Artists Film Programme selected by Corin Sworn
Tetley Gallery, Leeds
A programme of artists’ films selected and introduced by Corin Sworn as part of her research fellowship considering the history of performed identity from early modern theatre to mobile screens and social media.
- Dan Graham
Recorded at Video Free America in San Francisco, this work is a phenomenological inquiry into the audience/performer relationship and the notion of subjectivity / objectivity. Graham stands in front of a mirrored wall facing a seated audience; he describes the audience’s movements and what they signify. He then turns and describes himself and the audience in the mirror. Graham writes: “Through the use of the mirror the audience is able to instantaneously perceive itself as a public mass (as a unity), offsetting its definition by the performer (‘s discourse).
- Andrea Dojmi
Illumination Complete (Action #5)
Dojmi says of her project: “Illumination Complete” is the programmatic title for a series of interventions carried out over the course of the time and recorded on film, sound, installations, performances and photographs.
- Duncan Campbell
Fall Burns Malone Fiddles (2004)
Campbell produced the enigmatic yet compelling Fall Burns Malone Fiddles by piecing together a series of black and white still images of young working class people and depressed neighborhoods, sourced from a Belfast archive.
- Hannah Black
Power Cut 1970 (2013)
Hannah Black’s writings and artwork address race, gender, class, pop culture, and geopolitics.
- Lynn Hershman Leeson
First Person Plural, The Electronic Diaries of Lynn Hershman Leeson (1984-96)
10 mins (excerpt)
A confessional video that records Hershman’s struggle, transformation, and transcendence as her personal story unfolds before the camera and sees the mirroring effects when personal becomes political, becomes cultural. This consists of four segments: Confessions of a Chameleon, Binge, First Person Plural and Shadow’s Song.
- Andrea Crespo
Virocrypsis (2015), develops the Crespo’s ongoing inquiry into post human desire. Crespo is attentive to the way that communities have formed on sites where desire can be seen to take various forms, in the shape of characters, avatars and other types of vessels. In this vein, conjoined characters named Cynthia and Celinde appear in several of the artist’s works; virocrypsis features a splintered dialogue between their two voices. A sense of mutating desire and energy is captured by splattering liquid, bio-printers producing new fruits and singing five-headed Vocaloid(s), as well as stuttering punctuation that suggests an intense energy spinning in place: cooling, buffering and loading.
- Emily Wardill
Shot in colour on a set that was built in Black and White, ‘Ben’ re- inhabits a famous case study involving hypnosis. The authority of the case study, the rickety construction of the set, and the faltering voice over hold the film together in a precarious balance.