The Lock-In never ends. Consisting entirely of pub footage from the British soap opera ‘EastEnders’, it is endless inasmuch as its source is endless and its makers living.
The Lock-In premiered as a 96-hour ‘working-week’ installation as part of Conditional Cinema at Oberhausen International Short Film Festival from 5–8 May 2022, screening day and night without pause or repeat. It was then presented throughout July at the Barbican Centre. In June 2022, The Lock-In toured the real pubs of London's East End. Each venue showed a year in a day, with an average screening duration of ten hours. Attendance was free for drinkers.
The most recent instalment of The Lock-In took place in Ostende in January 2023: two years were screened in two days, broadcast non-stop on television sets throughout the Thermae Palace hotel. The Lock-In returns to Ostende on 18 May 2024 for Y2K: a durational screening and launch of the project’s publication, and London on 25 May 2024. More information on this and future lock-ins: the-lock.in
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The Lock-In premiered as a 96-hour ‘working-week’ installation as part of Conditional Cinema at Oberhausen International Short Film Festival from 5–8 May 2022, screening day and night without pause or repeat. It was then presented throughout July at the Barbican Centre. In June 2022, The Lock-In toured the real pubs of London's East End. Each venue showed a year in a day, with an average screening duration of ten hours. Attendance was free for drinkers.
The most recent instalment of The Lock-In took place in Ostende in January 2023: two years were screened in two days, broadcast non-stop on television sets throughout the Thermae Palace hotel. The Lock-In returns to Ostende on 18 May 2024 for Y2K: a durational screening and launch of the project’s publication, and London on 25 May 2024. More information on this and future lock-ins: the-lock.in
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‘Interesting project!’
(Anita Dobson [Angie Watts])
‘An epic film . . . the Warholian result is a spellbinding – and frequently baffling – meditation on time.’
(Jonathan Jones, The Guardian)
‘The Lock-In when shown in pubs is Marcel Duchamp's urinal for the meta-saturated 21st century. But in this case, Schtinter has put the urinal back into the toilet.’
(Gareth Evans, Adjunct Moving Image Curator, Whitechapel Gallery)
‘You feel pissed just watching it.’
(Matthew Harle, Sight & Sound)
‘Amazing project!’
(Joanna Hogg)
