• Angles of Projection

      Kossoff, Adam (2006)
      “Angles of Projection” was a group show of artists’ film and video curated by Kossof. The show is a response to the predominance of narrative based work in the gallery. Challenging the ubiquitous ‘black cube’ of recent times, it promotes moving-image work that is site-related, investigating how the moving image positions the spectator in the gallery and in the cinema, and where there are overlaps or differences.
    • Animal Architecture

      Kossoff, Adam (2016-10-06)
      Animal Architecture tells the story of Dudley Zoo and the restoration of its unique animal enclosures, designed in 1937 by the modernist architect, Bernard Lubetkin. The film explores our ambivalent relationship to zoos and how humans define themselves in relation to the animal. Capturing the everyday, poetic feel of the zoo, the film, shot on 16m film, emulates the black and white documentary film style of the 1950's 'Free Cinema' movement.
    • How They Hate Us... (2016, 26')

      Kossoff, Adam (Montreal World Film Festival, 2016-07)
      In How They Hate Us (2016, 26’) Mohammad Bakri reads Kafka’s short story, Jackals and Arabs written in 1917. The film was made in response to the decision by the Israeli courts that Franz Kafka’s manuscripts had been left to the Israeli National Library and the claim that his work naturally belonged to the state of Israel. The film uses the long take as a reflexive and political aesthetic: the long take exposes and ‘deterritorialises’ the interior of cinematic language, and at its best, or maybe at its longest, the long take works through “a continuum of reversible intensities” (1975, Deleuze and Guattari), and as a form of ‘demontage’ or ‘remontage’.
    • The Cholmondely Ladies and Rhythms of the Visible

      Kossoff, Adam (Cardiff: Ffotogallery, 2006)
      Kossoff’s four thousand word essay, “The Cholmondely Ladies” and “Rhythms of the Visible,” looks at how the video work of Harrison and Wood addresses ideas around the frame as a form of representation, and analyzes how this relates to early cinema. Kossoff uses the painting of “The Cholmondely Ladies” (1600-01) to begin the discussion of the frame, both an opening and a closure, in the video art practice of Harrison and Wood. He also maps out a recent development in Harrison and Wood’s work from the static camera to the moving one, which acts as commentary on the course of film evolution and reflects the development of video art in general.
    • The Colour of Memory (2006), Essex Flâneur (2006) and 3 Days (50 Years)

      Kossoff, Adam (2006)
      “Moving Frame” is an experimental film and video project, allowing artists and theorists to produce work and participate in seminars, forums and screenings on an ongoing basis. Kossoff made three works for the project: “The Colour of Memory” (2006), “Essex Flâneur” (2006) and “3 Days (50 Years).” Kossoff’s work focuses on the differences and overlaps between film and digital video; how the perception of time and space can change through the manipulation of moving image material. Through the central issue of film as a sequence of photograms, the work interrogates how perceptions of the moving image are evolving and how the digital has now re-defined the idea of the photogram and the frame. “3 Days (50 Years)” uses the digital camera’s single frame button, capturing the disruption of history in a work about Poland. Through repetitious cutting, “Essex Flâneur” mechanically captures the rhythms of space. Re-colouring and reframing family footage, “The Colour of Memory” shows video as a memorial to time. Kossoff’s essay investigated the moving image as a desiring machine, which is fragmented under interrogation.
    • The Mobile Phone and the Flow of Things

      Kossoff, Adam; Berry, Marsha; Schleser, Max (Palgrave Macmillan, 2014)
    • U-Turn (2016, 10')

      Kossoff, Adam (BFI, 2016-07)
      Upside down stop-frame images follow a rhythmic path through Epping Forest on the edge of East London, revealing the beauty and textures of a topsy-turvy forest. The film recalls the attempt by the British government to privatise all the UK forests, but then had to do a U-turn due to large public pressure. Official Selection BFI London Film Festival 2016 - Experimenta Strand