London Overground with Iain Sinclair – watch the full documentary online

London Overground retraces legendary London writer Iain Sinclair’s journey with film-maker Andrew Kötting around the Overground railway for the book of the same name. Directed Shot and edited by John Rogers.

The film follows Sinclair reprising the walk over the course of a year rather than the day’s walk of the book. Iain is once again joined by Kötting in parts, along with Chris Petit (director of Radio On) and Bill Parry-Davies on the 35-mile circular yomp.

London Overground charts Sinclair walking through this changing landscape from his home in Hackney, through Shoreditch down to Wapping where he revisits his earlier book Downriver. In the company of Andrew Kötting once more they ramble in both senses from the Thames foreshore at Rotherhithe through Canada Water, Surrey Quays to Queens Road Peckham. At Willesden Junction he is joined by film-maker and author Chris Petit as they survey the developments around Old Oak Common. Sinclair and Kötting walk through the night to reprise their original yomp in reverse. Dalston is surveyed with local campaigner Bill Parry-Davies logging what has been lost in the rampant redevelopment and checking in on cherished corners of the area. We meet noir novelist Cathi Unsworth at Shepherds Bush/Westfield and artist Marcia Farquhar in Kentish Town.

What emerges from the film is a snapshot of the city in transition and also a unique insight into the most important chronicler of contemporary Londoner. ‘The city’ Sinclair says at one point, ‘is a series of psychic mappings that reinforce our own identity’.

Featuring original music by Standard Planets, Bill and Adam Parry-Davis, and Free Seed Music.

London Overground premiered at the East End Film Festival with a screening at the Rio Cinema, Dalston – 2nd July 2016

Unearthings: On and Off Watling Street with Iain Sinclair and Andrew Kötting

Just under a year after the premiere of our film, London Overground, Iain Sinclair mentioned joining him out on the road again with my camera. This time he was walking a section of  Watling Street, the Roman road said to have much older origins, in the company of the great film-maker Andrew Kötting, from Canterbury to London. I joined them one morning along Shooters Hill Road in South London where they were accompanied by artist Anne Caron-Delion. This first walk followed the road to Westminster (another branch goes across London Bridge to the City) – passing over Blackheath, through Deptford (the ‘deep ford’), New Cross, Peckham, Elephant and Castle, along the way.

Enroute Iain had mentioned a second passage that related to Watling Street but branching off from Shooters Hill to take in the Shrewsbury burial mound and follow cult author Steve Moore’s ‘psychic circuit’ down to Woolwich. This brings Alan Moore into the story and led to a second walk. Steve Moore had been Alan Moore’s mentor, teaching him both the arts of magick and comic book writing. Alan had celebrated Steve’s territory of Shooters Hill in an essay published in London, City of Disappearances, entitled Unearthing. This seemed like the perfect title to appropriate as the title for the film.

 

The film that I made from the two walks ‘on and off’ Watling Street with Iain Sinclair was premiered at an event at Kino-Teatr in St Leonards-on-Sea last October, where Andrew Kötting also premiered his film of the whole walk, A WALK BACK TO THE LAST LONDON BY WAY OF WATLING STREET.

The event was called, Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.

“To pull away from its gravity, he sets off on a Watling Street pilgrimage with long term collaborators (and filmmakers) Andrew Kötting and John Rogers.
Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.
The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.”

Kino-Teatr John Rogers Iain Sinclair Andrew Kotting

The video above captures the discussion with Iain Sinclair and Andrew Kötting after the screenings.

Edith Walks on DVD – Andrew Kötting, Alan Moore, Iain Sinclair, Jem Finer, Claudia Barton

edith walks dvd

I’ve been incredibly fortunate to have a number of pinch myself moments in my life (chatting about Liverpool FC with childhood hero Ian Rush was one), but having the opportunity to participate at the beginning of the journey and shoot some footage for this magical film, Edith Walks by visionary film-maker Andrew Kötting was certainly one of them. The performance event this summer at the East End Film Festival featuring the cast of this film – with Andrew, Iain Sinclair, Claudia Barton, Jem Finer and David Aylward was one of the highlights of the year. Now you can take the journey home on DVD.

