suffering protagonist, taking in her daily routines of work, play, and therapy, whilst also capturing her admirable joie de vivre against the backdrop of her loving family life.
Director
"In the summer of 2010 I was artist-in-residence at Intermondes and the International Film Festival of La Rochelle. My ambition was to try and capture some of the town’s psyche and a little bit of its’ geography. To this end I was aided by the photographer Sebastian Edge, his ancient wet collodion photographic techniques, a mobile dark room and his assistant Gloria Lin. I documented the making of a series of photographs that managed to capture a sense of ‘place’. Ever alert to the spirit of ‘timesgone’ I have edited sounds and images that evoke a somewhat off-kilter reading of all things Rochellaises." – Andrew Kötting
Director
A site specific performance piece for camera, filmed on location at Beachy Head, a metaphor for our collective headlong rush over the edge when it comes to our dealings with the environment. But rather than a decisive leap off the cliff, the piece has a much slower, more erosive pace with Paris and Hill gradually sinking in a deep fissure near the cliff edge. Seemingly oblivious, they chat bravely on mixing the banal with specific personal fixations on environment. Time-lapse cinematography marks time passing, clouds and shadows moving as the women slowly descend into the earth. They are very positive, very upbeat, but their sinking is inevitable. They keep talking until they are no longer visible; the last sentence breathed out through a crack in the earth and carried off in the wind. Then they are gone without a trace, and the viewer is confronted with the precipice, which in their absence becomes the foreground rather than the background.
Director
As families enjoy the May Day sun at a funfair in a south-east London park, overlooked by the skyscrapers of the financial district, Martin Donegan reads philosophical quotes from Mao Tse Tung on the future of society.
Writer
IVUL is the extraordinary story of Alex (Jacob Auzanneau), a young man who climbs on to the roof of his house and refuses to ever come back down to earth. His actions devastate his beloved family and we watch as their world falls apart.
A dark and mysterious gardener (Tchili from This Filthy Earth) keeps watch over the family but is powerless to exorcise the curse that he feels has befallen them. Meanwhile the twin sisters (Manon and Capucine) provide light but sometimes macabre relief. The world of IVUL is a world of both fairytale and nightmare with the family manor house and forest landscape providing a compelling backdrop to the story.
Director
IVUL is the extraordinary story of Alex (Jacob Auzanneau), a young man who climbs on to the roof of his house and refuses to ever come back down to earth. His actions devastate his beloved family and we watch as their world falls apart.
A dark and mysterious gardener (Tchili from This Filthy Earth) keeps watch over the family but is powerless to exorcise the curse that he feels has befallen them. Meanwhile the twin sisters (Manon and Capucine) provide light but sometimes macabre relief. The world of IVUL is a world of both fairytale and nightmare with the family manor house and forest landscape providing a compelling backdrop to the story.
Director
Sea Swallow'd charts the choppy waters of gut feelings, capturing the flotsam and jetsam of impulse, desire and fights to the death. A film by Andrew Kotting and Curious shot as a series of lapping and flowing, irregular chapters, which borrow their titles from Moby Dick. The film is image and urge-driven, giving the viewer the feeling of beach-combing for different fragments of treasure on the shoreline. A highly experiential journey mixing 16mm B&W footage shot by filmmaker Ben Rivers with video and archival footage. Sea Swallow'd is created by Andrew Kotting and Curious Performed by Leslie Hill, Helen Paris, Rene Newby and Geoff McGarry.
