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  • Working Knowledge of Ritual
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part of
double bill #31

Working Knowledge of Ritual

Hannan Jones, Australia, 2023, 4’

Amongst sunwashed images of a garden in bloom, text fragments appear onscreen. Made in an almost ghostly correspondence with the artist’s deceased grandfather, Working Knowledge of Ritual embodies the spirit with which he moved through the world. For Hannan Jones, their relationship is foundational to who she is. The work acts both as a dedication and as a way to materialise the teachings of a loved one who no longer inhabits this earthly plane.

In channeling the spirit of her grandfather, Jones honours the way he lived his life—pouring love and devotion into his garden—the place he believed he would return to after his passing. The esoteric writings are a means of addressing a higher power—ways of making sense of how we move through life and of the finite nature of our time together.

Myriam Mouflih

Bio Hannan Jones

Hannan Jones is a research-led artist; she delves into psychogeography in response to cultural and social migration, unraveling both personal and collective histories. Her practice exists at the intersections of sound, sculpture, installation, and moving image. She holds a BA in Sculpture and Environmental Art from the Glasgow School of Art, where she is now a visiting lecturer (2023–present).

Credits

Script
Leonard Jones
Editor
Hannan Jones
Sound editor
Hannan Jones, Sharron Lesley Jones
502
experimental poetry

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Swollen Stigma

Sarah Pucill, United Kingdom, 1998, 21’

Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

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Scum Mutation

Ov, France, 2020, 10’

In this cyberpunk animation, four creatures wobble like marionettes in a black void. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back.

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Old Child

Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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Pirate Boys

Pol Merchan, Germany, 2018, 13’

Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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Downside Up

Tony Hill, United Kingdom, 1984, 18’

With a single camera movement, this film explores humankind’s relationship to the ground. The viewpoint continuously changes. Places, objects, people, and events come in and out of focus. These observations gradually speed up and reveal a double-sided ground, flipping like a tossed coin, which then slows again to oscillate around the Earth’s edge.

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Blow Up My Town

Chantal Akerman, Belgium, 1968, 13’

A young woman, played by Chantal Akerman herself, enters her flat in Brussels and begins a household routine that gradually degenerates. Parodying the everyday, she mops the floor, polishes her shoes, and sticks tape over the cracks in the door, thereby giving domestic life an explosive twist.

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Empty House

Gina Kim, South Korea, USA, 1999, 24’

This video diary depicts a young woman’s flat, the fears and fantasies about her body plainly revealed as she wakes up with a bloated face, full of self-loathing after a night of compulsive over-eating.

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À l’usage des vivants

Pauline Fonsny, Belgium, 2019, 27’

In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

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