https://danguthrie.net Dan Guthrie Thu, 20 Aug 2026 08:08:00 +0000 https://danguthrie.net en http://danguthrie.net/A-Glamorous-Woman-2026 Thu, 20 Aug 2026 08:08:00 +0000 Dan Guthrie 460163 A Glamorous Woman, 2026Single channel video, 5 minutes 35 seconds <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/7481fcc686c176bd80eb8a6a38ab01288a65e21b48d4cab3b503712b3ea4956b/A-Glamorous-Woman-1080p-still-1_1.1.1.png" data-mid="1445410" border="0" /> Image description: The words ‘It’s a sunny afternoon outside of an office building on a generic city street’ in white text on a black background.&nbsp; Image credit: Still from A Glamorous Woman, Dan Guthrie, 2026&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/2e00144918e060c1a7e50cc94119f1398b3181233d6baa72466f34b70d400106/A-Glamorous-Woman-1080p-still-2_1.1.2.png" data-mid="1445411" border="0" />Image description: The words ‘I couldn’t believe my eyes when she showed up on the screen in front of me’ in yellow text on a black background. There’s a white glow behind the yellow text, but it’s doesn’t quite fit like a perfect outline. &nbsp; Image credit:&nbsp;Still from A Glamorous Woman, Dan Guthrie, 2026 An audio description of footage of a 1988 performance by Dareth May Bennett, co-written by Guthrie and Bennett with consultation from Soundscribe, and read by Bennett; followed by a director’s commentary, written and read by Guthrie, reflecting on the making of the audio description. A Glamorous Woman was produced during a residency at the Rijksakademie, Amsterdam in 2026, and is&nbsp;self-distributed. Please contact the artist directly at dan@danguthrie.net to organise a screening or exhibition of the work.–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Selected screenings and exhibitions 2026&nbsp; &nbsp; Open Studios 2026, Rijksakademie, Amsterdam ← Home A Glamorous Woman, 2026Single channel video, 5 minutes 35 seconds Image description: The words ‘It’s a sunny afternoon outside of an office building on a... http://danguthrie.net/Empty-Alcove-Rotting-Figure-2025 Mon, 28 Oct 2024 16:03:33 +0000 Dan Guthrie 454673 Empty Alcove / Rotting Figure, 2025 <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/67e693a2bc5c8c3983355bd58765e1054ea7661050d2329255e1f87f04191de3/Dan-Guthrie-Chisenhale-Gallery_1.png" data-mid="1410294" border="0" />Image description: A large white walled gallery with a white latticed ceiling, filled with natural light that streams in from a row of multi-pane windows. On the left of the image, an arc of four black chairs face a vertical TV screen mounted on a black floor to ceiling beam, which shows the top of a stone building against a cloudy blue sky. In the opposite corner diagonally, on the right of the image, an large imposing black wooden box, stretching the width of half the gallery, with the top reaching just below the ceiling, casts shadows behind it. Image credit:&nbsp;Empty Alcove / Rotting Figure&nbsp;installation view. Courtesy Chisenhale Gallery, London, photographer Andy Keate. Spike Island, Bristol 8 February – 11 May 2025 Chisenhale Gallery, London6 June – 24 August 2025Empty Alcove / Rotting Figure is a major new commission by artist Dan Guthrie. Working primarily with moving image, Guthrie’s practice explores representations and mis-representations of Black Britishness. By deliberately experimenting with form and language, Guthrie probes the limits of visual representation – questioning not only what is shown, but what remains unseen or unsayable on screen. This exploration encompasses the politics of visibility itself, asking how race, memory, and subjectivity are shaped by the act of looking. This new commission continues Guthrie’s long-standing engagement with the Blackboy Clock, an object of contested heritage publicly displayed in his hometown of Stroud, Gloucestershire. The clock, which incorporates a wooden blackamoor figure in its design, was originally