Spanning international works from 1956 to 2022, ‘Nostril Thinking’ expands & defies what is traditionally understood as animation
Co-curated with artist Orla Mc Hardy for aemi, this programme expands and defies interpretations of what is traditionally understood as animation, offering complicated gestures from modest means.
The screening – featuring works by Elizabeth Price, Robert Breer, Johan Rijpma, Elisabeth Belliveau, Naoyuki Tsuji, muthi reed, Lilli Carré and Suzan Pitt – explores animation as a model of care and containment, as an unseen infrastructure capable of holding things together. The films selected here offer a mode of thinking, a way of slowing down and paying close attention to time, to a feeling, to a question, to a body.
Robert Breer, Motion Pictures, 1956, U.S.A., DCP, 4 minutes
muthi reed, possibly not human at all, 2021, U.S.A., DCP, 1 minute
Naoyuki Tsuji, Mountain, 2017, Japan, DCP, 4 minutes
Johan Rijpma, Tape Generations, 2011, Netherlands, DCP, 4 minutes
Elizabeth Price, The Woolworths Choir of 1979, 2012, U.K., DCP, 18 minutes
Elisabeth Belliveau, Troisieme, 2017, Canada, DCP, 4 minutes
muthi reed, we, us, ours, 2022, U.S.A., DCP, 6 minutes
Lilli Carré, Tap Water, 2017, U.S.A., DCP, 5 minutes
Suzan Pitt, Asparagus, 1979, U.S.A., DCP, 17 minutes
Running Time: 63 minutes
Robert Breer, Motion Pictures, 1956
Coloured strips of paper cross the screen and constantly change, epitomizing Robert Breer’s light yet rigorous style while associating with the New York underground in the Pop years
muthi reed, possibly not human at all, 2021
Reading Black telematics with magazine material, muthi reed’s possibly not human at all is collage, assemblage, archive. In this work they take Black aesthetics, embellish them with Black things, pull aesthetics apart, and reimagine Black citing the miraculous of the mundane.
Naoyuki Tsuji, Mountain, 2017
I found a very interesting story while reading Katsuhiko Kamimura’s Myths of India. it had both poetical and gag-like episodes. Long ago, the mountains had wings. The flew around, and when they fell to the ground the earth shook with a great sound… – Naoyuki Tsuji
Johan Rijpma, Tape Generations, 2011
Countless rolls of tape go through a process of development and degeneration. In the extremely slow-paced life of these objects, everything starts out the same. But deviations and differences slowly become visible through the force of gravity, resulting in unpredictable shapes and movements that somehow feel familiar. – Johan Rijpma
Elizabeth Price, The Woolworths Choir of 1979, 2012
Turner prize winning artist Elizabeth Price brings mixes social history and fantasy in The Woolworths Choir of 1979. Distinct bodies of material are brought together into a dissonant assembly; photographs of church architecture, internet clips of pop performances and news footage of a notorious fire in a Woolworths furniture department in 1979
Elisabeth Belliveau, Troisieme, 2017
Elisabeth Belliveau questions the legacy of coded socio-economic, gendered and geo-political objects and their histories. Seeking new intersections of moving image and materiality, informed by art history, cinema and technology, she probes conceptual and narrative possibilities of stop-motion animation.
muthi reed, we, us, ours, 2022
we, us, ours is a conversation between lovers. muthi reed’s work consists of sketches in various forms, which perform race, time space, embodiment, sound, odyssey and style.
Lilli Carré, Tap Water, 2017
Everything leaks at least a little. Lilli Carré is an interdisciplinary artist, working in experimental animation, sculpture, comics and print.
Suzan Pitt, Asparagus, 1979
[Asparagus] constitutes one of the most important works of imagination seen in some time, filled with every possible animation technique, all exquisitely rendered, all calculated to produce incredible wonder in the heart of the viewer. It is a children’s fairy tale for adults. — B. Ruby Rich
Biography, Orla Mc Hardy
Orla Mc Hardy is an artist and educator. Her work has been exhibited and screened internationally. Working through expanded animation, video, text, documentary, collage, sculptural installation and within a tradition of feminism(s), her current work examines where value is placed (and not placed) on the hidden time of care, love and labour.