[Motion Capture Installation View. Pierre Bismuth (left) Tacita Dean (right)]
The Lewis Glucksman Gallery is proud to present Motion Capture an exhibition that explores the relationship between drawing and the moving image, examining the way in which each one involves both movement and stillness. The exhibition presents works on paper alongside investigations of drawing in other media, including film, video and photography.
The language of film and the cinema was adopted in the mid-20th century by such celebrated artists as Henri Matisse and Henri Michaux to describe their drawing practice. The contemporary artists in Motion Capture make contact with these earlier moments and reveal the ability of drawing to capture and articulate movement.
Drawing and moving image might not seem like obvious partners. First of all, there are clear technological differences between the two media: one tending to involve cameras, projectors, DVD players and editing equipment, the other seeming to require little more than a pencil. There are further differences if we consider their status as material objects. We might expect drawings to be static and singular objects, while moving images are implicitly ephemeral and capable of being transferred between formats.
On closer inspection, the distinctions between drawing and moving image aren’t so clearly cut. Like most drawings, moving images are composed of a sequence of discrete traces that work together to constitute the image. And while a drawing on paper might be a static object, our vision is durational and involves the action of our eyes and body; we do not see a drawn line all at once, but rather we look across it, up and down.
The question of how we understand drawing in our increasingly technological world is fundamental to Motion Capture. The traditional characteristics of drawing as a tactile and intimate medium might seem at odds with the digital networks and simulations of our age. Yet, Motion Capture emphasises the way that drawing re-emerges in new forms, and often in response to technologies that have altered our sense of movement, time and space. Such a technology is cinema, which is an important reference for many of the featured artists.
(4.Pierre Bismuth, ‘Following the Right Hand of Greta Garbo in Flesh & The Devil’, 2008. Permanent marker on anti-UV plexiglas and lambda print on forex, 153 x 114 cm.Courtesy of Budaga & Cargnel, Paris)
Notes on the artists and artworks:
Artworks by the great French artist Henri Matisse have been kindly loaned to the Lewis Glucksman Gallery for this exhibition by the Musée Matisse inLe Cateau-Cambrésis,France. Henri Matisse established this museum himself in 1952. The Matisse works on display in Motion Capture were completed in 1951 when the artist was eighty-three years of age.
Motion Capture features artwork that has never been seen in Ireland including works by eminent international artists such as William Kentridge (South Africa), Dennis Oppenheim (US) and Pierre Bismuth (France), as well as new works from UK-based artists Tom Hackney and Susan Morris.
Dennis Oppenheim was a pioneering artist involved in the development of Conceptual Art in 1960s America. He died in 2011. This is the first time his work has been shown in Ireland since his death. The artwork features his son Erik Oppenheim and was made in 1971. The video shows father and son drawing on each other’s backs. Erik Oppenheim grew up to be an artist.
Motion Capture includes works by four Irish artists: Duncan Campbell, Brian Fay, Alice Maher and Ailbhe Ní Bhriain. Duncan Campbell is resident in Scotland and has been selected to show as part of the Scottish representation at the 2013 Venice Art Biennale.