assembled by a local watchmaker in 1774, during the height of the transatlantic slave trade. Relocated to a specially constructed alcove on the front of a former schoolhouse in 1844, the clock was restored in 1977 and 2004, and has remained a constant presence in Stroud throughout Guthrie’s life. Empty Alcove / Rotting Figure presents two videos that put forward the ‘radical un-conservation’ of the clock – a new theoretical concept proposed by Guthrie to describe the strategic acquisition of an object in order to destroy it. Across both videos, audio description and captions reject standardised, impersonal modes of description in favour of poetic interpretation and emotionally resonant dialogue – embedding access deeply into the aesthetic and political fabric of Guthrie’s commission. Central to this body of work are questions about what society chooses to memorialise and its methods for doing so. Alongside this exhibition, Guthrie has developed a new online platform – earf.info – documenting the clock’s timeline, from its historical origins to current debates over its future. Empty Alcove / Rotting Figure was commissioned and produced by Chisenhale Gallery, London and Spike Island, Bristol, with support from the Henry Moore Foundation. Please contact the artist directly at dan@danguthrie.net for more information about viewing, exhibiting or purchasing any of the works. –––––––––––––––––––––––––––––––––––––––––––––––––––––––– Empty Alcove, 2025 Single channel video, 5 minutes <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/07a6faccc0f66dfefdcd67b2621f5ca86d778fd45870e12356a904088cbf3ca8/Dan-Guthrie-Chisenhale-Gallery-Empty-Alcove.png" data-mid="1413978" border="0" />Image description: Framed within a open white doorway, an arc of four black chairs facing a vertical TV screen that’s mounted on a floor to ceiling beam positioned in front of a row of large multi-pane windows in a white walled gallery. The screen shows the top of stone building with a pointed roof, and centre of the frame is an empty alcove.Image credit: Empty Alcove (2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate.&nbsp; <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/67df30209a4b3dcb8b2443487ccd5966a4667305315044ad5fef937f8d2d9b6b/Dan-Guthrie-Chisenhale-Gallery-Empty-Alcove_2_1.png" data-mid="1410297" border="0" />Image credit: An angled view, taken from the right, of an arc of four black chairs facing a vertical TV screen that’s mounted on a floor to ceiling beam positioned in front of a row of large multi-pane windows in a white walled gallery. The screen shows the top of stone building with a pointed roof, and centre of the frame is an empty alcove.Image credit: Empty Alcove (2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate.&nbsp; <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/79f4d5372644d45d8bb46c9a5f7600b484f186b0aebd70d53b0b3b08d10eb03b/Dan-Guthrie-Chisenhale-Gallery--Empty-Alcove_2.png" data-mid="1413986" border="0" />Image descriptions: A closed up, head on view of an arc of four black chairs facing a vertical TV screen that’s mounted on a floor to ceiling beam positioned in front of a row of large multi-pane windows in a white walled gallery. The screen shows the top of stone building with a pointed roof, and centre of the frame is an empty alcove.&nbsp; Image credit: Empty Alcove (2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate.&nbsp; Empty Alcove is a proposal for a potential future: what if the Blackboy Clock figure was removed from public display? Framed within the entrance to the gallery is a five minute static shot of the clock in-situ, accompanied by sounds of daily life in Stroud, with the offensive figure digitally erased. Credits Lead Artist: Dan Guthrie Camera Operator: Holly Antrum Sound Recordist and Sound Designer: Felix Taylor Colourist: Nielsan Bohl Producers: Olivia Aherne and Carmen Juliá Assistant Producer: Oscar Abdulla Captioning: Carefuffle Collective and Dan Guthrie Audio Description: SoundScribe and Dan Guthrie&nbsp; As part of the public programme for this touring commission, Empty Alcove was shown at SVA, Stroud, from 9 – 17 May 2025, a short walk away from the Blackboy Clock’s current location.