Edith Walks Andrew Kotting Iain Sinclair

“Following the Director’s bestselling Swandown film (2012), Edith Walks is a 60 minute 66 second feature film inspired by a walk from Waltham Abbey in Essex via Battle Abbey to St Leonards-on-Sea, East Sussex, in Southern England. The film documents a pilgrimage in memory of Edith Swan Neck. Bits of King Harold’s body were brought to Waltham for burial near the High Altar after the Battle of Hastings in 1066 and his hand fast wife Edith Swan Neck is seen cradling him in a remarkable sculpture at Grosvenor Gardens on the sea front in St Leonards. The film re-connects the lovers after 950 years of separation. The 108 mile journey, as the crow flies, allows the audience to reflect upon all things Edith. A conversation in Northampton between Alan Moore, Iain Sinclair and Edith Swan Neck is also a key element to the unfolding ‘story’.
With images shot using digital super-8 iPhones and sound recorded using a specially constructed music box with a boom microphone the film unfolds chronologically but in a completely unpredictable way. Music by Jem Finer with David Aylward, Claudia Barton and Andrew Kötting. The numerous encounters and impromptu performances en route are proof, as if needed, that the angels of happenstance were to looking down upon the troop, with EDITH as their hallucination. Starring David Aylward, Claudia Barton, Anonymous Bosch, Jem Finer, Andrew Kötting, Alan Moore and Iain Sinclair.
Extra bonus film included: Forgotten the Queen (11 min) is a short animated film that digs into themes inspired by the life of Edith Swan Neck. In this, the Director’s daughter, Eden’s drawings and collages are brought to life by renowned animator, Glenn Whiting.”

(- from the Cornerhouse website)

Lights Out: Iain Sinclair, Andrew Kotting and John Rogers

Andrew Kotting Lights Out

Looking forward to presenting the film of the excursions I made with Iain Sinclair, Andrew Kötting, and Anne Caron-Deline along Watling Street with a fascinating detour following the trail of Alan Moore from Shooter’s Hill. The event will also include a new film and performance by Andrew Kötting, plus readings and conversation with Iain Sinclair and whatever else occurs on the night.

Here’s the information for the event at Kino-Teatr, Saint Leonards 29th October 6pm:

“Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.

The Last London, described by Alan Moore as ‘the masterpiece in a career of masterpieces’, is Iain Sinclair’s final reckoning with a city stretched beyond its limits.

To pull away from its gravity, he sets off on a Watling Street pilgrimage with longterm collaborators (and filmmakers) Andrew Kötting and John Rogers.

Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.

The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.

The collaborators will be happy to sign copies of books (including Last London) at the event.”

Tickets are £12 available from Kino-Teatr box office and online from Ticketsource

The Last London – in conversation with Iain Sinclair

Last week at the Wanstead Tap I had the great pleasure to talk to Iain Sinclair about his new book The Last London.

He read a passage about a walk along the Barking to Gospel Oak branch of the London Overground, a walk that I accompanied him on for a short section through Leytonstone, on the morning of Donald Trump’s US election victory.

“My theories at the time of Lud Heat, deriving from E.O Gordon, Alfred Watkins, John Michell, Nigel Pennick, were about lines of force connecting the churches, making patterns, and provoking crimes, rituals visitations, within an unregistered sphere of influence. What I now understood, in steady rain, on this morning of political madness, tracking an inoperative railway to a place nobody wants to go, is that the walks we are compelled to make are the only story. Walks are autobiography with author.”

Iain Sinclair the Last London

photo by Keith kandrphoto.com

Iain Sinclair’s work has had such a profound influence on London writing over the last 30 years at least, an influence that has stretched into film and visual arts. He synthesised a way of understanding the city and helped codify a new form psychogeography, distinct from its intellectual French roots. He expanded on the background to his hugely influential book Lud Heat:

“There was a period when you were able to absorb so many eccentric influences from all over and it goes back for me to a kind of collision for me between cinema and poetry which were my twin obsessives when I was very young and coming to London to be in film school and beginning to do long rambles and wanders and generally just to find one cinema to the next, whatever it was, and later as a gardener realising that the structure of these churches were enormously powerful and were in some ways, if you looked from the top of Greenwich Hill, connected. London was an irrational city but with rational plans put on top of it at various times generally doomed to fail in their own way but to become part of the story of the city.

I got very intrigued by that and from those kind of interests emerged a hybrid form of writing that was live day-to-day reportage of what I was doing as a gardener in an exciting part of London that I was only beginning to discover. And secondly then having the time to research the churches and their history in places like the Bancroft Road Library, which is sort of more or less gone now, which is a huge resource of local history and the librarians were so knowledgeable, they’d open up dusty boxes and show you all this stuff. It all fused together into a kind of writing that combined wild speculations, satires to do with the awful way the workers were treated down there and the idea that these jobs would disappear and that the landscape itself would disappear because we were treading on the ghosts of the future Docklands, ghosts come from both sides you know, ghosts of the things you find in the past, the ‘scarlet tracings’, but there were also ghosts of the future and they met in that landscape.”

Listen to the full audio of the conversation above.