Director
"The film attempts to invoke a sense of the past via the here-and-now. Drawing on my own extensive Super 8 archive and a growing body of Mini DV footage the film portrays a fragmented and nostalgic view of a part of the world that has proved vital to the very fabric of my existence. Amongst the sonic flotsam and jetsam lie littoral truths, half-truths and coastal myths. Both melancholic and absurd the ‘coastcard’ is a confusing missive from a place of hope. It is a reminisce and flawed celebration. Hastings as a place where both memories and people are pulled towards the sea in a strange state of ‘reverse evolution’." – Andrew Kötting
Beginning in the pitch-black early hours of a September morning, the film follows a 14hr 17min cross-channel relay swim that I made along with my brothers Mark and Joey, a friend Ian Dale, the actor and comedian Sean Lock (Smart Alek and co-writer of This Filthy Earth) and the actor Tchili (This Filthy Earth and Ivul). The attempt was witnessed by the writer and wordsmith Iain Sinclair and is narrated by Eden Kötting. The film came about in 2006 (the 10 year anniversary since the release of the original film Gallivant) and the chance discovery of a boat called The Gallivant, which offered to shadow us across the Channel as a support vessel. Flotsam and jetsam in the form of conversations, field recordings and the voices of Gladys and Eden from the original film invade. The film shows scenes of explicit vomiting.
Director
Beginning in the pitch-black early hours of a September morning, the film follows a 14hr 17min cross-channel relay swim that I made along with my brothers Mark and Joey, a friend Ian Dale, the actor and comedian Sean Lock (Smart Alek and co-writer of This Filthy Earth) and the actor Tchili (This Filthy Earth and Ivul). The attempt was witnessed by the writer and wordsmith Iain Sinclair and is narrated by Eden Kötting. The film came about in 2006 (the 10 year anniversary since the release of the original film Gallivant) and the chance discovery of a boat called The Gallivant, which offered to shadow us across the Channel as a support vessel. Flotsam and jetsam in the form of conversations, field recordings and the voices of Gladys and Eden from the original film invade. The film shows scenes of explicit vomiting.
Director
Andrew Kötting’s short film ‘That’s the Way to Do It’ is based on Farquhar’s life-size Punch & Judy performance The Cabinet of Horribly Violent Glove Puppets. This is a feminist work. It is not sanitised. Both Judy and the baby die.
Writer
The film was made in one take over a period of four hours, using a manual time-lapse facility on a Sony PD170 DV Camera. It was shot up in the Faroe Islands whilst looking down onto the small village of Tjornuvík. The voice over is an ode to Andrew Kötting's dead father, which was written and recorded earlier in the morning in one of the small Faroese crofts that the camera looks down upon.
Director
The film was made in one take over a period of four hours, using a manual time-lapse facility on a Sony PD170 DV Camera. It was shot up in the Faroe Islands whilst looking down onto the small village of Tjornuvík. The voice over is an ode to Andrew Kötting's dead father, which was written and recorded earlier in the morning in one of the small Faroese crofts that the camera looks down upon.
Himself
In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.
Editor
In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.
Writer
In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.
Director
In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.
Director
Director
Inspired by the overwhelming force of 2G and the ensuing befuddlement, the work might be read as a tongue-in-cheek homage to Yuri Gagarin, the people of Star City and the pioneering artists who attempted to create work on a plunging aircraft. Kötting provides an insight into the madness of experimentation in the extreme environment of a zero gravity flight on a Russian military base, where Gagarin’s face smiles down at you from almost every building. A wobbly B-film rocket follows a similar trajectory to the parabolic flight path, reaching for the stars before plummeting nose cone first back into the hard Earth, echoing the Russian’s more brutal approach to re-entry landings than the NASA ocean splashdowns. The rocket’s flight links a kaleidoscope of grainy archive images from Moscow, Star City and the parabolic flight on which Kotting participated. The film was also commissioned by The Cornerhouse for projection on a large outdoor screen in Manchester in 2005.
Director
"This is a five minute piece about me, the twit gone drank : a vehicle for the dissemination of my own confusion and pomp, full of the irony : a centreless web of desires and beliefs, dim : all muddleup. I find myself confabulating more and more and it is the me that makes me sick and convinces the self that severe psychotic disturbance, intellectual perversion and the lookatmesyndome has swept me off of my stupid little feet. Dysphonic, insecure and wearing only dirty pajama bottoms. (oh dear what can the matter be.)" – Andrew Kötting
Director
A documentary examining the causes and effects of Joubert syndrome – a rare hereditary brain disorder, which affects both the motor and intellectual development of its sufferers.
