Lookup NU author(s): Dr Joseph Noonan-Ganley
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The works in this exhibition arise out of two different forms of labour. Frank Wasser’s newspaper works focus on the culture of precarious work under zero-hour contracts, while Joseph Noonan-Ganley’s HD video focuses on eroticised labour in the making and wearing of early 20th century dresses.In Wasser’s Zero Hour Fragments, 2018, grey floors, white walls, at times a deafening silence and a body perform gestures informed by the artists time spent working precarious jobs at Museums across London. Taking up the space that might be occupied by an invigilator, the performer enacts a sequence of gestures and movements that address the architecture of the space, objects that might be missing from the exhibition and the viewer.Central to The Cesspool of Rapture, 2017, are moving-image studies of zippers, stains, rips, abrasions, openings and closings in a series of dresses made by the American couturier Charles James (1906-1978). These HD videos register and move through James’ garments, his pornographic drawings and graphic illustrations of fastening devices at alternating speeds. This is registered in sound by an encyclopaedic catalogue of sonic gestures derived from the zipper and synced to each individual frame. It is at times violent and at other times tentative and gentle as the uncovering of the damage to the dresses unfolds. Chopped up audio recordings of James explicating his interests in eroticism and sexuality persistently interject the footage. The explicit language of his conversation and his drawings animate the experiences of the people that once wore the garments. Sound engineering: Paul Maguire.
Artist(s): Noonan-Ganley J, Wasser F
Publication type: Exhibition
Publication status: Published
Number of Pieces: 1
Venue: Xero, Kline & Coma Gallery
Media of Output: Video installation