NOT GOT SHOT OFF (2 x 30 second loop 16mm film: simultaneous double projection).
Data Pool 3
Experimental text work from the same source of the Leveson Enquiry witness transcripts - continuing the serial work: Data Pool 3 (end-game) as an enquiry reversing the usual technological teleology. The double projection plays the text at odds with any meaning that may be had, as they slip out of synch, until chance brings them to re-align again, briefly, before stuttering on. The work reflects what actually occurred in the Leveson Enquiry, with slips in language attempted to be used in very devious ways to refute the claims being made. Several people went to jail and lost their jobs. Unfortunately, any further enquiry was quashed by the Conservatives.
Contribution to Lucy Reynolds ‘Anthology’ 2012, a collective film work, at Film in Space at Camden Arts Centre. An exhibition of film and expanded cinema selected by Guy Sherwin.
including: Ami Clarke, Annabel Frearson, Lizzie Hughes, Gil Lueng, Liliane Lijn, Sharon Kivland, Helene Martine, Annabel Nicolson, Sharon Morris, Sally O Reilly, Clunie Reid, Lis Rhodes, Audrey Reynolds, Cherry Smyth, Erika Tan, Anne Tallentire and Sarah Tripp.
The two works: ‘NOT GOT SHOT OFF’ (double projection 16mm film) and ‘THESE ARE NOT MY WORDS” (Day 68, 10 May 2012)’ (print) were shown throughout the week 27th December - 6th January, alongside other artists from the collective work by Lucy Reynolds.
They are part of a serial work: Data-Pool 3 (end-game), that is ongoing, the first part of which: Data-Pool 3, (2.10 mins HD video, 2012) see below - was shown at Wysing Arts Centre for the Space Time arts and music festival curated by Mark Titchner in the summer 2012.
Data-Pool 3 is a series of experimental works considering an obscured but current text in the public domain - the Leveson enquiry transcripts - see link to full transcripts here: http://webarchive.nationalarchives.gov.uk/20140122145147/http:/www.levesoninquiry.org.uk/hearings/.
These bear witness to the recent and increasingly exposed construction of consensus, arising from a bias in spectacular news reporting: an over-simplified ‘victims-and-aggressor’ meme, flocking from one focus of this sort to another, (and not unique to the tabloid) that performs a particularly consistent form of reality management, paradoxically by the very enactment of slippage in textual meaning.
This experimental series will form a collection of material shown over a period of a year at different venues to then be shown as a full collection in one venue, whereby seperate threads of reference will co-concur and perform as a suggestive network of associations.