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Installations at LCGA - Screendance in the Gallery


  • Limerick City Gallery of Art Carnegie Building, Pery Square Limerick Ireand (map)

Workers leaving the factory in eleven decades, Harun Farocki

Workers leaving the factory in eleven decades, Harun Farocki

WORKERS LEAVING THE FACTORY IN ELEVEN DECADES
Harun Farocki

Germany | 2006 | Multi-screen video

When it comes to social conflict the area of 'in front of a factory' is very significant. When it comes to the private life of a film's character, which only begins after work, the factory is relegated to the background. Harun Farocki’s Workers Leaving the Factory in Eleven Decades is largely based on research the artist conducted for an earlier piece similarly titled, Workers Leaving the Factory (1995). This earlier film was comprised of found footage relating to the same theme and accompanied by Farocki’s narration. The 1995 piece was made around the centenary of the first cinematic film, Workers Leaving the Lumiére Factory in Lyon, 1895, by the early cinematographers Louis and Auguste Lumiére.

From 1967 onwards, Harun Farocki directed more than 120 films and installations that analysed contemporary life, and what he saw as its myriad depredations — war, imprisonment, surveillance, capitalism — through the visual stimuli that attend them. His work has been the subject of major exhibitions at the Museum of Modern Art in New York, the Tate Modern in London and elsewhere. Farocki died in July 2014.

Erika Balsom will present a talk entitled: Moving Bodies: Capture and Control in the Late Works of Harun Farocki on Friday 3 November at 11am in Dance Limerick €6/€7.


Daytime Movements, Aernout Mik, Boris Charmatz

Daytime Movements, Aernout Mik, Boris Charmatz

DAYTIME MOVEMENTS
Boris Charmatz, Aernout Mik

Germany | 2016 | Video projection

Film of dance? Filmed dance? Or phantom choreography, seeking in the very nature of movement the turbid matter of his imagination? Daytime Movements by the artist Aernout Mik in collaboration with the choreographer Boris Charmatz places us at the border. In this "day dance" where the disorder of the bodies interferes in a daily environment, every gesture hides or reveals signs of a disturbing strangeness ...

“In the silence and the interior entrenchment, the dancers seem to forget themselves and to form a body with the objects, with the landscapes, caught in a hypnotic trance that extends to the viewer through the immersive device of the installation. The violence of the gestures also imposes his emotions, questioning the passive and active positions. The camera films when approaching or detaching itself, constructing its language and its editing, creating its rhythm. Collaboration is also the risk-taking of research that continues in the territory of the other.” New National Museum of Monaco, 2016

Aernout Mik’s work takes an ironic look at human behaviour placed in out-of-the-ordinary situations. His video installations present physical and psychological states instead of sequences ordered according to a linear narrative. Dancer and choreographer, Boris Charmatz has long been established as one of France’s leading philosopher-choreographers. Some of his most well-known works include Aatt enen tionon (1996) and danse de nuit (2016).


Doll Clothes, Cindy Sherman

Doll Clothes, Cindy Sherman

DOLL CLOTHES
Cindy Sherman

USA | 1975 | Super 8mm shown on video

Doll Clothes presents a photograph of the artist, Cindy Sherman, as a paper doll that has come to life, trying on multiple outfits before a mirror. After each costume change a hand intrudes from the corner of the screen, putting the doll and her dress back in their plastic album sleeves. The repetition of posing followed by powerlessness reflects Sherman’s on-going fascination with the politics of identity and representation, particularly in relation to women.

Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history.


Vanishing Point, Rosemary Butcher

Vanishing Point, Rosemary Butcher

VANISHING POINT
Rosemary Butcher

UK | 2004 | Single screen video | 16’00” loop

With the figure of Elena Giannotti set against the desert in Andalucia, Spain and comprising principally of one shot and with only three cuts, Vanishing Point is a moving evocation of women’s position in an often male-dominated society. As one of the most singular British choreographers of her generation, Rosemary Butcher was a seminal figure in postmodern dance. Largely eschewing the strictures of formal choreography, she was preoccupied with exploring movement in new and innovative ways that bound conceptual ideas to execution often to deliberately provocative ends.

Butcher made radical and innovative works that crossed the disciplines of choreography and visual arts before she sadly passed away in 2016. After returning to the UK from New York in the 1970s, Butcher often explored non-theatrical spaces – galleries, architectural and open sites – for presenting her works, and has worked with designers, film makers and dancers, making key choreographic film works including Vanishing Point and SCAN.