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20:00 on 10 December 2017
Glasgow Film Theatre
This screening brings together two recent works by Glasgow-based artists Jamie Crewe and Charlotte Prodger, Adulteress (2017) and BRIDGIT (2016) respectively, based in queerness, rurality, communality, care, and time. The screening is accompanied by a new publication designed by the artists, titled BRIDGIT, ADULTERESS, containing transcripts of each video and new elements tracing their shared sympathies.
Adulteress stages a sequence described in French writer Rachilde’s Monsieur Venus: a Materialist Novel (1884). This sequence sees the submissive, feminine Jacques Silvert slip away from Raoule Silvert (formerly de Vénérande), his domineering, masculine wife, to walk the streets in a black velvet dress and attempt to seduce a ‘real man’. In Rachilde’s chapter (which can be read on-screen across the duration of Adulteress) this transgression is experienced from the point of view of Raoule, who is wild with jealousy. The moving image, however, focuses on Jacques, who enters a barn in Glasgow full of friends and well-wishers, where he meets his sister, Marie, who does his make-up and hair and dresses him in a long black dress. Due to differences in pace and setting; image and text are dislocated in Adulteress, except for a few moments of strange alignment; in the moments of most intense anticipation for the character of Jacques, the deadly consequences of his adventure can already be read on screen. Themes of domination, historical dislocation, and gendered doom emerge, and just at the edge of them, a sense of escape or elusion.
Adulteress was originally displayed as part of Crewe’s solo exhibition Female Executioner at Gasworks, London, in early 2017, and was commissioned by Gasworks through the Freelands Artist Programme.
BRIDGIT takes its title from a Neolithic deity whose name has numerous iterations depending on life stage, locality and point in history. Exploring the contingent temporal interrelations of language, body, technology and landscape, BRIDGIT focuses on female attachments — a process of identification that includes friends, shape-shifting deities and other figures of influence. Wildernesses appear, in the open air, in anaesthetised thoughts, and on screens marked with fingerprints; musician Alice Coltrane (also known as Turiya, or Turiyasangitananda) appears as a sound and a flash drive; virtual systems theorist and pioneer of transgender studies Sandy Stone (also known as Allucquére Rosanne Stone, or Allucquére Rosanne “Sandy” Stone) appears as a citation.
BRIDGIT is based in multiple registers of bodily time: the arc of Prodger’s own life; the period of a year she took to make the piece; the real time of industrial and civic transportation; the clockwork rhythm of the medical institution; the temporality of socio-political movements bridging generations, and the vast time of prehistory.
Production of BRIDGIT was supported by Creative Scotland. It was made for Prodger’s first solo show at Hollybush Gardens in 2016 and has subsequently been exhibited at Sculpture Center, New York and Kunsthall Bergen.
Jamie Crewe, Adulteress, 2017. Video, 22 min.
Charlotte Prodger, BRIDGIT, 2016. Video, 32 min.
This screening is part of GFT’s Crossing the Line strand and is supported by Film Hub Scotland, part of the BFI’s Film Audience Network.
Limited capacity, advance booking recommended.