Simon Lee works in photography, video and installation. His public arts
project, Bus Obscura, was part of Art Basel Miami Beach in 2004 and has since
toured extensively in the US and abroad. He has shown work at the Tinguely
Museum in Basel; The Passenger’s Festival in Warsaw; Roebling Hall, New York;
Pierogi, Brooklyn; University of Hertforshire, London; Colgate University,
Hamilton; and Locks Gallery, Philadelphia. He has received many awards
including a grant from the Experimental Music and Performance Center, New
York; a Pollock-Krasner Foundation award and several New York Foundation for
the Arts awards. He was born in Yorkshire and lives and works in Brooklyn, New
Algis Antanas Kizys has played bass/toured/recorded with Swans, Foetus, Pigface,
Teenage Jesus and the Jerks, Of Cabbages and Kings, The Glenn Branca
Ensemble, Bag People, The Problem Dogs, and NeVAh amongst others, and non-
bass in Prowers, The Termites and The Hallicrafters-- a short-wave radio
ensemble. Through the years he has had the delight to have worked with Alex
Hacke, Lydia Lunch, Nels Cline, Jonathan Bepler, Eve Sussman, Matthew Barney,
among others. Film credits include Eve Sussman’s The Rape of the Sabine
Women and whiteonwhite:algorithmicthriller, and Gus Van
Sant’s Finding Forrester. He has also participated in Experimental Skeleton, Inc.
and their Dream Machine Project.
WHERE IS THE BLACK BEAST? based on CROW: The Life and Songs of the Crow, by Ted Hughes.
Where is the Black Beast? begins with Lineage, a poem that abridges The Book of
Genesis into 21 lines and from which the protagonist Crow emerges.
A journey begins that takes us from Oedipus’ familial catastrophe to Crow’s mad
battle with the sun. Deaf to all but his own cries of importance the film finally
returns Crow to his roots: “trembling, featherless, elbows in the nests filth”.
Where is the Black Beast? was created by stringing thousands of found snapshots
together into a visual narrative based on the poetry of Ted Hughes. This
collaboration with hundreds of anonymous photographers realizes the intensity of
Hughes’ poetry in a cinematic form.
The provenance of the original photos crosses both geographic and temporal
boundaries suggesting that the stories, histories and emotions that Hughes
expresses are not confined to one culture or moment in time but rather have a
The piece is set to an original sound track with specially commissioned
readings of the poetry. Using field recordings and time shifts in tandem
with original and existing compositions the process of editing the film was a
constant negotiation between sound, picture, poetry and spoken voice.