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Thought and Image: Processes of Reciprocity

Louis Henderson (b. Norwich, 1983) is a Paris based filmmaker who works collaboratively to address the global condition as it is shaped by racist capitalism and the residue of the European colonial project.  An archaeological impulse animates his film projects that draw from literature, formal archives,  as well as the documents and detritus of the everyday to form speculative essays of images, words and sounds.

Thought & Image:  Processes of Reciprocity

Friday 25 May | 15.00-17.30 | The Birkbeck Cinema, 43 Gordon Square, Birkbeck, University of London (map)

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Louis Henderson (b. Norwich, 1983) is a UK/France based filmmaker who works collaboratively to address the global condition as it is shaped by racist capitalism and the residue of the European colonial project.  An archaeological impulse animates his film projects that draw from literature, formal archives,  as well as the documents and detritus of the everyday to form speculative essays of images, words and sounds.  His films have featured at such places as The Rotterdam International Film Festival, Doc Lisboa, CPH: DOX, New York Film Festival, The Kiev Biennial, The Centre Pompidou, SAVVY Contemporary, The Gene Siskell Film Centre, Gasworks and the Tate Britain.  His work is in the public collection of the Centre National des Arts Plastiques, France and is distributed by LUX (UK) and Video Data Bank (USA)

Louis will discuss his current solo exhibition at HOME in Manchester, Overtures, which expands on the research for his current feature length film of the same name.  Based on a critical re-reading of the Haitian revolution, the project draws on the translation of Edouard Glissant’s play, Monsieur Toussaint, as well as activities that emerged from a collective of artists from Haiti, France, and the UK.  Beginning in locations in France, the film travels from the National Archives to the frozen stratigraphic landscapes of the Jura, through its rivers and waterfalls into the sea that connects the old world to the new, eventually arriving in Haiti.  The final film of four in the exhibition moves between the post-revolutionary Haitian landscape and the collective of young actors rehearsing the play, revealing the relation between errancy, collectivity, and what Kodwo Eshun terms ‘ciné-marronage,’.

Future dates in the series


The training is open to:

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Do you consent to being photographed and/or filmed during the event for purposes of promoting this workshop or in evaluation and reporting?*
*Images may be used on institutional websites, social media, print materials and learning resources. Parts of the event will also be sound recorded for a podcast. Consent for inclusion in the podcast will be sought separately.