15
October
13.30
Irish Film Institute
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135 minutes (includes interval), Italy-U.S.A.-France-Ireland-UK-Senegal, 1554-2016, DCP

462 YEARS OF CINEMATOGRAPHY 1554-2016 by AURÉLIEN FROMENT

15 October 2016 / 13.30 / Irish Film Institute
135 minutes (includes interval), Italy-U.S.A.-France-Ireland-UK-Senegal, 1554-2016, DCP

Artist Aurélien Froment will be in attendance at this screening.

Expanding the idea of cinema to other forms of projection, from the ancient art of memory to early modern education, wildlife exhibition design to life-size architectural experiments, reading to forecasting, this programme comprises a number of works by the artist Aurélien Froment, a series of provocations that engage and occasionally refute the expectations we bring with us when we face the cinema screen. As one of France’s most acclaimed contemporary artists, this project is informed in part by Froment’s previous work as a cinema projectionist. Froment’s practice has, among other things, explored the role of the cinema within a wider history of exhibition making and aemi is delighted to support this very special screening of the artist’s work.

 

Aurélien Froment biography
Aurélien Froment is an artist living and working in Dublin since 2009, originally from France. In the most recent years his work has been shown at the Venice Biennale (2013), the Sydney Biennale (2014) and the Dakar Biennale (2016) and has been the subject of solo exhibitions at CAG (Vancouver), Villa Arson (Nice), Spike Island (Bristol), FRAC Ile-de-France (Paris), Badischer Kunstverein (Karlsruhe), Heidelberger Kunstverein (Heidelberg), NCAD Gallery (Dublin), Bunkier Sztuki (Krakow) and Les Abattoirs (Toulouse).


Images:

Pulmo Marina, Aurélien Froment (Photo A.F.)

Pulmo Marina, Aurélien Froment (Photo A.F.)

Projection by Pictures, Aurélien Froment (Photo Laurent Montaron)

Non Alignés, Aurélien Froment (Ousmane Diallo) (Image A.F.)

Non Alignés, Aurélien Froment (Ousmane Diallo) (Image A.F.)

Theâtre de poche, Aurélien Froment (Photo Aurélien Mole)

Theâtre de poche, Aurélien Froment (Photo Aurélien Mole)



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