&nbsp;–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Rotting Figure, 2025Single channel video, 5 minutes <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/d325f832d5fdc135c4ab3ac356269edb6352a2cb89602e160b1451136ae8c248/Dan-Guthrie-Rotting-Figure-Chisenhale-Gallery_1.png" data-mid="1410362" border="0" />Image description: An imposing black wooden box, three and a half metres high and seven metres long, takes up space in the corner of a white walled gallery. The top of the box reaches to just below the white latticed ceiling, and casts shadows behind it. Image credit: Rotting Figure (2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate. <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/97d1e74b5daf5b723c0f75b91dd09d079b0cb114ef6204fbe273d93ccdc3d7ab/Dan-Guthrie-Chisenhale-Gallery-Rotting-Figure.png" data-mid="1413977" border="0" />Image description: The dark walled and carpeted interior of the black wooden box. Four chairs arranged in a grid face a vertical TV screen mounted on the far wall. On the screen is an computer generated image of a figure tightly wrapped in black plastic and red tape.Image credit: Rotting Figure (2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate.&nbsp; <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/c0463930907a54b15a20235a9244f4cda436a5f02eb9bb8b98163de547189d6d/Dan-Guthrie-Rotting-Figure-Chisenhale-Gallery_3.png" data-mid="1410363" border="0" />Image description: On the left side of the image is the inside of the open ended black wooden box, with a computer generated heap of black shiny plastic on the vertical TV screen. Splitting the image in half is one of the walls of the wooden box; to the right of it, a side on view of another video installation at the far end of the gallery.&nbsp; Image credit: Rotting Figure&nbsp;(2025) installation view, courtesy Chisenhale Gallery, London, photographer Andy Keate.&nbsp; Rotting Figure is a proposal for an impossible future: what if the Blackboy Clock figure was destroyed? Inside a monolithic black box, a CG rendering of the figure slowly collapses; creaks and cracks echo out whilst the offensive imagery is deliberately obscured.&nbsp; CreditsLead Artist: Dan Guthrie CG Designer and Animator: Salvi De Sena Sound Recordist and Sound Designer: Felix Taylor Producers: Olivia Aherne and Carmen Juliá Assistant Producer: Oscar Abdulla Captioning: Carefuffle Collective and Dan Guthrie Audio Description: SoundScribe and Dan Guthrie Rotting Figure is currently on display as part of Blackground : murmures des mornes at CAPC, Bordeaux from 12 June 2026 – 28 March 2027, which uses the concept of radical un-conservation as one of its curatorial frameworks.&nbsp;–––––––––––––––––––––––––––––––––––––––––––––––––––––––– earf.info, 2025 – ongoingWebsite <img width="3024" height="1898" width_o="3024" height_o="1898" src_o="https://cortex.persona.co/t/original/i/436190290c7e55109ef15d3085195f574cac9fa7f5c827754b7e5dbe649f8a12/Screenshot-2025-11-13-at-15.39.54.png" data-mid="1424344" border="0" />Image description: A screenshot of a website, largely made of up black and red text on an off-white background, with the words ‘EMPTY ALCOVE / ROTTING FIGURE’ in capital letters in the top left corner, followed by a series of headings in sentence case that stretch across the top of the page. A content warning in red text about references to racism and racist imagery is followed by a few paragraphs describing the website and the commission its linked to. In the bottom right corner, a black box with white text announces that Mutiny have launched their campaign for the Blackboy Clock’s removal. Image credit: earf.info (2025 – ongoing) home page documentation. &nbsp; <img width="3024" height="1898" width_o="3024" height_o="1898" src_o="https://cortex.persona.co/t/original/i/1422eb973742284b696a6b50ea190e24dea96b7a89883f3a3cbb5e3ff4ca61ef/Screenshot-2025-11-13-at-15.41.22.png" data-mid="1424346" border="0" />Image description: A screenshot of a website, largely made of up black and text on an off-white background, with the words ‘EMPTY ALCOVE / ROTTING FIGURE’ in capital letters in the top left corner.