A photograph taken of someone in a dark space. They have their back to the camera and are shown in silhouette, in front of a film projected on the far wall. The film appears to show two figures in negative, sepia tinted light. On the left of the image a 16mm projector is projecting the film.

Artist-led

Artist-led - BEEF

An ongoing series profiling artist-led groups in the South West. This month we are celebrating BEEF

Posted

05/02/26

Can you tell us about BEEF, who you are and what you're about/what you do.

Bristol Experimental Expanded Film (BEEF) is a film and sound collective supporting experimental practice in Bristol since 2015. BEEF provides an independent platform and much needed resource for artists’ production, distribution and critical engagement, predominantly focusing on experimental and analogue practices. BEEF members collaborate and work together to organise programmes and events, screenings, performances, exhibitions, residencies, and film and sound workshops. We currently have over 20 members who are a mix of film makers, artists, musicians, curators, producers, organisers, writers, teachers, researchers, and academics.

Whilst many of us work in experimental film and analogue practices, many do not. Some work with sound, some more broadly across mediums and disciplines and wide-ranging subject matter and contexts. Yet what unites us is experimentation with form, material, practice and a do-it-yourself approach. In practice we are an unruly bunch of serious yet fun folks who come together as a community to make things happen, carrying the baton of artist-led activity in the City.

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A photograph of a table, which has been placed outside in a woodland area. The table has black metal legs and a wooden laminate top. The photograph focuses on the table top, which has various items including three 16mm film cameras, a book on filmmaking, and various other smaller items of equipment and materials.

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A photograph of a group of people standing under a shelter in a woodland area. The person closest to the camera has their back to us, and is reading from a booklet to 10 people who are standing around in a semi-circle. In the centre of the group is a table, that holds various items including three 16mm film cameras, and various items such as materials or small pieces of equipment.

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A photograph of two plastic trays taken from about. The tray on the left is red and the one on the right is grey, they are outside on grass covered ground. Both trays hold messy spools of 16mm film strip. The grey tray appears to be filled with yellowish liquid.

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Can you tell us why you set up and why an artist-led approach, and how BEEF are important in the context that you are working in?

In 2015, there was a lack of visibility and lack of platforms for artists in Bristol working with experimental film. We initiated BEEF to nurture an experimental film and sound art scene. Our aim was for BEEF, as an artist-led collective, to stimulate new work from our artist/academic/curator members, to host screening events with invited artists alongside BEEF members, and to run workshops in parallel with the programme; enabling participants to develop skills in areas such as Bolex, hand processing, field recording and podcasting. Central to the projects has been an ongoing curated programme of experimental filmmakers and sound artists.

A photograph of a screening event, taking place in a large dark space. The view shows the audience, and there are many people sitting on the floor or on chairs, a few are standing at the back of the space. In the centre of the room, to the right of the image, someone is sat at a table placing something on an overhead projector. The light from the projector is illuminating them and the people around them, it is the only light source in the room.

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A photograph of a film projected in a dark space. The space is painted white with a dark ceiling and floor. The light in the room comes from a screen in the far corner, which is out of focus in the photograph. The screen shows an abstract yellow rectangular shape on an off which background, the edges appear to glow orange. Two vertical metal bars on the left of the image also reflect the light. Behing them, a speaker on a stand is visible.

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We set up an artist led approach so that we could retain autonomy from the film industry. In this regard we were following examples from the London filmmakers co-op (1970) and subsequently nowhere (2000) in London. The London filmmakers co-op was next door to the London musicians collective and members of both organisations inevitably collaborated, since film has both audio and visual elements. BEEF has followed suit and enjoyed many successful collaborations between the more visually and the more audio oriented members of our collective.

A photograph of a person sat at a wooden table. The image is cropped to show the persons hands and hair hanging down on the right-hand side of the frame. On the left of the image is a 16mm projector. The person is in the process of cutting film which spools from the projector with a scalpel.

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With the demise of analogue film and lack of provision for its making in the industry we felt it to be advantageous to pool our resources, and then to share our knowledge about how to use these tools, technologies and materials. The time of establishing BEEF coincided with an explosion of international DIY artist-run filmmaking labs, of which we are now a part. Going forwards we envisage that BEEF will gain significance in this community.

