24 Frames Per Second is a ground-breaking project developed by Sydney based contemporary multi-arts centre Carriageworks, curated by Beatrice Gralton and Nina Miall. These two installations follow the extensive selected works from 24 Frames Per Second presented at Light Moves 2015. We look forward to continuing our partnership with Carriageworks in 2017.
With thanks to the Australia Council for the Arts, Arts NSW, ABC Arts, Bridget Ikin, Carin Mistry, Erin Brannigan, Gideon Obarzanek, John Maynard, Julie-Anne Long, Kath Earle, Ross Harley and UNSW Art & Design.
A revisionist account of an arbitrary historical category of dance film is a performance of our time together on stage, in studio, before class...
For Apparitional Charlatan... Brian Fuata has narrated the choreographed activity taking place in all the historic dance films that have been archived on Ubu Web. Written as first-person accounts, these transcriptions range from free association to direct quotes about the films sourced from Wikipedia and are presented in a slide format as a text work. The text work is combined with a performance video, based on Fuata's recent series of ghost gallery performances, but with the figure of the ghost edited out. Image and text operate on different time loops, their combinations infinitely random and continuous, creating a hyper performance document of an absent body.
Brian Fuata, b.1978 Wellington, New Zealand, lives and works in Sydney.
THE FOURTH NOTEBOOK
The Fourth Notebook takes Russian dancer Vaslav Nijinsky's semi-sensical letter To Mankind as the score for new choreography by London-based dancer Benjamin Ord. Nijinsky's words, written on the threshold between sanity and madness, operate as the rhythmical backbone to a film which explores and questions the space and separation between things through attempts at translation and mimicry. In collaborating with Nijinsky's last communications to create something new - a new choreography, a new meeting between the archive and the contemporary body, and new meanings from the seemingly meaningless - Spong extends her own explorations into the meeting of movement and object, choreography and sculpture, the personal and the historical.
Sriwhana Spong, b.1979 Auckland, New Zealand, lives and works in Rotterdam.