&nbsp;On the right side of the image is a timeline entry – ‘15 August 1974: Blackboy Clock is removed for restoration’ – followed by a paragraph of description, some footnoted black and white photographs, and some tags and navigational tools. This is overlaid over a series of headlines sorted in ascending chronological order that date from 4 May 2022 to 6 October 2025; we can only see the first few words of most headlines, as the overlaid timeline entry cuts them off.&nbsp;Image credit: earf.info (2025 – ongoing) timeline documentation. &nbsp; <img width="3024" height="1898" width_o="3024" height_o="1898" src_o="https://cortex.persona.co/t/original/i/443e06c01d69173c03e5b8ba62495f06541bccac8c71e9f24bbdff3f245cdc7e/Screenshot-2025-11-13-at-15.42.41.png" data-mid="1424349" border="0" /> Image descriptions:&nbsp;A screenshot of a website, largely made of up black and red text on an off-white background, with the words ‘EMPTY ALCOVE / ROTTING FIGURE’ in capital letters in the top left corner, followed by a series of headings in sentence case that stretch across the top of the page. The heading ‘Access Materials’ is highlighted in red. Below is a transcript of an audio description, which shows timestamped dialogue that alternates between paragraphs of left aligned black text and right aligned red text.&nbsp; Image credit: earf.info (2025 – ongoing) access materials documentation. &nbsp;earf.info is an online research platform which includes an interactive timeline that traces the ongoing history of the Blackboy Clock, a journal with texts authored by Guthrie and other contributors, access materials and a self-care guide related to the commissioned artworks, and recordings of events that were programmed alongside the exhibitions.&nbsp; Credits Lead Artist: Dan Guthrie Editors: Olivia Aherne and Carmen Juliá Assistant Editors: Rachel Be-Yun Wang and Zhejun Gao Editorial Support: Phoebe Cripps Research Assistants: Holly Antrum and Tommy Madison Contributors: Tendai Mutambu, Lola Olufemi, Tatenda Shamiso and Vanessa Onwuemezi Web Development: An Endless Supply With the generous support of Frank Bowling and Rachel Scott–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Texts, Reviews and Press Black Automata and Racial Machinations Tendai Mutambu, earf.info ‘Let it rot’: artist says Stroud’s ‘racist’ blackboy clock should be destroyed Lanre Bakare, The Guardian The death of Stroud’s racist clock Harriet Lloyd-Smith, Plaster Magazine Empty Alcove / Rotting Figure review Daniel Culpan, Art Monthly LET'S PUT IT PLAINLY FOR ONCE Lola Olufemi, earf.info Danielle Dean and Dan Guthrie’s Filmic Counter-Narratives Vanessa Peterson, Frieze Interview with Dan Guthrie Olivia Aherne, Chisenhale Gallery Broken, rotting, under the tarp Tatenda Shamiso, earf.info Empty Alcove / Rotting Figure review Zarina Muhammad, The White Pube Consultation: What Should Exist? Vanessa Onwuemezi, earf.info Empty Alcove / Rotting Figure review Clare Carolin, Moving Image Review &amp; Art Journal&nbsp; Tour Diary I – V Dan Guthrie, earf.info ← Home Empty Alcove / Rotting Figure, 2025 Image description: A large white walled gallery with a white latticed ceiling, filled with natural light that streams in from a... http://danguthrie.net/CV-Contact Thu, 27 Oct 2022 19:29:02 +0000 Dan Guthrie 432623 Dan Guthrie (b. 2000)&nbsp;is an artist, researcher and writer whose practice explores representations and