Sound
"Whilst making Mapping Perception I discovered this ‘found footage’, originating from somewhere in France and felt compelled to incorporating it into a piece of work. There is a direct correlation with my interests in the ‘normal’ and the ‘abnormal’, the ‘valid’ and the ‘invalid’, the ‘worthy’ and the ‘unworthy’ that has informed a lot of my work." – Andrew Kötting
Cinematography
"Whilst making Mapping Perception I discovered this ‘found footage’, originating from somewhere in France and felt compelled to incorporating it into a piece of work. There is a direct correlation with my interests in the ‘normal’ and the ‘abnormal’, the ‘valid’ and the ‘invalid’, the ‘worthy’ and the ‘unworthy’ that has informed a lot of my work." – Andrew Kötting
Editor
"Whilst making Mapping Perception I discovered this ‘found footage’, originating from somewhere in France and felt compelled to incorporating it into a piece of work. There is a direct correlation with my interests in the ‘normal’ and the ‘abnormal’, the ‘valid’ and the ‘invalid’, the ‘worthy’ and the ‘unworthy’ that has informed a lot of my work." – Andrew Kötting
Writer
"Whilst making Mapping Perception I discovered this ‘found footage’, originating from somewhere in France and felt compelled to incorporating it into a piece of work. There is a direct correlation with my interests in the ‘normal’ and the ‘abnormal’, the ‘valid’ and the ‘invalid’, the ‘worthy’ and the ‘unworthy’ that has informed a lot of my work." – Andrew Kötting
Director
"Whilst making Mapping Perception I discovered this ‘found footage’, originating from somewhere in France and felt compelled to incorporating it into a piece of work. There is a direct correlation with my interests in the ‘normal’ and the ‘abnormal’, the ‘valid’ and the ‘invalid’, the ‘worthy’ and the ‘unworthy’ that has informed a lot of my work." – Andrew Kötting
Director
Three monitors played Mini DV footage that had been edited specifically for the Installation. Broken down into three elements: Landscape, People and Animals, it was then edited into three separate vhs time lines and presented on three separate monitors within the Gallery space.
Writer
The tragic story of two sisters whose lives are disrupted by two men. Amidst a landscape of rural hardship and a community consumed with superstition, events unfurl which threaten their sibling bond.
Director
The tragic story of two sisters whose lives are disrupted by two men. Amidst a landscape of rural hardship and a community consumed with superstition, events unfurl which threaten their sibling bond.
Director
Super 8 footage collected over many years of visiting the French holiday resort of Lourdes is reduced to just one minute as a commission for Dazed and Confused TV. An homage to Bernadette Soubirous, deemed insane by the church until she got around to listing her various apparitions.
Director
‘A few drops of pond water rich in bottom sediments, seen under a microscope can quickly confirm the existence of another world. This is the Kingdom of Protista and like all living things it needs to try to suck itself off.’
Taxi driver
The last day of creation. A stranger arrives in London. No one knows who he is or where he has come from. By the time he leaves, the entire universe will have been erased.
Director
"This film, like everything else nowadays, is magic. I don’t know where he originated from but he’s been sound in our family for years and years and years."
Director Andrew Kotting, his 90 year old grandmother, and his 9 year old daughter take a campervan trip around the coast of Great Britain. The result is a funny and touching road movie.
Director
Director Andrew Kotting, his 90 year old grandmother, and his 9 year old daughter take a campervan trip around the coast of Great Britain. The result is a funny and touching road movie.
Director
"Developed and reduced from the treatment that I had already written for GALLIVANT (THE PILOT), this is a ‘psychogeographical’ derive conducted along the high ways, by ways and waterways of the River Thames. It begins at Southend-on-Sea and ends up by the Houses of Parliament next to Westminster Bridge." – Andrew Kötting
Director
This was funded by the Arts Council as a test or pilot for their ‘Long Format Experimenta’ scheme. Although short-listed it was not commissioned as a feature-length project. Andrew Kötting then worked with Ben Woolford of Tall Stories on the idea of including Gladys and Eden as central characters in a version that was eventually developed and realised by the BFI.