Our programme of events and workshops is distinct from an institutional programme as it reflects the artistic practices and research interests of our members. There’s a DIY ethos and a spirit of generosity with members helping each other out. The collective also fosters collaborations and critical dialogue with regular show and tell discussions for members.

A photograph of a yellow tabletop taken from above. On the table are various objects including three small pots containing objects such as a feather, leaves, screws and twisted metal wire. There is a strip of clear film running horizontally along the bottom of the image, which is covered in leaves and small twigs. On the right of the image are two more strips of film, one black and one clear.

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A photograph of someone’s hands over a yellow tabletop taken from above. They are holding a clear film strip, which runs diagonally from the bottom left of the image. They appear to be placing small seeds along the strip, and there are more seeds to the right of the image, some on a branch and some in a small handmade paper box. To the left of the film they are working on is another clear film covered in leaves and small twigs, and a black film strip. They have a gold ring on their right hand, and are wearing a blue, red and white scarf which is hanging down to the table. The is a greenish shadow falling over the table from the right.

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Can you describe what sort of space you run out of / the context of BEEF, and how you operate / are funded?

We have had a number of spaces in Bristol mainly in the St Pauls area, starting at Portland Square for around two years before the building was redeveloped into luxury flats, then moving into an under-stair closet just big enough for storing our stuff - with a bit of desk space at Jamaica Street Studios, before heading to former working mans club the Brunswick Club with other artist-led groups (CHAMP, Interval, Thorny, and individuals). For two years we inhabited this amazingly versatile five story space, which had a ballroom, bar, skittle alley, and residential floor where two of our members lived. During this time, BEEF co-hosted a wide-ranging (and now legendary) programme of experimental arts and music - exhibitions, club nights, workshops, talks, gatherings and more. We also attempted to make a case to buy the building to support artistic practice in the city, but were out-financed by developers and the space is now a magnolia co-working space.

A photograph of a group of six people in a semi-circle looking at the camera. There are in a dark studio space with lots of equipment and materials stacked on shelves around the room. The are sitting or standing around a central area which has various items including instruments, film canisters, plastic tubs and microphone stands. At the back, someone is standing next to a table which holds a projector that is positioned towards the camera.

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From there, we moved to Pennywell Studios - a shared co-working space, with artist studio holes. Limited space for events meant it was only possible to host workshops and small screenings. And from there, we moved back to Jamaica Street Studios - a different space this time, yet with stairs involved again. This space is only just big enough to host small workshops, with a separate smaller room which we developed into a darkroom and lab for the production of 16mm film.

A photograph two films projected in a large dark space. One is projected on the far wall, it is black and white and shows a person walking away from the camera in an urban environment. The second film is projected on a freestanding screen, which is placed further into the room on the right-hand side. The film is in colour and shows a closely filmed image from the side of a white woman with glasses and grey hair, who is in an urban outdoor space. Towards the back of the room at the right a person can just been seen sitting on the floor.

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At the time of writing, we are in the process of downsizing once more, as our membership income fails to cover the costs of renting the small space that we currently have, which in turn limits our ability to bring in income through running events as we once did at Portland Square and Brunswick Club. From April, we will only have shared use of the tiny darkroom, and shall have to conduct our meetings elsewhere - probably at the home of a member, or in the pub. In the current social, cultural, and neo-liberal economic climate that crushes the possibilities for DIY spaces, along with the rapid development of the city (and that of the past 10 years) artist-led activity becomes more and more challenging to sustain. We’re just about hanging on in there.

BEEF exists on a membership model with members paying a monthly subsidy which goes towards the costs of whatever spaces we are inhabiting. Since leaving Brunswick, our public programme of events and workshops have been hosted through partnerships at other venues in the city – when we are either invited or are in receipt of funding (which is rare and often minimal for our creative output with members rarely being paid more than a token gesture if that). We have also taken part in many national events, programmes and festivals over the years, and will continue to seek opportunities to continue our work as long as the energy is there within the wider collective.

A photograph of people watching a film being screened in a dark space. The film is projected from a 16mm film projector which is on the right of the image in the foreground. The projector is on a trolly and someone is standing to the right of it, they are wearing a face mask. Four people sit on the floor towards the left of the image. They are watching a film which is projected on the far wall. There is another freestanding projection screen to the right of them.