mis-representations of Blackness, experimenting with strategies of interpretation and withholding to question not only what is shown, but what remains unseen. Selected exhibitions and screenings include: Open Studios 2026, Rijksakademie, Amsterdam, 2026;&nbsp;Blackground : murmures des mornes, CAPC, Bordeaux, 2026 – 2027; DINAMO: Obscurity, IFFR, Rotterdam, 2026; Toward the Forest, Forma, London, 2025; CIRCA PRIZE 2025, CIRCA, London, 2025; Empty Alcove / Rotting Figure, Spike Island, Bristol and Chisenhale Gallery, London, 2025 (solo); Absent Forces, Open City Documentary Festival, London, 2024; Two Films, Devonshire Collective, Eastbourne, 2023 (solo); Spirit Messages international touring programme, aemi, 2023 – 2024; Selected 13 UK touring programme, FLAMIN and videoclub, 2023; Year 3, Prismatic Ground, New York, 2023; 18th Forum Expanded, Berlinale, Berlin, 2023; and Right of Way, LUX, London, 2023. He is currently based between the UK and the Netherlands, where he is a resident artist at the Rijksakademie. dan@danguthrie.net / @danglefree–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Solo exhibitions 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure, Chisenhale Gallery, London 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure, Spike Island, Bristol 2023 – 2024&nbsp; &nbsp; Two Films, Devonshire Collective, EastbourneSelected group shows and screenings 2026&nbsp; &nbsp;&nbsp;Open Studios 2026, Rijksakademie, Amsterdam (upcoming) 2026 – 2027&nbsp; &nbsp; Blackground : murmures des mornes, CAPC, Bordeaux 2026&nbsp; &nbsp; DINAMO: Obscurity, IFFR, Rotterdam 2025&nbsp; &nbsp; Toward the Forest, Forma, London 2025&nbsp; &nbsp; CIRCA PRIZE 2025, CIRCA, London 2024&nbsp; &nbsp; Absent Forces, Open City Documentary Festival, London 2023 – 2024&nbsp; &nbsp; Spirit Messages international screening tour, aemi 2023&nbsp; &nbsp; Selected 13 UK screening tour, FLAMIN / videoclub 2023&nbsp; &nbsp; Year 3, Prismatic Ground, New York 2023&nbsp; &nbsp; 18th Forum Expanded, Berlinale, Berlin2023&nbsp; &nbsp; Right of Way, LUX, London Selected press2025&nbsp; &nbsp; Empty Alcove / Rotting Figure review, The White Pube 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure review, Frieze 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure review, Art Monthly 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure feature, Plaster Magazine 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure feature, The Guardian Selected writing 2025&nbsp; &nbsp; Tour Diary I – V, earf.info 2024&nbsp; &nbsp; How to Sleep Faster 15 contributor, Arcadia Missa 2023&nbsp; &nbsp; Going on a Bear Hunt, Art Monthly Selected talks and conversations 2025&nbsp; &nbsp; In conversation with Olamiju Fajemisin, Chisenhale Gallery, London 2025&nbsp; &nbsp; In conversation with Layla Gatens, The Goods Shed, Stroud 2025&nbsp; &nbsp; Contested Heritage: A Discussion, St Cross College, Oxford 2025&nbsp; &nbsp; In conversation with Bristol Legacy Foundation, Spike Island, Bristol 2024&nbsp; &nbsp; Occupied City Q&amp;A with Steve McQueen, ICA, LondonResidencies and programmes 2026 – 2027&nbsp; &nbsp; Resident Artist, Rijksakademie, Amsterdam 2024&nbsp; &nbsp; Arts Foundation residency, Hawkwood, Stroud 2023&nbsp; &nbsp; Interdisciplinary residency, Hospitalfield, Arbroath 2023&nbsp; &nbsp; Statues for Memory summer school, Cast in Stone, Paris 2021 – 2022&nbsp; &nbsp; Day School alternative art education programme, Bristol 2019 + 2022&nbsp; &nbsp; Amplify residency, Wysing Arts Centre, Cambridgeshire Selected awards and bursaries 2024&nbsp; &nbsp; Visual Arts Award Shortlist, The Arts Foundation2023&nbsp; &nbsp; Artist Grant, DRABL 2023&nbsp; &nbsp; Joanna Drew Travel Bursary, The Elephant Trust 2022&nbsp; &nbsp; Michael O’Pray Prize, FVU / Art Monthly 2021 &nbsp;&nbsp; Grantee, Grand Plan Teaching and facilitation 2026&nbsp; &nbsp; Guest lecturer, Gerrit Rietveld Academie, Amsterdam 