Iain Sinclair and John Rogers

photo by Keith kandrphoto.com

 

Photos by Keith Event photos by Keith www.kandrphoto.com
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Alan Moore and Iain Sinclair on London mythologies and the power of place

“Everything that we are is reflected in place and we reflect everything that is in the locations that are around us”

– Alan Moore

“All this is about place and about intersections of place, people, collisions, collaborations, the whole thing”, adds Iain Sinclair referencing The House of the Last London where this fascinating conversation took place.

A sketch map by Brian Catling hanging amongst various images from a 1974 exhibition at the Whitechapel Gallery, Albion Island Vortex, featuring Catling, Iain Sinclair, and Renchi Bicknell, provides the original link between Iain Sinclair and Alan Moore. They talk about how fellow writer Neil Gaiman had sent Alan Moore a copy of Sinclair’s early self-published book Lud Heat which Alan found hugely inspiring. Lud Heat drew Alan Moore into the world of London mythologies at the point when he was starting work on From Hell.

Lud Heat map - Iain Sinclair and Brian Catling

Lud Heat map – Iain Sinclair and Brian Catling

“You could unpack an awful lot of From Hell from these lines on this drawing” – he says gesturing to the map.

Iain Sinclair explains how he’d sketched out the map on a napkin in a pub and handed it to the artist Brian Catling to turn it into a proper drawing – the one that hangs on the wall in Whitechapel. It’s a map that not only inspired Alan Moore but a whole generation of psychogeographers.

The conversation takes so many twists and turns through various stages of their careers, delving into their practices and inspirations, recalling previous expeditions and excursions, happenings and events. Iain talks about the recent walk we did from Shooters Hill to Woolwich that will form part of a film we’re making about Watling Street. They also preview the poetry event they would perform that evening in Lambeth alongside Catling and Allen Fisher. It was a real joy to behold and capture in this video.

 

Iain Sinclair – The House of the Last London

The House of the Last London

Last Thursday to the opening of Iain Sinclair’s installation at Gallery 46 in Whitechapel – The House of the Last London. The double fronted Georgian terrace behind London Hospital converted into a gallery is in prime Sinclair territory, the ideal spot for a gathering of artworks and artefacts mapping the great London chronicler’s collaborations from the 1960’s onwards. Among those in the house are Andrew Kötting, Chris Petit, Susan Stenger, Brian Catling, and Effie Paleologou.

The House of the Last London

The Cave of Memory – Iain Sinclair

I’d delivered some reproduced pages from my journal when Iain Sinclair walked through Leytonstone for his book The Last London (the exhibition is timed to coincide with the book’s publication) with photos of Iain stapled in celephane wrappers. Iain gave me a walk through with the artworks lying on the floor waiting to be hung. The wall in the photo above was a partial recreation of exhibition Iain staged with sculptor Brian Caitling at the Whitechapel Gallery in 1973 – Albion Island Vortex. Chris Petit arrived to install his House of Memory in an attic room – we carried furniture from his family home up the narrow flights of stairs discussing the state of London.

The House of Memory Chris Petit

The House of Memory – Chris Petit

Lud Heat map - Iain Sinclair and Brian Catling

Lud Heat map – Iain Sinclair and Brian Catling

I predict Room 7 – The Cave of Memory, will become an Iain Sinclair shrine over the course of the exhibition which runs till September 17th. People will sit on the floor beneath Brain Catling’s sketch map of the sacred geometery of London reading re-issued copies of Lud Heat, originally published by Iain Sinclair’s own Albion Village Press in 1975. We passed the site of the printers just off Balls Pond Road on the nightwalk for our London Overground film January last year, Iain lamenting that he no longer possessed any of the original editions.

Lights Out for the Territory Image Journal - Iain Sinclair

Lights Out for the Territory Image Journal – Iain Sinclair

If you want to have an understanding of the evolution of English psychogeography – or more accurately neo-psychogeography – you could do worse than pay a visit to The House of the Last London. There are missing links of course – the copies of the London Pyschogeographical Association newsletters that Iain picked up at Compendium books, Camden for example – but you probably knew all that stuff already. The Lud Heat map is almost a key artefact – the merging of earth mysteries, mythology, folklore woven into the built environment, the lingering sense that there are hidden forces surpressed beneath the pavement, choked by property development and loss of memory. Iain Sinclair The House of the Last London

Iain’s 1960’s-1970’s Super 8 diary films spool round in one of the attic rooms with Sinclair’s voice collaged into a soundtrack. You look out of the window onto Whitechapel streets earmarked for demolition, as Iain remarked to me that day, ‘the perfect place for the House of the Last London’ as it too will soon be swept away and consigned to an archive of memories.