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Can you tell us about what you are currently working on and if you have any projects coming up you’d like to share with our network?

Following a successful Arts Council bid, we have put together a new year-long programme TEN YEARS OF Bristol Experimental Expanded Film to celebrate ten years of BEEF artist-led collective activity in Bristol and beyond. Curated by BEEF members, the programme began in May 2025 and continues until April 2026. We haven’t had any funding for some years now, so this gives us the opportunity to come together after a period of relative inactivity to shape a programme that represents BEEF’s milieu whilst considering the current cultural and social context we find ourselves in.

A promotional flyer for BEEF's ten year anniversary programme.

The funding is also supporting residencies for BEEF members where we have had valuable and prolonged periods of time together (as opposed to the short and ad-hoc gatherings of recent years) to share, develop ideas, and collaborate. This is so essential for the collective spirit, and the development of personal and group practice. We hope that the momentum of this period will carry us forward with renewed vigor to see what’s next for BEEF as we enter our second decade of activity.

The programme we have put together of events and activities celebrates and explores the breadth of experimental and expanded film and sound practices. Bringing together screenings, live performances, sound art, artist talks, workshops, and artist development, and showcasing work from both local and international artists, the programme includes creative risk-taking work, cross-disciplinary collaboration, and critical dialogue. Whether through immersive audiovisual installations, discussions, or hands-on creative sessions, the programme aims to inspire, challenge, and connect audiences with the evolving landscape of experimental work - past, present, and future - from the city and further afield.

Recent events included Welcome to My World, a weekend programme of artists’ films and conversations at Arnolfini during Mental Health Awareness Week, exploring lived experiences of Black masculinity in relation to depression, psychosis and neurodivergence. The programme brought together work and discussion with artists Larry Achiampong, Marcus Coates, Joanne Dorothea-Smith, Louisa Fairclough, Patrycja Loranc and Mars Saude. This was followed by Experimental Archives I, featuring a Slovenian double bill and a session on navigating archives in euphoric and diasporic modes, alongside an Environmental Arts + Collective Care symposium. The day combined talks, film screenings, workshops and a shared evening feast, focusing on how art can support collective care, wellbeing and resilience in the context of the climate crisis. Workshops included Super 8 and experimental 35mm moving-image workshops, exploring half-frame film, rayographs, Jacro UV film, direct animation and live projection experiments.

A promotional flyer for a workshop called listening in.

A promotional flyer for a weekend programme of events by BEEF.

Coming up, as part of BEEF’s ongoing commitment to DIY analogue film practices, we present Doing it for Ourselves, a curated weekend of film screenings, performances, discussions, critical dialogue, and a workshop. The programme explores how DIY film labs and collectives support and stimulate new ways of thinking about cinema. It emphasises collective approaches to making and screening film, considers how shared equipment and resources, integrated models of analogue film production and presentation and also artist initiated publications play a crucial role in the ongoing experimental and artist film making ecosystem. This will be held at The Cube Cinema and KIT FORM between Friday 20 - Saturday 21 February 2026. Events include:

The Film Camera Event: Friday 20th, 7-10.30pm at Cube Cinema
Projection Workshop with Els Van Riel (Brussels Film Lab) and BEEF: Saturday 21st,
11-5pm at KIT FORM
Expanded Cinema Event: Saturday 21st, 7-10.30pm at KIT FORM

Morgan Quaintance: Available Light brings together BEEF-affiliated artists presenting film, spoken word, and sound works in response to Morgan Quaintance’s touring project Available Light, and marks the culmination of the touring programme. Alongside Quaintance’s premise, the programme reflects upon personal and social perspectives, exploring notions of home and belonging in contemporary society, and examining how these experiences are shaped by place, memory, and both individual and collective experience. This will be held at KIT FORM on Thursday 26 March 2026.

BEEF members will also share their practice with audiences through workshops to learn new skills and insights into experiential practice.

Listening In a hands-on, ears-open workshop exploring the audible. with Shirley Pegna. Sat 28 February
Contact Printing16mm Film with Matt Davies & Melanie Clifford. Sat 21 March