2025&nbsp; &nbsp; Tutorials, TOMA, Southend-on-Sea2025&nbsp; &nbsp; Guest lecturer, UWE, Bristol2024 + 2025&nbsp; &nbsp; Visiting artist, Day School, Bristol 2023&nbsp; &nbsp; Guest lecturer, National Film and Television School, Beaconsfield 2022 – 2023&nbsp; &nbsp; Co-instigator, LUX South West Critical Forum, online 2022&nbsp; &nbsp; Guest lecturer, PILOT III, Autograph, LondonResearch assistance 2025&nbsp; &nbsp; Edward George: Black Atlas, The Warburg Institute, London Film programming 2022 – 2023&nbsp; &nbsp; Programmer, Berwick Film &amp; Media Arts Festival 2021 – 2022&nbsp; &nbsp; Submissions viewer, Glasgow Short Film Festival2019 – 2021&nbsp; &nbsp; UK selection committee, London Short Film Festival2020&nbsp; &nbsp; No Fact of Blackness, London Short Film Festival Boards, panels and juries 2025&nbsp; &nbsp; Independent judge, Grand Plan 2022 – 2023&nbsp; &nbsp; Community Taskforce member, Stroud District Council 2022 – 2023&nbsp; &nbsp; Trustee, Stroud Valleys Artspace 2021 – 2022&nbsp; &nbsp; Contested Heritage Review Panel member, Stroud District Council ← Home Dan Guthrie (b. 2000)&nbsp;is an artist, researcher and writer whose practice explores representations and mis-representations of Blackness, experimenting with... http://danguthrie.net/Dan-Guthrie Thu, 27 Oct 2022 18:56:21 +0000 Dan Guthrie 432620 <img width="1000" height="563" width_o="1000" height_o="563" src_o="https://cortex.persona.co/t/original/i/752b3307693e982136a4c0ad9e2a667887c70dc66c9b007d33baf0314776311b/Dan-Guthrie-Piccadilly-Lights.png" data-mid="1429513" border="0" /> Image description: The name ‘Dan Guthrie’ in thick all caps black text on a bright white background takes up the entirety of the giant LED screen in Piccadilly Circus that’s normally filled with a patchwork of adverts, illuminating the street at night. Image credit: CIRCA Prize 2025, Piccadilly Lights, London.&nbsp; Current / Upcoming Blackground : murmures des mornesCAPC, Bordeaux12 June 2026 – 28 March 2027 Glued and Screwed #33 wysiwyg, Den Haag 28 October 2026 Open Studios 2026Rijksakademie, Amsterdam 19 – 22 November 2026Previous 2025&nbsp; &nbsp; Empty Alcove / Rotting Figure 2022&nbsp; &nbsp; black strangers 2021&nbsp; &nbsp; Coaley Peak (A Fragment) CV / Contact → Image description: The name ‘Dan Guthrie’ in thick all caps black text on a bright white background takes up the entirety of the giant LED screen in... http://danguthrie.net/black-strangers-2022 Tue, 04 Oct 2022 11:50:29 +0000 Dan Guthrie 431609 black strangers, 2022Single channel video, 8 minutes 13 seconds <img width="960" height="540" width_o="960" height_o="540" src_o="https://cortex.persona.co/t/original/i/c9e499c342c7bac9ac1ad0707767ad22a2f21ef332bef5c20ca2a9dc0a58b9ba/black-strangers-still.jpeg" data-mid="1229715" border="0" />Image description: A piece of ragged black fabric draped over barbed wire, against a backdrop of out-of-focus dark forest greenery. Image credit: Still from black strangers, Dan Guthrie, 2022. <img width="2880" height="1620" width_o="2880" height_o="1620" src_o="https://cortex.persona.co/t/original/i/0ed45fcc3941ce0628de1a6056660b2bab8a0c0d396651bb87e98531fbb8f7d5/black-strangers--Dan-Guthrie--2022---still-2.jpeg" data-mid="1321288" border="0" />Image description: A pair of brown hands sorts through a pile of folded up eighteenth century documents on a black surface, all of them hand labeled with dates and locations.&nbsp; Image credit: Still from black strangers,&nbsp;Dan Guthrie,&nbsp;2022.&nbsp; After seeing him mentioned on a document held in Gloucestershire Archives, Dan goes for a walk in the woods in search of Daniel, a man buried in Nympsfield on the 31st of December 1719 and who was described as ‘a black stranger’. Whilst walking, Dan talks directly to Daniel, speculating about the parallels between him and his namesake and wrestling aloud with the problems that come with trying to read the archive at face value and fill in its gaps.black strangers was co-commissioned by LUX and the Independent Cinema Office for&nbsp;Right of Way, and is distributed by both&nbsp;LUX and Arsenal. Please contact either of them or&nbsp;the artist directly at dan@danguthrie.net to organise a screening or exhibition of the work.