“IMMA Screen is an online screening series showcasing film and video works from the IMMA Collection. New screenings will be available monthly, presenting works by Irish and international artists alongside a new interview and related material from the IMMA Archive. Each work will be accessible online for one month.
The first programme for IMMA Screen presents works by six artists over six months. Including Helen Cammock, Phil Collins, Vivienne Dick, Kevin Gaffney, Isabel Nolan and Alanna O’Kelly.
In different ways, the selected works engage with performance and the role of the camera in the construction and mediation of identity. From Isabel Nolan’s humourous explorations of performed identity in Sloganeering 1-4 (2001), to Phil Collins’ confronting insight into the depiction of war victims by journalists in How to Make a Refugee (2000). In thinking about the psychological implications of newly imposed physical distancing between ourselves and others, the programme invites a timely reflection on the power and politics of representation and the continuous fabrications of the self and the other. A number of these works, including Sanctuary/Wastelands (1994) by Alanna O’Kelly, also deal poignantly with ideas of loss and erasure…”
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IMMA: IMMA Screen
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Description
“IMMA Screen is an online screening series showcasing film and video works from the IMMA Collection. New screenings will be available monthly, presenting works by Irish and international artists alongside a new interview and related material from the IMMA Archive. Each work will be accessible online for one month.
The first programme for IMMA Screen presents works by six artists over six months. Including Helen Cammock, Phil Collins, Vivienne Dick, Kevin Gaffney, Isabel Nolan and Alanna O’Kelly.
In different ways, the selected works engage with performance and the role of the camera in the construction and mediation of identity. From Isabel Nolan’s humourous explorations of performed identity in Sloganeering 1-4 (2001), to Phil Collins’ confronting insight into the depiction of war victims by journalists in How to Make a Refugee (2000). In thinking about the psychological implications of newly imposed physical distancing between ourselves and others, the programme invites a timely reflection on the power and politics of representation and the continuous fabrications of the self and the other. A number of these works, including Sanctuary/Wastelands (1994) by Alanna O’Kelly, also deal poignantly with ideas of loss and erasure…”