John Smith

‘Covid Messages’ is a video in six parts, based around broadcasts of Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to eliminate the virus through the use of magic spells and rituals. While the pandemic spreads and the death toll rises, the Prime Minister makes repeated errors of judgement. Exasperated by his many mistakes, the spirits of the dead rise up and intervene.

Filmed from the artist’s window during the first English lockdown, ‘Citadel’ combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline.

Filmed from the artist’s window during the first English lockdown, ‘Citadel’ combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline.

Filmed from the artist’s window during the first English lockdown, ‘Citadel’ combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline.

Filmed from the artist’s window during the first English lockdown, ‘Citadel’ combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline.

Filmed from the artist’s window during the first English lockdown, ‘Citadel’ combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline.

A larger than life tribute to Prince Philip, His Royal Highness the Duke of Edinburgh, recorded in 2002 and completed on the day of his death, April 9th 2021.

John Smith stands in front of a mirror, singing “Happy Birthday” in a minor key, like a funeral dirge, twice, as he washes his hands.

Библейская интерпретация инструкций по безопасности полетов.

Библейская интерпретация инструкций по безопасности полетов.

Библейская интерпретация инструкций по безопасности полетов.

Библейская интерпретация инструкций по безопасности полетов.

Библейская интерпретация инструкций по безопасности полетов.

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.

1 декабря 1990 года, на глазах у всех мировых СМИ, строитель Грэхем Фагг из Дувра пробрался через дыру в толще известняка в 40 метрах ниже морского дна пролива Ла-Манш, пожал руку Филиппу Козетте из Кале и крикнул: «Виве-ла-Франс!». 23 июня 2016 года Британия проголосовала за выход из Европейского Союза. Фильм «Песня Европы» - это подводный гимн в честь связи Великобритании с большой землей.

1 декабря 1990 года, на глазах у всех мировых СМИ, строитель Грэхем Фагг из Дувра пробрался через дыру в толще известняка в 40 метрах ниже морского дна пролива Ла-Манш, пожал руку Филиппу Козетте из Кале и крикнул: «Виве-ла-Франс!». 23 июня 2016 года Британия проголосовала за выход из Европейского Союза. Фильм «Песня Европы» - это подводный гимн в честь связи Великобритании с большой землей.

1 декабря 1990 года, на глазах у всех мировых СМИ, строитель Грэхем Фагг из Дувра пробрался через дыру в толще известняка в 40 метрах ниже морского дна пролива Ла-Манш, пожал руку Филиппу Козетте из Кале и крикнул: «Виве-ла-Франс!». 23 июня 2016 года Британия проголосовала за выход из Европейского Союза. Фильм «Песня Европы» - это подводный гимн в честь связи Великобритании с большой землей.

1 декабря 1990 года, на глазах у всех мировых СМИ, строитель Грэхем Фагг из Дувра пробрался через дыру в толще известняка в 40 метрах ниже морского дна пролива Ла-Манш, пожал руку Филиппу Козетте из Кале и крикнул: «Виве-ла-Франс!». 23 июня 2016 года Британия проголосовала за выход из Европейского Союза. Фильм «Песня Европы» - это подводный гимн в честь связи Великобритании с большой землей.

1 декабря 1990 года, на глазах у всех мировых СМИ, строитель Грэхем Фагг из Дувра пробрался через дыру в толще известняка в 40 метрах ниже морского дна пролива Ла-Манш, пожал руку Филиппу Козетте из Кале и крикнул: «Виве-ла-Франс!». 23 июня 2016 года Британия проголосовала за выход из Европейского Союза. Фильм «Песня Европы» - это подводный гимн в честь связи Великобритании с большой землей.

“If anyone slaps you on the right cheek, turn to them the other cheek also.” Matthew 5:38-40

Recorded from a smartphone screen, its translation app running on the wrong settings and struggling to interpret North London street signs in French and convert them to English, Steve Hates Fish turns errors into unintentional poetry.

On the 23rd of June 2016 Britain voted to leave the European Union. Who Are We? is a re-working of material from a BBC television debate transmitted a few weeks earlier.”The most provocative of the bunch is John Smith’s Who Are We?. Leading up to the Brexit vote, BBC’s Question Time became ever more vicious and confrontational. Who Are We? is a manipulation of one of those broadcasts, with David Dimbleby prompting “you, sir, up there on the far right” repeatedly.“Get our identity back – vote leave!” one audience member shouts, while another declares himself a veteran, followed by a swift manipulated cut to rapturous applause. It’s a heavily edited and remixed edition of Question Time, but by highlighting those in the audience with attitudes ranging from nationalistic to xenophobic, Smith’s short film shows the now normalised extremism within our society and our political discourse.” Scott Wilson, Common Space magazine, April 2017

Reflecting on past political problems and the state of the world as it was provides no tools or means for envisioning the future.