Director
Taking as its departure point the 1993 opening of the Channel Tunnel, Là Bas is a playful burlesque on cultural difference, eccentricity and passion. Using different locations, Kötting knits together an imaginary tunnel, with tickets sold like a seaside attraction, through which one walks between England and France (the interior shots of the tunnel are of the Greenwich foot tunnel), and which is subject to random and sudden closure like many other British forms of transport.
Writer
In 1972 a family are on their way for a holiday in Essex. The parents argue and the son swears, making obscene gestures. So the father throws him out, drives on and crashes the car. The grandmother flags down a car with three men in it. Too late she recognises one as the man who shot a neighbour...
Director
In 1972 a family are on their way for a holiday in Essex. The parents argue and the son swears, making obscene gestures. So the father throws him out, drives on and crashes the car. The grandmother flags down a car with three men in it. Too late she recognises one as the man who shot a neighbour...
Director
An ironic yet reverential view of a Gypsy horse fair in the 'wilds' of the English countryside
Director
Shot on the Island of Jura and in and around the French Pyrenees. The film is a foray into the notions of performance-travelogue-essay, it meanders hither and dither through the landscape. A DAT recorder catches fragments of the great out-of-doors which then becomes back drop to Heilco Van der Ploeug’s beautiful rendition of the folk song: ‘I wish I was a little birdy’.
Sound
Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".
Editor
Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".
Cinematography
Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".
Writer
Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".
Director
Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".
Director
Various characters appear stranded on a beach buried under large piles of their own memorabilia and self-importance.
Director
Part home-movie, part diary, evoking the disembodied voices of the hoi polloi, manifest as an animistic presence within the landscape.
Director
1989 short film by Andrew Kötting
Director
"A post punk piece of pagan sensibility, complete with beastiality buggery and boundless energy. Maniacal filmmaking at its best. He takes his horse with him everywhere." Andrew Kötting
Cinematography
Made for a piece of music that David Burnand had given to Andrew Kötting. He had sent a copy on cassette to Miles Davis in the hope that he might hear back from him. He never did. Remixed for the film with additional voices on the director's 4 track “Portastudio”.
Editor
Made for a piece of music that David Burnand had given to Andrew Kötting. He had sent a copy on cassette to Miles Davis in the hope that he might hear back from him. He never did. Remixed for the film with additional voices on the director's 4 track “Portastudio”.
Writer
Made for a piece of music that David Burnand had given to Andrew Kötting. He had sent a copy on cassette to Miles Davis in the hope that he might hear back from him. He never did. Remixed for the film with additional voices on the director's 4 track “Portastudio”.
Director
Made for a piece of music that David Burnand had given to Andrew Kötting. He had sent a copy on cassette to Miles Davis in the hope that he might hear back from him. He never did. Remixed for the film with additional voices on the director's 4 track “Portastudio”.
Editor
Made with a standard 8 Bolex camera and possibly Andrew Kötting’s first film. Shot alongside a wall in Mottingham with Danny Baker whilst they were still students at Ravensbourne College of Art in Elmstead Woods. Music by Being Karnal, Kötting’s music band with Heilco Van der Ploeug.
Cinematography
Made with a standard 8 Bolex camera and possibly Andrew Kötting’s first film. Shot alongside a wall in Mottingham with Danny Baker whilst they were still students at Ravensbourne College of Art in Elmstead Woods. Music by Being Karnal, Kötting’s music band with Heilco Van der Ploeug.
Writer
Made with a standard 8 Bolex camera and possibly Andrew Kötting’s first film. Shot alongside a wall in Mottingham with Danny Baker whilst they were still students at Ravensbourne College of Art in Elmstead Woods. Music by Being Karnal, Kötting’s music band with Heilco Van der Ploeug.
Director
Made with a standard 8 Bolex camera and possibly Andrew Kötting’s first film. Shot alongside a wall in Mottingham with Danny Baker whilst they were still students at Ravensbourne College of Art in Elmstead Woods. Music by Being Karnal, Kötting’s music band with Heilco Van der Ploeug.
