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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

Hannah 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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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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Because We Are Visual

Gerard-Jan Claes, Olivia Rochette, Belgium, 2010, 47’

By means of visual material gathered from online sources, filmmakers Olivia Rochette and Gerard-Jan Claes create a unique poetic realm in which thoughts, fears, desires, and worries are shared via webcam, and merge together.

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Loveboard

Felipe Casanova, Belgium, Switzerland, 2023, 17’

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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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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Snow Edge

Juan Francisco Rodríguez, Colombia, 2021, 15’

The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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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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Following the Object to Its Logical Beginning

Lynne Sachs, USA, 1987, 7’

Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

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Yarokamena

Andrés Jurado, Colombia, Portugal, 2022, 21’

In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.

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