Re-shift, Re-calibrate
Part Five: Bethan Hughes, Evan Ifekoya & SJ Rahatoka, Joanne Lee
Curated by Myriam Mouflih

Part One →

10—12 Aug

Samra Mayanja
Touda Bouanani

Part Two →

11—13 Aug

Geoff Clout
Joe Namy
David Steans

Part Three →

12—14 Aug

Amelia Crouch
Jack Pell
Tabita Rezaire
James Thompson

Part Four →

13—15 Aug

Sophie Chapman
& Kerri Jefferis
Rhian Cooke
Karrabing Film Collective

Part Five →

14—16 Aug

Bethan Hughes
Evan Ifekoya
& SJ Rahatoka
Joanne Lee

Part Six →

15—17 Aug

Jenny Handley
Basim Magdy

Unless otherwise indicated, Closed Captions are available for all films. Switch them on via the ‘CC’ icon in the video playbar.

 Audio Accompaniment:
Alongside today’s programme, we offer you music. Sable Radio invited Mellowdramatics to put a mix together for us – “short-sustained attempts at calming / slowing down” – in their words.

 Along with Evan Ifekoya (see below) Mellowdramatics is part of Black Obsidian Sound System (B.O.S.S), a community of queer, trans and non binary people of colour involved in art, sound and radical activism.

Produced in collaboration with 

Unless otherwise indicated, Closed Captions are available for all films. Switch them on via the ‘CC’ icon in the video playbar.

The Flashes (Version 1)
Bethan Hughes, 2019, UK, 5 min

Whether or not they are perceived in terms of media, deep time resources of the earth are what makes technology happen. — Jussi Parikka

The Flashes animation was created as part of a site-specific installation of the same name and was originally intended to be shown alongside a range of prints, objects and temporary structures.

Flash, or flashes, is the name given, typically in North West England, to lakes, wetlands and marshes which flood land once degraded by coal mining extraction and land subsidence. Today, life has since returned to these previously uninhabitable wastelands. The Flashes installation revolves around a reimagining of these physical landscapes as a series of computer-generated animations. The process of modelling and rendering these scenes and the physical landscape itself symbolise the shift from industrial production—that powered by fossil fuels and the sweat of brows—to digital production—that powered by the so-called light and clean machines of the digital age. Captions lifted from a Glossary of Terms Used in Coal Mining [William Stukelby Gresley, 1883] accompany these animations. An idiosyncratic list of the people, processes and raw materials which once comprised the regional coal mining industry, these terms underline how, despite the rise of digital ways-of-being, life remains unceasingly reliant on physical matter and labouring bodies. (Bethan Hughes)

Bethan Hughes (b. 1989, Wigan) is a Berlin-based artist working with animation, installation and print. She is currently taking part in the BS Projects fellowship programme at the Hochschule für Bildende Künste Braunschweig. She holds a BA in Fine Art from the Glasgow School of Art (2011) and a DAAD-funded MA in Media Art from the Bauhaus University Weimar (2014). In 2020, she received a doctorate from the University of Leeds for her thesis, ‘Against Immateriality: 3D CGI and Contemporary Art’. In 2018, alongside the artist Anya Stewart-Maggs, she cofounded Poor Image Projects (PIP), a nomadic event platform for experimental audio visual and moving image art forms.


This film contains no speech. Due to position of on-screen text, no closed captions are available.

Outside Inside Simultaneously Meditation
Evan Ifekoya & SJ Rahatoka, 2019, UK, 43 min, sound only

A reading of the body, sensuality, and spaces of intimacy drawing on the ocean as archive and embodied presence. Meditation led by SJ Rahatoka, soundscape by Evan Ifekoya.

Evan Ifekoya is an artist and energy worker who through sound, text, video and performance places demands on existing systems and institutions of power, to recentre and prioritise the experience and voice of those previously marginalised. Through archival and sonic investigations, they speculate on blackness in abundance; the body of the ocean a watery embodied presence in the work.

They established the collectively run and QTIBPOC (queer, trans*, intersex, black and people of colour) led Black Obsidian Sound System (B.O.S.S.) in 2018. They have presented exhibitions and performances in the UK and Internationally including: Liverpool Biennial (2021); De Appel Netherlands (2019); Gasworks London (2018) Contemporary Arts Centre New Orleans as part of Prospect 4 (2017); Stevenson Gallery, Cape Town (2016); Studio Voltaire London (2015) and Castlefield Gallery Manchester (2014).

SJ Rahatoka is Theatermaker, Performer and Energy Healer based in Berlin.

Body as/is Landscape
Joanne Lee, 2019, UK, 13 min

Body as/is Landscape shows the landscapes of St Andrews, Dunoon, a human body and the now demolished site of the Red Road flats in Glasgow. Lee asks what frames of references we are using to understand and relate to these landscapes? Attempting to situate the self among these places of privilege, absence, ruin and industry by observing in front and behind the camera. Questioning how we relate to and consume these landscapes – through the frame of the phone, the lens of the digital camera.

Joanne Lee (b. Glasgow 1997) is an artist who lives and works in Glasgow. Lee’s practice is interested in using moving images as a way of translating the subjective experience of being in and experiencing the world. Using the framework of autoethnography to look beyond familiar narratives and give space to uncertainty and new articulations. Questioning what it means to make and see from the periphery.

Lee has screened work at and participated in group exhibitions at Camden Arts Centre, Platform, Intermedia Gallery, The Pipe Factory and 16th Nicholson Street.

This project is part of Film Feels Connected, a UK-wide cinema season, supported by the National Lottery and BFI Film Audience Network. Explore all films and events at