16th May 2026, 10am–17th May 2026, 4pm
To accompany Les Krims: Fictcryptokrimsographs, Graces Mews presented a weekend programme exploring performance across photography and film.
Bringing together key works from the 70s, the film programme situates Krims’ practice within a broader field of avant-garde, structural, and surrealist filmmaking. As Krims pushes photography towards performance, his work parallels filmmakers such as Hollis Frampton, Martha Rosler, Joyce Wieland, and Owen Land, who similarly interrogate the camera as a site of construction rather than documentation. Across these works, meaning is unsettled as images reveal their own staging, artifice, and internal logic.
Programme
- Meat Joy, Carolee Schneemann, 1964
- Organic Honey’s Visual Telepathy, Joan Jonas, 1972
- Cat Food, Joyce Wieland, 1969
- What’s Wrong with This Picture? Pt 1, Owen Land, 1972
- Meshes of the Afternoon, Maya Deren, 1943
- A and B in Ontario, Joyce Wieland and Hollis Frampton, 1984
- Semiotics of the Kitchen, Martha Rosler, 1974
- Catch, Vincent Grenier, 1975
- Test Patterns, Lynn Hershman Leeson, 1979
- Hold Me While I’m Naked, George Kuchar, 1966
- Technology/Transformation: Wonder Woman, Dara Birnbaum, 1978
- She Puppet, Peggy Ahwesh, 2003
- Seduction of a Cyborg, Lynn Hershman Leeson, 1994