Archive for ‘3.0 Major Project’

July 13, 2013

The RAMPAGE continues…

RAMPAGE | The Performance of Violence and the Theatre of Protest | Tracey Fahy 2013

June 14, 2013

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June 10, 2013

Rampage Installation | Never Seeing Nothing


My installation at Never Seeing Nothing exhibition last month at Nursery Gallery, London [thanks to Christina Vazou for the first image].  You can view the installation showreel here.

May 4, 2013

Never Seeing Nothing (13-18 May)

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I will be showing my project Rampage in Never Seeing Nothing, part of the Moose on the Loose Biennale of Research organised by UAL Photography and Archive Research Centre (PARC).

Private view: 15th May, 2013 – 6-9pm

For more details please visit: www.neverseeingnothing.com | www.mooseontheloose.net

December 24, 2012

HAVE A RIOTOUS TIME!

RAMPAGE | The Performance of Violence and the Theatre of Protest
RAMPAGE | The Performance of Violence and the Theatre of Protest http://www.riotofspring.wordpress.com

December 14, 2012

New Project | RAMPAGE

ExhibitionGuide

My lastest project, Rampage, is an experimental exploration of dance and news photography with sound to create a conceptual art installation (a series of projected images and slideshow). Inspired by William Marotti’s text Japan 1968: The Performance of Violence and the Theatre of Protest (about the student riots in Japan during this year) I focus on the present day social landscape, particularly the riots in the UK last year.

Influenced by Japanese avant-garde culture of the late 1960s and early 1970s – in particular, the Provoke group of photographers working in Japan at that time. Published in 1968, Provoke magazine is most often associated with a generation of photographers searching for a radical visual language to abolish the perception of photography as document; their images were often grainy and blurred (are-buke-buke), exemplifying their willingness to discard information.

For more info, visit the Rampage blog www.riotofspring.wordpress.com

CREDITS:

Sound Artist: Tim Bamber

Dancers: Anastasia Papaeleftheriadou and Catarina Trota

May 22, 2012

Masao Adachi | A.K.A. Serial Killer (1969)

Continuing my research into the politicised aesthetic of Japanese film and photography in the late 60s, I have discovered (through the art of Eric Baudelaire) Masao Adachi’s ‘landscape theory’ as demostrated in A.K.A. Serial Killer  – could this be a potential avenue to explore?

Masao Adachi & Kôji Wakamatsu, both having ties to the Japanese Red Army, stopped in Lebanon on their way home from the Cannes festival. There they caught up with notorious JRA ex-pats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreel-style agit-prop film based off of the “landscape theory” (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in A.K.A. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations.

In 1974 Adachi left Japan and committed himself to the Palestinian Revolution and linked up with the Japan Red Army. His activities thereafter were not revealed until he was arrested and imprisoned in 1997 in Lebanon. In 2001 Adachi was extradited to Japan, and after two years of imprisonment, he was released and subsequently published Cinema/Revolution [Eiga/Kakumei], an auto-biographical account of his life.