6
August
13:00
Irish Film Institute
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AEMI & GAZE present: Lucid Notions

6 August 2023 / 13:00 / Irish Film Institute
This is a video still from The Cesspool of Rapture, 2017, by artist Joseph Noonan-Ganley. The image shows a section of a dress created by English-American fashion designer Charles James (1906-1978). It reveals the waistline area of the dress, with a back seam connecting the bodice and skirt. The entire frame is filled with the brown dress. On the left side, folded material extends from the bodice seam to form the skirt, while the right side displays a silk-like section of the bodice with a back zipper.

Joseph Noonan-Ganley, The Cesspool of Rapture, 2017, image courtesy of the artist

Marking the fourth consecutive year of AEMI and GAZE working together to present a programme of moving image work by artists and experimental filmmakers as part of the festival, this packed line-up moves from the earthly to the celestial to assert political dissent, express longing and physical desire, evoke the stranger facets of human intimacy and celebrate the healing strength of joy, community and creativity.

As a programme made up of new work and premieres this screening hopefully addresses the specifics of this often contradictory moment in time as well as the more lucid perspectives it can sometimes give us on the past, in all of its chaos and complexity.

Film Information
Amy Pennington, Where’s Danny?, 2022, U.K., 15 minutes
Ross G. Hewitt, Vagary, 2023, U.S.A., 2 minutes
Sofia Theodore-Pierce, Grace Mitchell, Pet World, 2022, U.S.A., 14 minutes
Kate Blamire, Flare, 2023, Germany, 27 minutes
Nicolas Graux, Trương Minh Quý, Porcupine, 2023, Belgium-Singapore-Vietnam, 12 minutes
Joseph Noonan-Ganley, The Cesspool of Rapture, 2017, Ireland-U.K., 17 minutes
Angelo Madsen Minax, Bigger on the Inside, 2022, U.S.A., 11 minutes
Running time: 97 minutes

Amy Pennington, Where’s Danny?
Drawing upon the media scandal headlined “GAY SANTA GETS SACK” Amy Pennington drags up as a reporter to explore this hyperlocalised piece of queer history.

Ross G. Hewitt, Vagary
Through the remembrance of a dream, a teenage boy discovers his attraction to a male college student.

Sofia Theodore-Pierce, Grace Mitchell, Pet World
Inspired by Amy Hempel’s short story collection, Reasons to Live, and the work of poet Bernadette Mayer, an ensemble cast riffs on what we might discover about intimacy in parking lots.

Kate Blamire, Flare
Flare is a film made in alignment with the tides of artist Kate Blamire’s illness and capacities, and is testament to the healing strength of joy, community, and creativity.

Nicolas Graux, Trương Minh Quý, Porcupine
In an abandoned hospital, ghosts still linger, strangers come and go.

Joseph Noonan-Ganley, The Cesspool of Rapture
English-American couturier Charles James’s (1906-1978) spoken theories of sexuality, and fashion, in-between camera work that journeys through zippers, stains, rips, abrasions, openings, and closings in a series of his dresses.

Angelo Madsen Minax, Bigger on the Inside
Outer and inner space collapse in Angelo Madsen Minax’s cosmic essay film, which diffracts feelings, memories, and longings during a blurry sojourn in a remote cabin in the woods

 

            A logo showing a black symbol and black text that reads 'GAZE' against a white background.


Images:

This is a still from the film 'Pet World' (2022) by Sofia Theodore-Pierce and Grace Mitchell. The image depicts a person standing in the foreground, viewed from behind, with shoulder-length dark hair and wearing a long-sleeved orange top. The person is slightly out of focus, and only the back of their head and upper back is visible within the frame. They appear to be looking at a low-flying plane preparing to land in the background. The sky has a somewhat dark and cloudy grey tone, and the plane's lights are turned on. The background consists of a dark green field in the lower part of the frame, with low bushes and trees at the edge of the grassy area. The entire background, including the field and trees, is in focus.

Sofia Theodore-Pierce, Grace Mitchell, Pet World, 2022, image courtesy of the artists

This is a still from the film 'Bigger on the Inside' (2022) directed by Angelo Madsen Minax. The snowy wooded scene features a man standing behind a telescope, his silhouette seen from the side as he leans over it. He stands on a mostly dark, snow-covered road around the centre of the frame, silhouetted by a vibrant yellow glow emanating from a prefabricated building in the background. The building's doors are open, and inside, indistinct vehicles and machinery are visible. The foreground of the image is washed with a purplish-blue light. Tall trees line the sides and background of the frame.

Angelo Madsen Minax, Bigger on the Inside, 2022, image courtesy of the artist

This is a still from the film 'Porcupine' (2023) by Nicolas Graux and Trương Minh Quý. The image shows Trương Minh Quý, one of the two main characters in the film, positioned at the centre of the frame. He is dressed in a black beanie hat, a black leather jacket, long black trousers, and trainers that are black, red, and white in colour. He also carries a brown leather satchel bag. He is facing a urinal with his head turned at an angle to the left. The image is captured from the back left corner of a bathroom in an abandoned hospital, revealing five dirty urinals, one of which is broken, attached to a light-grey tiled wall. The floor appears brown in colour and is scattered with different kinds of trash, including plastic, fragments of broken white ceramic, broken glass, and pieces of paper. Towards the right side of the frame, an open door is partially visible.

Nicolas Graux, Trương Minh Quý, Porcupine, 2023, image courtesy of the artists & Kino Rebelde

This image is a still from the film ‘Flare’, 2023, by Katie Blamire. It consists of two screens. On the right screen, there is a person with light skin and dark hair, styled with a fringe. They are facing the camera and lying on a pillow with a flowery design in shades of red, yellow, green, and purple. The person is wearing a short-sleeved black top and holding a handwritten sign. The sign is on white A4 size paper and reads 'hospitals are a riot!' in black text. On the left screen, there is a view of Dyke* March Berlin, captured from the back of the crowd. The march is filled with numerous people. Towards the centre of the frame, someone is holding a large purple sign that reads 'DYKE IS A MANY-GENDERED WORD'. In the background, various buildings are visible along with yellow and purple balloons and yellow umbrellas.

Kate Blamire, Flare, 2023, image courtesy of the artist

This is a still from the film 'Where's Danny' (2022) by Amy Pennington. The image depicts a person with light skin and a white-blonde bobbed wig. They are seated in an open-top bus, facing the camera. The person is dressed in an orange suit jacket with a white T-shirt underneath. Their left arm is extended diagonally in a gesture of exclamation, while their right hand holds a microphone up to their mouth. Their eyes are closed. In the background, there is a blurry shopfront with a collection of balloons outside. The interior of the bus is red, grey, and yellow in colour. The sky in the background is light grey.

Amy Pennington, Where’s Danny?, 2022, image courtesy of the artist

This is a still from the film 'Vagary' (2023) by Ross Hewitt. It portrays a dimly lit corridor resembling a school corridor, with an open door at the end that allows light to illuminate parts of the space. The light reflects off the darkly coloured concrete floor and on the rows of dark green lockers, which appear on either side of the frame. The ceiling between the lockers is white, and a lamp hangs from above but remains unlit. The image is captured at a slight diagonal angle.

Ross G. Hewitt, Vagary, 2023, image courtesy of the artist



Supporting and Exhibiting Artists' and Experimental Moving Image in association with LUX, the Irish Film Institute and Temple Bar Gallery + Studios. Supported by the Arts Council.