The latest exhibition by Art House Jersey shows the work of multiple artists, and as the put it is an “ambitious exhibition that explores the idea of ‘home’ in the 21st Century”

The exhibition shows the works of multiple artists working in a range of mediums from sculpture to tapestry, painting to film. They believe that it will challenge people’s perceptions of what an art exhibition can be and has been designed to appeal to a broad variety of ages and not just for those with a firmly established interest in art.

“For many it will be a sanctuary, but for some it may have less positive associations. No Place Like Home builds a rich narrative and delves into personal stories, global issues, childhood memories, and speculative worlds as well as the bleak realities of the current housing market. The artists do not shy away from difficult issues, but rather tackle them with inventiveness, pathos, humour and a generosity of spirit. Alongside the gallery works, three installations will be announced in the coming weeks which will take their place in surprising settings around the Island.”

Laura Hudson and Rosalind Davis – Curators of ‘No Place Like Home’

About the filmmaker – Chris Marker

Chris Marker (29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist who has been challenging moviegoers, philosophers, and himself for years with his complex queries about time, memory, and the rapid advancement of life on this planet. His best known film, La Jetée is one of the most influential, radical science-fiction films ever made, a tale of time travel.

Full film

A man is a prisoner in the aftermath a nuclear war, where survivors live underground. Scientists research time travel, hoping to send test subjects to different time periods “to call past and future to the rescue of the present.” They have difficulty finding subjects who can mentally deal with time travel, many of them go crazy or die. The scientists eventually settle upon the man, he has a key to the past because he has an obsessive memory from his pre-war childhood of a woman he had seen on the observation platform at Orly Airport shortly before witnessing a man die.

After several attempts, he reaches the pre-war period. He meets the woman from his memory. After his successful passages to the past, the experimenters attempt to send him into the far future. In a brief meeting with the technologically advanced people of the future, he is given a power unit sufficient to regenerate his own destroyed society.

Upon his return, with his mission accomplished, he discerns that he is to be executed by his jailers. He is contacted by the people of the future, who offer to help him escape to their time permanently; but he asks instead to be returned to the pre-war time of his childhood, hoping to find the woman again. He is returned to the past, placed on the observation deck at the airport. He is concerned with locating the woman, and quickly spots her. However, as he rushes to her, he notices an agent of his experimenters has followed him and realizes the agent is there to kill him. In his final moments, he comes to understand that the death he witnessed as a child, which has haunted him ever since, was his own death.

Moodboard for our film:

Mindmap of what we want to do in our film:

Our plan for the film we are making is telling the history of the castle through the architecture, mainly the old era and the WW2 era.

When we start the film, we will be exploring the old castle, the castle from when it was built in 1588 until the Battle of Jersey in 1781. We are hoping to be able to explore the entire area, especially the chapel of St Helier, where he lived until his death in 555 AD. We also are interested in filming the green areas and the main tower of the castle, as it has a view of most of the castle from it. The Parade Ground was rebuilt during the Georgian era to how it is seen today with an Officer’s Barracks that housed 12 officers; an Infantry Barracks that housed 300 men with 6 wives of the Garrison staying the attic; a canteen at the North end; the Ordinance Store at the South; and the Gym, Library and Fire Station next to the Ordinance Store, we may use these in our film. Using the sounds from around the castle we’re hoping to create a soundscape to play throughout this portion of the film along with some music. At the end of this part there will be a cannon sound and that’s where there will be a shift in atmosphere.

In the end segment of the film we will switch to showing the fortifications from the Second World War, with a much darker tone, we will explore the different artillery bunkers on both the East and West sides of the castle both have the original guns from when the bunkers were built, none of the castle has been changed until recently, these current changes are just refurbishment and won’t actually change any of the historical significance of these buildings. We will also be filming the different fortifications including the anti-tank gun, the guns on the bunkers and the anti-aircraft weaponry. This entire segment of the film will have quite a dark, gloomy atmosphere to it, we will have some melancholic music playing in the background and some crackling music playing throughout this part.  A searchlight on rail-tracks could be wheeled out of its protective bunker under the Georgian Hospital to a position that could patrol the harbour. 100 Nazi Soldiers lived out at the castle and nothing has been changed at the castle until today. The majority of the bunkers are open to the public, with the guns being the originals and were never removed from their positions.

In both segments we will have some sort of voiceover describing what is happening in the film, or even some history of the area, some parts of the voiceover possibly being in French if there is French information posters around the place but our plan is to mainly use music and our soundscape instead of spoken facts.

STORY: What is your story?
Describe in:

• 3 words
• People’s everyday lives.

• A sentence
• Documenting people’s lives in St Malo, whether that’s tourists or locals.

• A paragraph
• Documenting people’s lives in St Malo, whether that’s tourists or locals. Also documenting the streets of St Malo and what it’s like on a weekday, how busy the restaurants are, how many people are spending time in the IntraMuras and what people are doing, especially around lunchtime.

NARRATIVE: How will you tell your story?

• Images > I will be using the images from our day trip to St Malo, including the ones I have edited using AI generators.

• Texts > Typography, words, street signs, graffiti..
• Lots of my images have some sort of graffiti on them, a name of a restaurant or bar or a street sign. The zine will have a title page and possibly some sub-headings throughout the zine, describing what the next part of it may be about.

Zines are self-made, printed issues built of photos and captions. The name comes from the word “magazine”, as zines follow the style of magazines with headings, text, and illustrations put on a grid. An important feature of a photo zine is visual storytelling.

The style of zine I’d like to make:

Using Adobe InDesign, we’re making A3 page spreads about our trip to St Malo.

Using the tool selected above, I make boxes for my images.

I then added the text, telling information about each image.

I went to St Malo with the intention of taking images in the styles of Henri Cartier-Bresson and Jeff Wall, but also using my own style of slightly under or over exposed images.

Who: The people in the streets of St Malo

What: Streets of St Malo

Where: IntraMuras of St Malo, France

Why: To practice street photography

I made most of the images black and white, again in the style of Cartier-Bresson and Wall.

My favourite edited images: