Mark Lewis works at the boundaries of the white cube and the black box, exploring the limits and the potentialities of cinema. He investigates, for example, standardized film conventions such as credits, end sequences and scenes between actions, as well as elementary film devices, including camera movements, zooms or pans. Starting with a deconstructionist perspective, Mark Lewis has developed his own formal language, reminiscent of early cinema in a post-conceptual age.

This volume includes a portfolio by Mark Lewis, an interview with the artist, and a series of essays which draw on tools forged in the fields of art history, philosophy and film studies. The publication gives access, on the internet, to a selection of films of Mark Lewis, representative of his wide-ranging formal and conceptual approach, from his first « impossible » films to his later « possible » works.

Films

Two Impossible Films Smithfield
Algonquin Park, Early March
Children's Games, Heygate Estate
Lawson Estate
Churchyard Row
Queens way : Pan and Zoom
Isosceles
5262 Washington Boulevard Hendon F.C.
Cold Morning
Willesden Laundrette ; Reverse Dolly, Pan Right, Friday Prayers
The Moving Image
Little Tree
Beirut
Windy Day

Texts

François Bovier & Hamid Taieb, Im/Possible Films
Christine Ross, An Aesthetics of Inhabitability
Elie During, Turning Movements : Fragments on Mark Lewis
Sylvain Portmann, Pace and Frame. Playing and Hunting with Mark Lewis
Mark Lewis, Not Yet and No More
« Camera as a Sentient Being », Interview with Mark Lewis