https://lisafreeman.net Lisa Freeman Tue, 21 Oct 2025 11:06:02 +0000 https://lisafreeman.net en https://lisafreeman.net/HOME-LISA-FREEMAN Mon, 17 Feb 2025 13:26:55 +0000 Lisa Freeman https://lisafreeman.net/HOME-LISA-FREEMAN LISA FREEMAN &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; A B O U T&nbsp; +&nbsp; C O N T A C T&nbsp; <img width="1500" height="943" width_o="1500" height_o="943" data-src="https://freight.cargo.site/t/original/i/133b8d11d70e60edb2d16db4307194fe19563df34b8af3b61fecee0972d8a96a/lisafree-ezgif.com-optimize.gif" data-mid="249837970" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/133b8d11d70e60edb2d16db4307194fe19563df34b8af3b61fecee0972d8a96a/lisafree-ezgif.com-optimize.gif" /> BTS; Approx 1 Second of a Sweet Kiss, Porto, PT https://lisafreeman.net/Work Sun, 01 Sep 2019 11:37:09 +0000 Lisa Freeman https://lisafreeman.net/Work https://lisafreeman.net/Piggy-Radio-Poem Tue, 21 Oct 2025 11:06:02 +0000 Lisa Freeman https://lisafreeman.net/Piggy-Radio-Poem Piggy 2026 | Duration 06:12 | Radio Poem &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;<img width="500" height="363" width_o="500" height_o="363" data-src="https://freight.cargo.site/t/original/i/753b7f70c310cda2ff1c0e0f0578a83e28debb8359b8e853f5eaebd59f8fc95e/Piggy_LisaFreeman.00_00_03_1.Still002.jpg" data-mid="239837399" border="0" src="https://freight.cargo.site/w/500/i/753b7f70c310cda2ff1c0e0f0578a83e28debb8359b8e853f5eaebd59f8fc95e/Piggy_LisaFreeman.00_00_03_1.Still002.jpg" /> &nbsp; Piggy | Commissioned by Mirror Lamp Press x Culture File, RTÉ Lyric FM, 2026 This Mirror Lamp Press radio show explores voice, performance, and the politics of being heard, using the line “You talkin’ to me?” from Taxi Driver (1976) as a starting point. This phrase, somewhere between threat and theatre, evokes themes of performance, identity, the desire to be seen or heard, and miscommunication. Piggy is an attempt at getting off the train at the right stop. It’s about human connection, greed, violence, and the desire to be seen. How does it feel to balance on the knife-edge between playful and threatening? Piggy will let you know. TEXT EXCERPT [Full duration: 06:12] Pull your nose up like a piggy and stare into the eyes of the postman as he delivers an order that you’ll return the same day&nbsp; Same day delivery, same day return Convenient life, convenient wife, they say Juggle this, express that, espresso my package back to the really big warehouse Express life, express wife, they say CREDITS Written and directed by&nbsp;Lisa Freeman Voice Actor | Pattie Maguire&nbsp; Sound recordist, mixer and composer | Seán Mac Erlaine Commissioned by Mirror Lamp Press&nbsp; Presented on Culture File, RTÉ Lyric FM Produced and presented by Luke Clancy Funded by the Arts Council of Ireland&nbsp; Mirror Lamp Press is a digital publishing project that explores the intersection of art and literature through the newly commissioned work of artists and writers. It currently publishes two text issues and one audio issue a year which can be accessed online for free. . &nbsp;<img width="320" height="254" width_o="320" height_o="254" data-src="https://freight.cargo.site/t/original/i/ce060b74f5fc25055e849846faa34627da445cbe54e21aa9490e83c5724c4485/11MLP-Logo-Linear-Small-copy.png" data-mid="249839717" border="0" data-scale="22" src="https://freight.cargo.site/w/320/i/ce060b74f5fc25055e849846faa34627da445cbe54e21aa9490e83c5724c4485/11MLP-Logo-Linear-Small-copy.png" /> &nbsp; &nbsp;&nbsp; <img width="320" height="320" width_o="320" height_o="320" data-src="https://freight.cargo.site/t/original/i/e837dbeb1f8dcbec6d19426124655a781619c6d7d14af3960d53dfe589917ab4/00195bbb-1024-Small.jpeg" data-mid="239669354" border="0" data-scale="17" src="https://freight.cargo.site/w/320/i/e837dbeb1f8dcbec6d19426124655a781619c6d7d14af3960d53dfe589917ab4/00195bbb-1024-Small.jpeg" />.