Kari Robertson and Judith Barry
Film Screening
Thursday 24 November 2016
7–8.30pm
Tickets £4/2+booking fee - Booking online here
Kari Robertson will present a film selected from the Cinenova archive alongside her own work-in-progress. The screening explores and builds on her current research into the subject-as-character within post-digital, non-linear narratives.
How do our aging, metabolising bodies fit into contemporary, non-linear temporalities? How do our bodies and the ways we move them become incorporated into the digital vernacular? If we reject claims of disembodiment, and recognise that bodies are pervasive but have different weights and densities can we transcend the false physical-digital binary? And finally, despite being motivated and driven by a post-human capitalism can the queerness of post-digital temporality, offer a real time speculative-fiction beyond the time-space of patriarchy?
Kari has chosen to screen Casual Shopper by Judith Barry from the Cinenova collection alongsider her own work-in-progress.
CASUAL SHOPPER
Judith Barry, USA, 1981, 28mins
Casual Shopper is set in a suburban shopping mall. To the sound of muzak we watch a woman stroll from one store to another, fondling merchandise and pausing only to react to the inquiries of hopeful salespeople.
BIO:
Kari Robertson (b. 1988, Edinburgh) is a visual artist who works primarily with film and video. She graduated from The Glasgow School of Art in 2011 and was a committee member of Transmission Gallery for two years. In 2014 she undertook a masters at The Piet Zwart Institute in Rotterdam, where she continues to live and work.
Her practice interrogates how subjectivity is constructed and disseminated within our contemporary socio-economic climate (starting with her own). This leads her to questions of how radical forms of empathic communication might function and what they might look or sound like? Rather than presenting ‘objective’, didactic material Robertson’s works engage with a feminist methodology of re-subjectivising and embodying discourse to expose dormant moments of material vulnerability within. The artist explicitly implicates herself in works, often occupying uncomfortable positions of authorship or an unreliable narrator.
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