7 September 2022 - 7 September 2022
Irish Film Institute
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aemi & IFI present: ‘Nostril Thinking’ Experimental Animation selected by Orla Mc Hardy

7 September 2022 / 18:30 / Irish Film Institute
FULLY BOOKED Cinema screening + Q&A with the artist and specially made zine

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.

Film info
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.


The logo for Irish Film Institute. The organisation's acronym IFI is cut out of a wine-coloured graphic in the shape of a stretched rectangle with rounded corners. The full name 'Irish Film Institute' is included in black lettering below


A black and white shot in a church of the ornate patterns cut into wood, each detail is repeated beside the next and looks smaller and smaller the further away from the camera it is. The right hand side of the image is solid black, overlaid with the statement in small lettering 'this is the choir'

Elizabeth Price, The Woolworths Choir of 1979, 2012, image courtesy of the artist and LUX, London

Animation of a female with pink skin and blonde hair sticking out her tongue

Lilli Carré, Tap Water, 2017, image courtesy of the artist

Colourful animations of pink and red roses completely surrounding a toilet bowl. Two pieces of asparagus are floating in the toilet and the word 'Asparagus' stretches across the images, animated from the vegetable itself

Suzan Pitt, Asparagus, 1979, image courtesy of the Suzan Pitt Estate

Multiple rolls of tape unravelling are filmed from below against bright light and make an energetic composition

Johan Rijpma, Tape Generations, 2011, image courtesy of the artist

Graphic abstract image of a solid black oblong shape over an inky blue background. In one area the colours interchange

Robert Breer, Motion Pictures, 1956, image courtesy of the artist and Light Cone/Rightsholders

Blurred shot of an embrace between two people with dark skin.

muthi reed, possibly not human at all, 2021, image courtesy of the artist

Black and white hand-drawn animation of a large smiling mountain with wings, hovering above some simplified drawings of Asian buildings. There are pointy mountains in the background and the sky is very dark

Naoyuki Tsuji, Mountain, 2017, image courtesy of the artist and Light Cone/Rightsholders

Digital image of an experimental graphic of light and dark lines layered over a shot of suburban house

muthi reed, we, us, ours, 2022, image courtesy of the artist

In the studio, a composition of arches made from wood, a drooping rose flower and a plaster head in the classical style is set up under bright lights

Elisabeth Belliveau, Troisieme, 2017, image courtesy of the artist