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Performance #1, #2 & #3 These works are a triptych of performances where the documentation of the live act appears more important than the live act itself. Two days after the performance the edited video, complete with dubbed sound effects, is exhibited with the storyboard. The first live performance at the Czech Centre in Prague was 30 minutes long. The video of the performance has a duration of 1.5 minutes. The second live performance, at Castlefield Gallery in Manchester, was 70 minutes long, and the resulting video is 2.5 minutes. The third performance was 40 minutes, and the video is 4 minutes. Performance #1 was made during a residency at Futura, Prague. |
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| Cinematic Composition in Three Parts; Storyboard, Sound, Location Installation with Storyboards and Sound (2007-2008) A series of storyboards detail film scenes that take place in public toilets. In the toilets of the same building where the storyboards are displayed, a soundtrack to these short scenes plays on a loop, constantly building suspense, hitting its climax and slowly building up again. The work takes advantage of a cinematic cliché; in the movies public toilets and bathrooms are frequently the scenes of suspense, contemplation, violence and grit. This cinematic genre is used as a transportation device into an imaginary world, and is part of the artists ongoing investigation into possible junctions between life and the cinematic. With a specially commissioned score by Lukas Simonis
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Manipulated Living Taking control of the sound system in The Pallasades Shopping Centre for one week we played a selection of film scores to the thousands of commuters who must pass through from Birmingham's main train station each day. Commissioned by New Generation Arts
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The Poets Two Chinese Poets appear to ramble poetry in a destroyed film set. However, the subtitled English text, which contains snippets chosen from the poetry of T.S. Elliot, does not match what the actors actually say in Mandarin, who are merely talking through physical stage directions.
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The Waiting Room A film set of an institutional waiting room was built during a residency at The New Art Gallery Walsall, where members of the public were invited to star in a series of videos about the unavoidable circumstance of waiting.
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Within the Chaos there is CHNS The artists wrote a script for a horror film based in St Paul's Church, where an exhibition was to take place. On the night of the opening, an electric guitarist improvised a two-hour film score to the script. Inside the church, only the guitarist could hear the guitar through his headphones. The sound was amplified through a large speaker system in the bell tower, filling the surrounding square with the guitarist's impression of the horror script. The script closely follows the Classic Hollywood Narrative System (CHNS), a formal system used in 99% of Hollywood films to keep viewers attention, implying a symbolic control over people using the space outside the church. Supported by Arts Council England
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Like A Musical Inspired by the fantastical imagery of musical cinema, the artists created two new scenes with a particular location in mind. After writing lyrics and a synopsis, they collaborated with a composer and choreographer and employed five professional actors to rehearse the scenes. Commissioned by Fierce International Performance Festival, Birmingham
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Conversation Exchange* Performed and exhibited at the ICA, London
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Columbia*
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I am Karin Kihlberg** Performance (2004-2005) An actress is trained to take the role of the artist Karin Kihlberg. She appears in art events to replace a fraction of Karin Kihlberg's life. This parallel life enables the real Karin Kihlberg to take a break from herself. During the performance the real Karin Kihlberg is at home relaxing, having a foot bath. Performed at Sollentuna Art Fair, Stockholm, represented by Candyland, 2005. Actress: Anna Lundquist, and in Brain Jelly Live Art Showcase, curated by AAS, at UCE Birmingham. Actress: Julie Chapman. Supported by Arts Council England
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Shoot* The focus is on the conversation formed under the context of a moral dilemma. No matter the outcome, the actions and decisions of the visitors were always questioned, moving the performance into a form of alternative therapy.
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Art Video: The Definitive Critique* Presented by 19th Century French Painter Jacques Croissant, this illustrated lecture categorises many common forms of single screen video art, and critically exposes an art form whose practitioners suffer from a profuse confusion between art, design, and entertainment. Demonstrating a rich critical analysis, Croissant here explains what makes good quality video art, and what is mere video craft. This educational video essay, produced specifically for distribution to art institutions, is a reaction to and safeguard against a "Tidal wave of video art crap coming out of the art schools", and warns the artists of tomorrow how they may avoid becoming cheap video art peasants.
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*Works by Reuben Henry |
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