Janet Harbord

Re-mixes and extends Perestroika (2009) into two sequences. Sequence one constritutes the 2009 version, while the second sequence constructs a new framing narrative that reinterprets and reconfigures both the imagery and the experience of the first. Part psycho-geography, part dream and part environmental allegory.

Sarah Turner's film is a ghost story that explores what we forget and how we remember. The stunning imagery comes solely from the window of the Trans-Siberian train, shot first in 1987-8 and then again in 2007-8. The re-enactment of the journey is a memory work, a re-enactment of the past in the present through the process of filming. But the return journey is haunted by the voices of two dead friends that dominate the soundscape of the 'archive' footage.

A film shot in 1957 at the Maudsley Hospital, London, captures children under observation for atypical behaviour. In the present day, three autistic respondents watch the footage, offering new and insightful interpretations of the children’s actions. Through speculation and identification, with wit and audacity, the responses forge a new soundtrack from an autistic point of view.

A film shot in 1957 at the Maudsley Hospital, London, captures children under observation for atypical behaviour. In the present day, three autistic respondents watch the footage, offering new and insightful interpretations of the children’s actions. Through speculation and identification, with wit and audacity, the responses forge a new soundtrack from an autistic point of view.