inseparable
A couple of Manchester things now, the rest of you can talk amongst yourselves.
My friend Helen Shanahan, and another film artist Lucy Campbell have a joint exhibition on at greenroom in Manchester until, I think, the end of the month. Don't try to find the exhibition, titled inseparable, on greenroom's website, they don't seem to feature these. [Update - apologies to greenroom, it is featured on their site - here. D'oh!] There are a number of excellent quality still prints of frames from a number of films in the bar area, and the areas immediately away from the bar. There is also, albeit pushed away in a corner, a tv playing a loop of extracts from the films. Admittedly none of this is the ideal way to view the work, but it's still worth seeing.
There's a concentration on people, people as people, and as bodies and relationships. People as material that gets worn by time. Real people in real environments, human or physical. People that are not just 'characters' or expressions of an idea, as in most cinema. There is also a concentration on fabric, thread, on things being brought together and fraying apart, on creases and texture. I have had very little opportunity to look at the film, but I intend to do that over the weekend or sometime next week, and to spend more time with the prints. And by now your mission should be clear - if you're in the area get your lazy ass down to greenroom, and take a look. I mean a proper look, not just a 'Oh that's nice, don't like the blue, what are you drinking?' kind of look.
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My friend Helen Shanahan, and another film artist Lucy Campbell have a joint exhibition on at greenroom in Manchester until, I think, the end of the month. Don't try to find the exhibition, titled inseparable, on greenroom's website, they don't seem to feature these. [Update - apologies to greenroom, it is featured on their site - here. D'oh!] There are a number of excellent quality still prints of frames from a number of films in the bar area, and the areas immediately away from the bar. There is also, albeit pushed away in a corner, a tv playing a loop of extracts from the films. Admittedly none of this is the ideal way to view the work, but it's still worth seeing.
There's a concentration on people, people as people, and as bodies and relationships. People as material that gets worn by time. Real people in real environments, human or physical. People that are not just 'characters' or expressions of an idea, as in most cinema. There is also a concentration on fabric, thread, on things being brought together and fraying apart, on creases and texture. I have had very little opportunity to look at the film, but I intend to do that over the weekend or sometime next week, and to spend more time with the prints. And by now your mission should be clear - if you're in the area get your lazy ass down to greenroom, and take a look. I mean a proper look, not just a 'Oh that's nice, don't like the blue, what are you drinking?' kind of look.
.
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