The only time I’ve visited a communist country was when I went to Poland in 1980, not long after Margaret Thatcher’s Conservative government was first elected in Britain. I first visited the former East Germany in 1997, eight years after the fall of the Berlin Wall and a few months after Tony Blair’s ‘New Labour’ government was elected. Recalling these experiences many years later, White Hole questions our imaginings of life in other places, times and political systems, mirroring its narrative through its form.

Dad’s Stick features three well-used objects that were shown to the artist by his father shortly before he died. Two of these were so steeped in history that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely. Focusing on these ambiguous artifacts and events relating to their history, Dad's Stick creates a dialogue between abstraction and literal meaning, exploring the contradictions of memory to hint at the character of “a perfectionist with a steady hand”.

Waiting by the sea with his camera ready for action, the artist complains about the weather and attempts to describe his intentions and working methods. Soft Work is a film about the making of a film, where the viewer can only imagine what that film might be. It was made spontaneously during the production of Horizon (Five Pounds a Belgian), a video installation commissioned by Turner Contemporary, Margate

The discovery of a VHS tape of the artist's films on eBay triggers obsessive speculation about the seller's identity.

Filmmaker John Smith revisits the original locations of his seminal experimental film The Girl Chewing Gum (1976) after 35 years, using superimposition to compare now to then.

A view across the border in Nicosia, the divided capital of Cyprus. The camera looks over the rooftops of the Greek Cypriot south to the mountains of the Turkish Republic in the north, where a display of nationalism is enhanced by filmic means. Moving between macro and micro perspectives, Flag Mountain sets dramatic spectacle against everyday life as the inhabitants of both sides of the city go about their daily business.

Moving from one hotel in Bethlehem to another in East Jerusalem, the filmmaker encounters a series of problems involving a ceiling, a video camera and the Israeli occupation of Palestine.

Hamas have just won the Palestinian elections and a chocolate bar in a Rotterdam hotel room eventually reminds the filmmaker that there are more important things going on in the world outside. Exactly one year later he returns to the same city and checks in at a very different hotel.

The filmmaker returns to the city where he made the first video in the series [Frozen War] and looks back at the events of the past six years.

The perception of an Anglo-American hotel room is coloured by new revelations about ‘The War on Terror’ and ‘The Special Relationship’ that exists between Britain and the USA.

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time.

While the Iraq war continues, a day’s sightseeing and the features of a German hotel provoke a stream of thoughts about events large and small.

This critically acclaimed DVD contains 16 of the best classic and award winning British short films and delivers a snapshot of British cinema past and present. It includes films from Britain's most exciting new talent alongside early shorts from it's most successful filmmakers' amongst them Chris Nolan (Memento, Insomnia, Batman Begins), Ridley Scott (Gladiator, Alien), Mike Leigh (Secrets and Lies) and Stephen Daldry (Billy Elliot, The Hours). 01 About a Girl - Brian Percival 02 Boy & Bicycle - Ridley Scott 03 Dear Phone - Peter Greenaway 04 Doodlebug - Christopher Nolan 05 Eight - Stephen Daldry 06 Gasman - Lynne Ramsay 07 Girl Chewing Gum - John Smith 08 Home - Morag McKinnon 09 Joyride - Jim Gillespie 10 Inside Out - Tom & Charles Guard 11 Je T’aime John Wayne - Toby Macdonald 12 The Sheep Thief - Asif Kapadia 13 The Short & Curlies - Mike Leigh 14 Telling Lies - Simon Ellis 15 UK Images - Martin Parr 16 Who’s My Favourite Girl? - Adrian J. McDowall

An exploration of the ambiguities of documentary photographs which develops ideas triggered by a German pun. Worst Case Scenario starts out as a series of still photographs depicting daily life on a Viennese street corner. The film re-orders and manipulates a selection of these images, and as it progresses the static world slowly and subtly comes to life. As Sigmund Freud casts his long shadow across the city, an increasingly improbable chain of events and relationships starts to emerge.

A disorientating experience while attempting to watch the TV news in an Irish hotel room triggers a spontaneous response to the bombing of Afghanistan.

Lost Sound documents fragments of discarded audio tape found on the streets of a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative and musical connections between images and sounds linked by the random discovery of the tape samples.

A portrait of the artist as a not so young man. The film-maker attempts to enter the digital age by making a new video version of his 1978 film 7P.

A portrait of the artist as a not so young man. The film-maker attempts to enter the digital age by making a new video version of his 1978 film 7P.

A film by John Smith and Ian Bourn

A personal interpretation of the poetry and letters of T S Eliot which explores the ambiguities of language and space in a scenario built around an anagram.

