Overview

One sometimes wonders if silence speaks loudest not only because it signals to an absence, or an inability to articulate despite wanting to, but that it reminds us that even in whatever is said, uttered, yelled, there is always also a silence accompanying it, walking beside it, within it. And it be tales which hold on to these silences who speak loudest to us. I Was There is one such tale. A story by Helena Kuc as inherited by - and simultaneously born(e) through - her granddaughter, Kamila Kuc, it is both from before and after her. So, two tales telling themselves in their own times and contemporaneously, with each other. Fully cognisant that what is lost in the telling, in all tellings, what remains silent, is the now - that remains for the ones who watch, the ones who listen, the ones who see. That it be the ones attending to these tales - Laima Leyton, Ecka Mordecai, Dara Waldon, Jeremy Fernando, Kamila Kuc herself, and you - who hold on to this loss. A loss that is a currency: not just because it is traded, shared, but always also electric, charged. Where all of us run the risk of being charged and held accountable for - and potentially recharged and electrified by - opening ourselves to that loss.

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Kamila Kuc is a Polish-born, London/Seattle-based filmmaker, whose hybrid media practice considers complex ways to relate to one another through embodied, care and trust-building practices that foster collaboration and co-creation. She is the Founder and Director of Dark Spring Studio, a London-based production company dedicated to the creation and distribution of artist moving image works that are committed to social change. Her films have screened at many festivals and galleries worldwide: the Edinburgh International Film Festival, National Gallery, Washington, DC, CROSSROADS, Ann Arbor Film Festival, Anthology Film Archives New York; Studio Gallery, Warsaw; Whitechapel Gallery, BFI, ICA, London. I am the recipient of many international grants, most recently, the Arts Council England Project Grants, British Council, New Mexico Arts, New Mexico Humanities Council, and the National Endowment for the Arts (USA), among many others. Her work has recently been extensively reviewed by a leading documentary film scholar, Dara Waldron in the 10th edition of Found Footage Magazine (October 2024). Jeremy Fernando reads, writes, and makes things.He works in the intersections of literature, philosophy, and art; and his, more than thirty, books include Reading Blindly, Living with Art, Writing Death, in fidelity, Tómate un paseo por el lado oscuro del camino, resisting art, Writing Skin, A Ghost Never Dies, The feather of Ma'at, un oeil d'or, I wish we were lovers, and Jeremy Fernando by Jeremy Fernando. His writing has also been featured in magazines and journals such as Arte al Límite, Berfrois, CTheory, Cenobio, Entropy, Full Bleed, Poiesis, Philosophy World Democracy, Queen Mob's Teahouse, Qui Parle, RIC Journal, Testo e Senso, TimeOut, and Voice & Verse Poetry Magazine, amongst others; and has been translated into the Brazilian-Portuguese, French, German, Italian, Japanese, Korean, Spanish, and Serbian. Exploring other media has led him to film, music, performance-readings, and the visual arts; and his work has been exhibited in Seoul, Vienna, Hong Kong, Lisbon, and Singapore. He has been invited to read at the Akademie der Künste in Berlin in September 2016; and to deliver a series of performance-readings at the 2018, 2020, and 2022 editions of the Bienal de la Imagen en Movimiento in Buenos Aires, the latter at which he also curated a filmic omnibus entitled reading dreaming malaya. He is the general editor of Delere Press; curates the thematic magazine One Imperative; is the Jean Baudrillard Fellow at The European Graduate School; co-creator of the private dining experience, People Table Tales; and the writer-in-residence at Appetite, the sensorial laboratory exploring the cross-roads of food, music, and art.

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