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Working collectively enables artists to realise ambitious film projects with complex projection set ups, such as multi-screen projections.

Although most 'expanded' film pieces created during the early 1970s were distinct to each artist, the realisation of Malcolm Le Grice's mix of performance, shadow play and projection in Horror Film 2 (1972), for example, or Gill Eatherley's multi-media Sicher Heits (1973) depended on the help of fellow artists. The artists who formed the collectively titled Housewatch produced an array of ambitious site specific projection events during the 1980s, taking cinema out onto the streets by screening onto rows of terraced houses with events such as Cinematic Architecture for Pedestrians (1985). Collectives such as Exploding Cinema and Omsk continue to present programmes of artists' film and video in unusual and unexpected spaces.

Cinematic Architecture
for Pedestrians by Ian Bourn, 1985

Cinematic Architecture for the Pedestrian

In 1985 Ian Bourn invited artists to use the facade of his house as a site for back-projecting their films.

Horror Film 2 by Malcolm Le Grice

Horror Film 2

3D shadow performance with skeleton.2.

Still from Contra Flow by the
Housewatch group

Contra Flow

Organized as a week-long multi-media event, Contra-flow sees the HOUSEWATCH group pushing 18 dilapidated cars through the pedestrian precinct and office buildings of Exchange Square near Liverpool Street.

Sicher Heits by Gill Eatherley

Sicher Heits

Eatherley's title derives from the words printed on the sprocket edges of the found-footage film fragment used as the basis of the installation.

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