LUX 'Argument' (1978) & Aurélien Froment's 'Théâtre de poche for argument’s sake', Goethe Institute - Thursday 17 January 6.30pm.

[luxweekly at lux.org.uk]

Argument (1978) & Aurélien Froment's Théâtre de poche for  
argument’s sake
Presented by the Serpentine Gallery in collaboration with LUX, in the  
context of the Serpentine's Anthony McCall show.

Thursday 17 January 2008, 6.30 pm
Goethe Institute, 50 Princes Gate, Exhibition Road, London, SW7 2PH
Tickets £5 (entry to both screenings) Box Office: 020 7596 4000


A double-bill of screenings: Anthony McCall and Andrew Tyndall's  
feature-length film Argument, followed by a presentation of a new  
work by Paris-based artist Aurélien Froment.

6.30pm.  Argument
Argument is a dense and provocative feature-length essay examining  
one issue of the New York Times magazine. Fashion photographs are  
used as a starting point for a political investigation of news,  
advertising, and images of masculinity - while at the same time, the  
filmmakers reflect on their own position and the possibility of  
radical film practice. Its trenchant analysis of media ideology seems  
more pertinent than ever. (A booklet which originally accompanied the  
film has been republished by LUX and will be available for ticket  
holders at the reduced price of £3.)
www.lux.org.uk/touring/argument.htm



8.30pm.  Théâtre de poche for argument’s sake
Aurélien Froment was born in Angers (FR) in 1976. He lives in Paris.
He graduated as a projectionist in 2000. Since then, he worked in  
various cinemas including Katorza and UGC Ciné Cité (Nantes),  
L’épée de bois and MK2 (Paris). He is represented by  STORE  
Gallery (London).

Eleanor Farrington :             — How do you picture your work in  
the context of the
Anthony McCall exhibition and Argument film?


Aurélien Froment : — First of all, I come after him… I mean  
chronologically.
I’m part of a generation that looks a lot towards conceptual art  
from the 70’s, and McCall is one of those — like Hollis Frampton  
or the situationnists — who brought back the projected image from  
the room where it was kept since its industrialization, either  
conceptually, historically and physically.

Even if it has lost its materiality, cinema is now back into the  
viewer’s hand on screens other than the big white sheet of the  
theater room. So yes, McCall’s œuvre is an important marker for my  
practice and for the practice of artists today.

It somehow seems meaningful in relation to these ideas that tonight I  
will be showing a work after Anthony McCall. It confuses  
linguistically the idea of what it is to be 'after' - my work is not  
an homage, it is simply programmed after his! Yet had McCall and  
others not come before, I'm sure I would be making totally different  
work.


After Anthony McCall and Andrew Tyndall’s Argument, Aurélien  
Froment will project a new film that gathers the picturesque words of  
a young architect, a former retoucher and a jigsaw puzzle maker.  
Three characters whose practices with images, intermingle in a  
documentary play.

With warm thanks to :
Iwan Burgaud, Declan Clarke, Benjamin Colboc, Maeve Connolly, Erwan  
Corré, Stéphane Corréas, Vincent Delaboudinière, Marine  
Desroseaux, Deke Dusinberre, Tessa Giblin, Jesse Jones, Sophie Ollé- 
Laprune, Dennis McNulty, Françoise Richard and Robin Watkins

The text from the film is available as a booklet: “Théâtre de  
poche” (vol. 1), 64 p., 17 x 25,5 cm, black and white illustrations,  
published by Project Press, Dublin, 2007
For any informations, please contact the gallery.










  
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