Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Senior Lecturer, Design, Fashion.
Louise Adkins’ practice explores the intersection between performance and the documentation of the live act using film and digital media. Her work investigates how film and digital media can be used to foster alternative narratives to a performance or live event. The appropriation and re-enactment of historic cultural events as well as popular cultural references are an ongoing theme in her work. Between, 1998 to 2006 she collaborated with the Glasgow based artist Lisa Le Grove under the name ‘Lisalouise’. This collaborative practice was predominately performance-based and explored collective personal histories as well as the shared cultural landscapes of England and Scotland.
Louise Adkins has exhibited extensively throughout the UK and Europe including new work commissions for the Cornerhouse Gallery Manchester and the Centre for Contemporary Art (CCA) in Glasgow. She is currently working as Artist/Curator on ‘Between’ a programme of performance art commissions at the Cornerhouse Gallery, Manchester.

Running, jumping, falling.
‘Running, jumping, falling’ applies postproduction editing techniques in order to construct an alternative narrative reading of a cinematic moment. The three short films utilise found footage taken from contemporary horror films and repeatedly loops selected scenes. This looping technique ‘seamless’ in it’s reading is applied to the simple acts of running, jumping and falling (used within the film to signify the vulnerability of the character) into an abstracted filmic moment. The wider research aims of this work are to explore gender representation in contemporary horror films. The series of digital works using found footage and simple editing techniques such as looping focus in on and magnify ‘The sadistic- voyeuristic cinematic gaze’ identified by Laura Mulvey in ‘Visual Pleasure and Narrative Cinema’ (1989) alongside the counter theory of the ‘Final Girl’ identified by Carol J Clover in ‘Men Women and Chainsaws’ (1992).

When I was 16, I discovered something.
A short text work (77 words) exhibited on a (continually rolling) single line LED screen. The continually rolling format mirrors that of the ‘seamless’ looping technique used in ‘running, jumping & falling’ piece listed above. The text appropriates a monologue in the film ‘The Vanishing’ (1988) in which the killer talks about one of his early childhood memories. This work has been developed alongside ‘running, jumping, falling’ and like them aims to explore characterization and gender representation in horror films.




Louise Adkins

Višja predavateljica oblikovanja, modnega.
Louise Adkins raziskuje presečišče med nastopi v živo in dokumentacijo s pomočjo filma in digitalnih medijev. V svojem delu raziskuje, kako je mogoče uporabiti film in digitalne medije za spodbujanje alternativnega pripovedovanja predstave ali dogodka v živo. Prilaščanje in ponovno uprizarjanje zgodovinskih kulturnih dogodkov in tudi popularnih kulturnih referenc je trenutna vsebina njenega dela. Med letoma 1998 in 2006 je sodelovala z umetnico Liso Le Grove iz Glasgowa pod imenom »Lisalouise«. To sodelovanje je v glavnem temeljilo na performansih in raziskavah kolektivne osebne zgodovine, pa tudi skupne kulturne krajine Anglije in Škotske. Louise Adkins je veliko razstavljala po vsej Veliki Britaniji in Evropi, vključno z novimi deli, ki sta jih naročila galerija Cornerhouse v Manchestru in Center za sodobno umetnost (CCA) v Glasgowu. Trenutno dela kot umetnica in kustosinja pri izbiri performansov za program »Between« v galeriji Cornerhouse v Manchestru.

Tek, skoki, padanje.
Video Tek, skakanje, padanje uporablja postprodukcijske montažne tehnike, ki omogočajo alternativno pripovedno branje filmskega trenutka. Trije kratki filmi prikazujejo posnetke, vzete iz sodobnih grozljivk, in brez prestanka ponavljajo izbrane prizore. Ta tehnika ponavljanja (looping), ki omogoča neskončno branje, je uporabljena za preproste akte teka, skakanja in padanja (izbrani so bili, da bi pokazali ranljivost glavne osebe) v abstraktnem filmskem trenutku. Širši namen tega raziskovanja je preučevanje zastopanosti spolov v sodobnih grozljivkah. Serija digitalnih projektov z uporabo najdenih posnetkov in preproste montažne tehnike, kot je looping, se osredotoča na »sadistično-voajerski kinematografski pogled«, kot ga je v delu »Visual Pleasure and Narrative Cinema« (1989) določila Laura Mulvey kot nasprotje teoriji »poslednjega dekleta« Carol J. Cloverjeve v knjigi Men, Women, and Chainsaws: Gender in the Modern Horror Film (1992).

Ko sem jih imela 16, sem nekaj odkrila.
Kratko besedilo (77 besed) si prisvaja monolog iz filma The Vanishing (1988), v katerem morilec govori o enem svojih zgodnjih spominov iz otroštva. To delo je bilo razvito skupaj s Tekom, skakanjem, padanjem in si prav tako prizadeva raziskati karakterizacijo in zastopanost spolov v grozljivkah.

l.adkins@mmu.ac.uk
louiseadkins.co.uk