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 three installations follow the extensive selected works from 24 Frames Per Second presented at Light Moves 2016.
2017 sees the fourth and final year of the collaboration between Light Moves and Carriageworks bringing 3 works but 5 artists from the project. This year Limerick City Gallery have made the Light Move's installations part of their own gallery programme. All works will be exhibited from the start of the festival until January 2018.
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.
All installations at Limerick City Gallery of Art will be exhibited from the beginning of the festival 2 November 2017 until 14 January 2018 as part of the gallery's own programme.
I CAN RELATE
2015 | Video projection
I can relate is a video, dance and sculpture work presented on a sculpted projection screen in a gallery format. The moving image of a solo dancer interacts with the sculptural form of the screen encompassing a landscape of large granite rocks. It explores the fundamental comparison, or form, between dancer and the rocks. The work is inspired from the simple narrative of comparison between object (in this case rock) and human (in this case a dancer) and the greater relationship to landscape.
Antony Hamilton, Byron Perry
2015 | Interactive mixed media installation
This piece is an attempt to place the participants in a situation where they can be swept up in the ridiculousness and sublime joy of unbridled creativity. The significance of this work is to be found in the interaction with the work itself and specifically in the musical and facial interaction or duet between the two players. It opens a space in which our preconceptions around emotive facial cues and responses can be challenged. Interaction is encouraged with keyboards positioned in front of each projection so the editing process is essentially handed over to the audience.
Escaping from the theatre, a fugitive in the desert: simultaneously dancing and singing, celebrating the sweetest choice of solitude. The Sweetest Choice capture in a single sequence the awkward intensity of this ambiguous presence in magnificent and yet dangerous landscapes from the Californian Death Valley. César Vayssié and François Chaignaud imagine a cycle of 5 versions of this unusual ritual, based on Henry Purcell’s aria Oh Solitude danced, sung and shot in 5 different locations.