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, Germany, from May 5 to 8, screening day and night without pause or repeat. This is presented throughout July at the Barbican Centre, London.
In June 2022, The Lock-In toured the real pubs of London's East End. Each venue screened a year in a day, with an average screening duration of ten hours. Attendance was free for drinkers.
For more information visit: the-lock.in
(back)
The Lock-In premiered as a 96-hour ‘working-week’ installation as part of Conditional Cinema at Oberhausen International Short Film Festival, Germany, from May 5 to 8, screening day and night without pause or repeat. This is presented throughout July at the Barbican Centre, London.
In June 2022, The Lock-In toured the real pubs of London's East End. Each venue screened a year in a day, with an average screening duration of ten hours. Attendance was free for drinkers.
For more information visit: the-lock.in
(back)
‘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, artist Stanley 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)
(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, artist Stanley 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)
1–30 July
Barbican Centre
(daily)
*
1 July (xii)
The Gun
(15:00–01:00)
29 June (xi)
The Hare
(16:00–22:00)
26 June (x)
The Wentworth Arms
(13:00–18:00)
22 June (ix)
The Old Ship
(14:00–21:30)
20 June (viii)
The Bow Bells
(12:00–21:00)
19 June (vii)
Biddle Brothers
(13:00–20:00)
15 June (vi)
Turner's Old Star
(12:00–23:30)
12 June (v)
The Palm Tree
(13:00–21:00)
9 June (iv)
The Wentworth Arms
(14:00–23:00)
7 June (iii)
The Anchor & Hope
(13:00–23:00)
3 June (ii)
Queen Adelaide
(13:00–22:00...)
1 June (i)
The Globe in Morning Lane
(16:00–17:00)
Barbican Centre
(daily)
*
1 July (xii)
The Gun
(15:00–01:00)
29 June (xi)
The Hare
(16:00–22:00)
26 June (x)
The Wentworth Arms
(13:00–18:00)
22 June (ix)
The Old Ship
(14:00–21:30)
20 June (viii)
The Bow Bells
(12:00–21:00)
19 June (vii)
Biddle Brothers
(13:00–20:00)
15 June (vi)
Turner's Old Star
(12:00–23:30)
12 June (v)
The Palm Tree
(13:00–21:00)
9 June (iv)
The Wentworth Arms
(14:00–23:00)
7 June (iii)
The Anchor & Hope
(13:00–23:00)
3 June (ii)
Queen Adelaide
(13:00–22:00...)
1 June (i)
The Globe in Morning Lane
(16:00–17:00)