Thursday, April 13th 6-9pm
April 13th– 7pm and 8:30pm
April 15th– 2pm
The Icebox Project Space is pleased to announce a limited screening of Bernadette Corporation’s Get Rid of Yourself and the release of Shelby Donnelly’s Alone, but Moving this Thursday, April 13th.
Bernadette Corporation’s Get Rid of Yourself (2003) offers an incredibly complex look at protest and political resistance, and is as poignant now as upon initial release. Using a rich mixture of fact, fiction, narrative and document, the incredibly prescient Get Rid of Yourself offers a historical and primary account of the events surrounding the G8 riots in Genoa, Italy.
The Icebox Project Space releases a limited number of editioned artist’s publications each year. This year’s first is Shelby Donnelly’s Alone, but Moving. A series of drawings housed in an innovative folio cover, Alone, but Moving is in part a meditation on the ways in which we experience film and video, and how that experience manifests itself in the artist’s practice.
Get Rid of Yourself
2003, 61 min, color, sound
From Electronic Arts Intermix:
This complex, multi-layered work, called an “anti-documentary” by its authors, combines footage of rioting at the 2001 G-8 summit in Genoa with performances by Chloe Sevigny, Werner von Delmont and members of the Black Bloc anarchist group. These elements yield a disorienting and critical video that ultimately questions its own status and role as much as that of its subjects. The artists write that Get Rid of Yourself functions as “a cine-tract that aligns itself with nascent forms of political resistance within the anti-globalization movement… a filmed essay that works by betraying its own form.”
Made with the support of The French Ministry of Culture, Delegation aux Arts Plastiques (Image/Movement); Colin De Land, American Fine Arts, Co; MASSPOP.
Alone, but Moving
2017, edition of 50
From the artist:
Alone, but Moving is a series of drawings inspired by the practice of taking screenshots while watching films on a home computer. The drawings have subtitles collaged from reading, musical lyrics, film dialogue, and Donnelly’s own writing. Donnelly’s personal investigation of film becomes an outlet to articulate being and experience.