–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Selected screenings and exhibitions2026&nbsp; &nbsp; DINAMO: Obscurity, IFFR, Rotterdam 2025&nbsp; &nbsp; Screening #33, Mascara Film Club, Spalding 2023 – 2024&nbsp; &nbsp; Two Films (solo exhibition), Devonshire Collective, Eastbourne 2023&nbsp; &nbsp; Selected 13 UK screening tour, FLAMIN / videoclub 2023&nbsp; &nbsp; International Short Film Competition, BIEFF, Bucharest 2023&nbsp; &nbsp; aemi presents: Voice Recognition, Docs Ireland, Belfast 2023&nbsp; &nbsp; Year 3, Prismatic Ground, New York 2023&nbsp; &nbsp; 18th Forum Expanded, Berlinale, Berlin 2023&nbsp; &nbsp; Right of Way exhibition, LUX, London 2022 – 2023&nbsp; &nbsp; Right of Way UK screening tour, Independent Cinema Office← Home black strangers, 2022Single channel video, 8 minutes 13 seconds Image description: A piece of ragged black fabric draped over barbed wire, against a backdrop of... http://danguthrie.net/Coaley-Peak-A-Fragment-2021 Tue, 04 Oct 2022 11:46:18 +0000 Dan Guthrie 431608 Coaley Peak (A Fragment), 2021Single channel video, 6 minutes 19 seconds <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/0373fa68baa6e6cdaba6bd0e19409850448dd556b2b2171e807e7f41b4308746/Coaley-Peak-A-Fragment--Dan-Guthrie--2021---still-1.jpeg" data-mid="1395655" border="0" />Image description: The phrase “A poignant and pivotal final shot” in quotation marks is superimposed in white sentence case text over an orange hued shot of a hand holding up a barely visible photograph against the countryside.&nbsp; Image credit: Still from Coaley Peak (A Fragment), Dan Guthrie, 2021. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/fd5817e02017ed7984b4cdff8e3a25c1c214a7dcfb95abee3c58f524cfafe5c0/Coaley-Peak-A-Fragment--Dan-Guthrie--2021---still-2.jpeg" data-mid="1395656" border="0" />Image description: The phrase ‘I want to try and describe a photo to you’ in white text is superimposed over a shot of blurry dark green streaks against a black background. Image credit: Still from Coaley Peak (A Fragment), Dan Guthrie, 2021. Dan’s idea was to make a film about Blackness and belonging in the English countryside, taking a family photo of some of his relatives at the Gloucestershire viewpoint Coaley Peak as a starting point. Whilst making the film, something happened.Coaley Peak (A Fragment) was commissioned by Exeter Phoenix for their 2021 Artists’ Moving Image commission, and&nbsp;is self-distributed. Please contact the artist directly at dan@danguthrie.net to organise a screening or exhibition of the work. glider.mov, an epilogue of sorts to Coaley Peak (A Fragment) screened on Piccadilly Lights in September 2025 as part of CIRCA PRIZE 2025.&nbsp;–––––––––––––––––––––––––––––––––––––––––––––––––––––––– Selected screenings and exhibitions 2025&nbsp; &nbsp; Toward The Forest, Forma, London2025&nbsp; &nbsp; Fieldwork on Film, Atlas Cinema, London2024&nbsp; &nbsp; Absent Forces, Open City Documentary Festival, London2024&nbsp; &nbsp; Free to Forage, T A P E Collective x Grand Union, Birmingham2023 – 2024&nbsp; &nbsp; Two Films (solo exhibition), Devonshire Collective, Eastbourne2023 – 2024&nbsp; &nbsp; Spirit Messages international screening tour, aemi2023&nbsp; &nbsp; Year 3, Prismatic Ground, New York 2022&nbsp; &nbsp; Visions in the Nunnery, Bow Arts, London&nbsp; 2022&nbsp; &nbsp; Short Film Programme, Whitstable Biennale, Whitstable 2022&nbsp; &nbsp; Commissions Premiere, Exeter Phoenix, Exeter ← Home Coaley Peak (A Fragment), 2021Single channel video, 6 minutes 19 seconds Image description: The phrase “A poignant and pivotal final shot” in quotation marks...