A short film featuring the voices of those affected when the M11 Link Road in East London was built, accompanied by scenes and sounds of demolition.

Home Suite, Smith’s first video work, is a close-up journey through a domestic landscape and a journey through memory, containing only three cuts over the course of its ninety-six minutes duration. Playing upon ambiguity and the unseen, the tape uses physical details of the space to trigger fragmented verbal descriptions of associated memories.

Home Suite, Smith’s first video work, is a close-up journey through a domestic landscape and a journey through memory, containing only three cuts over the course of its ninety-six minutes duration. Playing upon ambiguity and the unseen, the tape uses physical details of the space to trigger fragmented verbal descriptions of associated memories.

“London artist John Smith uses light-hearted humour to explore theoretical concerns - Gargantuan, for instance, is both pleasantly silly and acutely conscious of how imagery depends entirely on its framing. A voice-over intones the words ‘huge’ and ‘strapping’ as a lizard almost fills the screen, then ‘medium’ as the camera zooms out, then ‘tiny’, and finally ‘minute’, a pun on the film’s running time.” Fred Camper, Chicago Reader 2001

Experimental documentary that presents a discussion of the manufacture of glass as a way to explore memory and transformation. Filled with Smith’s signature witty wordplay and elegant visual punning, Slow Glass also quietly ponders weightier issues of urban transformation and the value placed on craftsmanship.

A man finds himself haunted by a mysterious black tower in London that appears to follow him wherever he goes.

‘Dungeness’ was originally made for ‘Dungeness: The Desert in the Garden’, a multi-media theatre production directed by Graeme Miller. By selectively framing and alternating monochrome fields within the Dungeness landscape the film creates a series of abstract rhythms. Incidentally, and unbeknown to myself until years after filming, ‘Dungeness’ features a guest appearance from Derek Jarman’s then recently acquired Prospect Cottage.

A man finds himself haunted by a mysterious black tower in London that appears to follow him wherever he goes.

A film about haircuts, clothes and image/sound relationships. - J.S.

Many of my films involve humour, but unlike the earlier work Shepherd’s Delight attempts to confront the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. Hopefully, this strategy undermines both the authority of the ‘serious’ statements and any predictable effect of the ‘jokes’. John Smith, 1984

'Shine So Hard' is a rare Echo and the Bunnymen promotional concert film, taking place during their 1981 'Camo Tour'.

A reworking of material from the 16mm film ‘Blue Bathroom’, a distillation of ideas concerning the tension between representation and materiality. By superimposing and alternating identical framings of two windows filmed by day and by night the film uses their positive/negative aspect to construct and break down representational images and sounds.

16mm experimental film of a desk fan.

Artist John Smith tells stories about tower block life, editing in bold, unconventional fashion, cutting into the material and highlighting the components and conventions of the film form - yet an intimate portrait of the block's inhabitants still emerges.

In the mid 1970s the EMI company were preparing to market the newly developed video disc. Being uncertain as to what content would be appropriate, and looking for innovative ideas, EMI commissioned four postgraduate film students, including myself, to make short films for market research purposes. As the disc would be expensive to produce and would necessarily retail for a high price, EMI were looking for content that viewers would want to watch on multiple occasions, bizarrely setting the brief that the films had to be based on the Guinness Book of Records. I decided to make a multi-layered piece that was so dense that multiple viewings would be required in order to assimilate all of its information.

An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.

At Stamford Road in Dalston Junction of east London, the camera follows pedestrians, cars and birds while a narrator, who appears to be the director behind the camera, seems to instruct the objects.

Rapid cutting between identically framed portrait photographs creates composite faces and various illusions of movement. The film features photographs of students and staff at North-East London Polytechnic, including Tim Bruce, Ian Kerr, Lis Rhodes, Guy Sherwin and myself.

'Associations' sets language against itself by using the ambiguities inherent in the English language. Images from magazines and color supplements accompany a voice-over reading from the book 'Word Associations and Linguistic Theory' by academic linguistic Herbert H. Clark. Combining a wry sense of humor with word/visual games and puns, Smith explores the boundaries of cinematic montage by combining elements together and against each other in order to destroy and create multiple meanings at the same time.

John Smith’s Leading Light evolves a sense of screen depth and surface through the simple agency of light. The film is shot in a room over a period of a day and records the changes in light through the single window. The image is controlled through manipulation of aperture, of shutter release, of lens, but the effect is more casual than determined and the spectator is aware primarily of the determining nature of following sunlight.

Directed by John Smith

Super 8 footage of a moving figure (Lis Rhodes), broken down into still frames and reanimated in superimposed layers. Soundtrack by Peter Cusack.

Abstract animation punctuated by found footage, cut to the song White Light / White Heat by The Velvet Underground.