Fiorucci made me Hardcore, + Q&A with Mark Leckey Cert. TBC

  • Running time100 minutes
  • GenreArt

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Biennial artist Mark Leckey’s career defining work, Fiorucci Made Me Hardcore, is the subject of this screening. Taking found footage of British dance halls, discos and raves of the 70s, 80s and 90s, Leckey charts changes in style through the decades in a hypnotic video collage. Evolving British culture is set to an ambient soundtrack; dance moves are slowed down and looped in a tightly edited reverie on the power and freedom of youth.

Fiorucci Made Me Hardcore is screened alongside Tribulation 99: Alien Anomalies Under America (1992) Craig Baldwin's "pseudo-pseudo-documentary", which presents a factual chronicle of US intervention in Latin America in the form of the ultimate far-right conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac. Tribulation 99 is selected by Mark Leckey for his artistic affinities with the cult classic.

Tribulation 99: Alien Anomalies Under America (1992), SD video, colour, sound, 48 min

Part of the Liverpool Bienial 2016 Film Programme Another Version of Events.

Another Version of Events is the official Liverpool Biennial 2016 film programme. A selection of films influenced by genres including sci-fi, mockumentary, pseudo-documentary, mockbuster and ethnofiction is being screened every week throughout the Biennial.

After the film, there will also be a screening of Raphael Hefti’s An Aluminothermic Reaction Producing Liquid Steel, Filmed at 2000 Frames per Second (2016). The film is is a new artwork by Hefti, that continues his experiments in thermite welding - an engineering process devised in 1893, still used in the assembly of high-speed railway tracks today. Over the course of two weeks in May 2016, the artist transported nearly 100 tonnes of sand to the former construction site of the Pullman Hotel, transforming it into an outdoor studio and make-shift film set. The result is an intimate, near-hallucinatory work that oscillates between the industrial and the digital.

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