‘Art, Class and Politics: Explorations through film’, Hugh Lane Gallery screening and Q&A series with aemi Co-Director Alice Butler

Published date: 24 May 2022

Did you know that aemi Co-Director Alice Butler presents a screening series with Hugh Lane Gallery in Dublin every month? More information is available here and individual event booking links are available below:

Art, Class and Politics: Explorations through film

On selected Friday lunchtimes between April and September, Hugh Lane Gallery will be screening a series of films created by artists, or focusing on aspects of art practice. Selected with Film Curator Alice Butler, she will also introduce each film and moderate a post-screening Q+A.

These events are free and booking is via the Hugh Lane Gallery Eventbrite or those interested can come on the day, subject to availability.
All screenings take place in Gallery 18.

Friday, 8th April, 1pm
Missing Time by Morgan Quaintance, 14 minutes, 49 seconds, Black & White, Stereo
Through a focus on alien abduction, cold war history, and Britain’s colonial history, Missing Time is a film that considers the relation between amnesia, concealed histories, state secrecy and the constitution of the self.

Friday, 20th May, 1pm
Ansaphone by George Barber, UK, 1996, 6 minutes, colour, sound
Ansaphone is a collection of video portraits recorded on a specially made spinning camera. However, each person’s portrait or appearance in the video is determined by the length of the ansaphone message they have left on George’s machine at one time or another. As it is based on George’s ansamachine, the people in it are chiefly friends. Most prominent are Martin Amis, Paul Smith and Suzanne Moore, who have lain down in order for George to take their portrait.
Cézanne by Luke Fowler, UK, France, 2019, 6 minutes, 36 seconds, colour
Shot in and around the studio and garden of the painter Paul Cézanne in Aix en provence and also on the mountain Saint Victoire; the focus of a long running series of paintings made between 1882-1906. Soundtrack by Toshiya Tsunoda.

Friday, 10th June, 1pm
Country Grammar (with Sue Tompkins) by Luke Fowler, United Kingdom, United Kingdom, 2017, 18 minutes, 29 seconds, colour
Fowler’s film focuses on Tompkins’ performance ‘Country Grammar’ created in 2003, one of her earliest pieces performed within a gallery context.
Book here for Country Grammar (with Sue Tompkins) by Luke Fowler

Friday, 1st July, 1pm
Art Class by Andrea Luka Zimmerman, United Kingdom, 2020, 49 minutes, 57 seconds, colour
Art Class is a filmed performance lecture playing on, and exploring, the perennial tension between the two key words in its title. It uses the tropes of scholarly presentation and personal confession alongside extracts from the artist’s work, guest interventions, martial arts and meditation exercises and evidentiary found material.The sequence tests the limits of access that working-class artists have to cultural production and to the relevant institutions circulating these outcomes. Alternately playful and provocative, serious and satirical, Art Class favors wit over weaponizing and reflection over rhetoric but does not pull its punches when it comes to the real obstructions to working class creative progress, or to the strategies necessary to overcome such outmoded hindrances.
Book here for Art Class by Andrea Luka Zimmerman

Friday, 5th August, 1pm
Art School by Anna Lucas, United Kingdom, 2015, 12 minutes, colour
Shot over three years during rare breaks, before and after teaching, this film represents the generic, spaces and facilities once seen in art schools up and down the country. In the absence of students it is the chipboard partitions in studio spaces, paint spattered chairs, the life-drawing studio, workshops and institutional offices that describe the work that takes place. All these spaces are imminently due for demolition and upgrade and the teaching methodologies themselves are being challenged and questioned. As the climate for the arts changes, new technologies emerge, and institutional expectations and requirements change, this model of Art School sits on the cusp of
Book here by Art School by Anna Lucas

Friday, 2nd September, 1pm
Autoficción by Laida Lertxundi
USA, Spain, New Zealand, 2020, 14 minutes, colour
Borrowing its title from a literary genre, the film acknowledges the indeterminacy of both fiction and the self. Noir elements are reduced to deadpan gestures under bright California sunlight. Field recordings made in New Zealand are heard as women speak with each other about motherhood, abortion, breakups and anxiety. A civil rights parade moves slowly down a street. Bodies appear in states of weariness, injured or at rest, while songs by Irma Thomas and Goldberg evoke the passing of time and an uncertain future.
Book here for Autoficción by Laida Lertxundi

Film descriptions courtesy of the LUX Archive

Still from George Barber's Ansaphone, 1996