&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="320" height="121" width_o="320" height_o="121" data-src="https://freight.cargo.site/t/original/i/ce8082ba922601527bf075183db7390933b3eff5eb3c25aca3a4fad4934f2699/ac-funding-the-arts-ke-rgb-black-Small.jpeg" data-mid="239669397" border="0" data-scale="22" src="https://freight.cargo.site/w/320/i/ce8082ba922601527bf075183db7390933b3eff5eb3c25aca3a4fad4934f2699/ac-funding-the-arts-ke-rgb-black-Small.jpeg" /> https://lisafreeman.net/Approx-1-Second-of-a-Sweet-Kiss-Film-1 Thu, 23 May 2024 12:59:22 +0000 Lisa Freeman https://lisafreeman.net/Approx-1-Second-of-a-Sweet-Kiss-Film-1 Approx 1 Second of a Sweet Kiss 2024 | Duration 13:00 | Digital, 4k | Colour | Stereo Sound <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/183b87fa99e0a5a0781fcc477fe5d1c5603a2dc071e7729f5406f3c8bab1407f/LisaFreeman_Film_Approx1secondofASweetKiss_2024.jpg" data-mid="219884894" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/183b87fa99e0a5a0781fcc477fe5d1c5603a2dc071e7729f5406f3c8bab1407f/LisaFreeman_Film_Approx1secondofASweetKiss_2024.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/086387516ebde2dead3e64d7c675dd64fbddb93e994844195bdbfd69a39036aa/Approx1SecondofASweetKiss_Film_LisaFreeman_2025.jpg" data-mid="236669013" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/086387516ebde2dead3e64d7c675dd64fbddb93e994844195bdbfd69a39036aa/Approx1SecondofASweetKiss_Film_LisaFreeman_2025.jpg" /> &nbsp; Excerpt of a review&nbsp;by Lucie McLaughlin, published on&nbsp;Paper Visual Art..By pulling the four women in the film together, with particular focus given to footage of the busy streets, Approx 1 Second of A Sweet Kiss draws attention not only to the intimacy of their dialogue but also to a broader sense of rhythm, imagined, as Franco ‘Bifo’ Berardi puts it, not just as ‘vocal emissions or […] the sound of acoustic matter’ but also rhythm as ‘the vibration of the world’. [3] In this context, touch becomes a connective tissue between the protagonist and the city. A long hug amid the backbeat of an ultra-quiet, ultra-manic drum set strengthens the disordered pattern of the work.&nbsp; The film is punctuated by several technological interventions. In one scene, a dusty television on mute displays a video of Lana Del Rey singing, an ‘image of a moment bathed in a light that is its alone’ to borrow Annie Ernaux’s phrase, from her collective feminist autobiography, to describe those images which follow us, both ordinary and imaginary, and then inexplicably vanish.&nbsp; TRAILER | APPROX 1 SECOND OF A SWEET KISS CREDITS Written and directed | Lisa FreemanCast | Niamh McPhillips, Diana Sá, Carminda Soares, Maria R. SoaresDirector of Photography | Fábio MotaEditors | Lisa Freeman, Aoife CarolanSound recordist | Luís SilveiraCamera assistant | Márcio EnesGaffer | Jotta SousaColourist | Michael HigginsSound composer and mixer | Seán Mac ErlaineCaptions | Eat The Pips (Lucie McLaughlin)Titles, credits, poster design | Or Studio (Kate Brangan &amp; Jo Little) With thanks to: Miguel Amado, Alexandra Balona, Alice Butler, Vera Carmo, Daniel Fitzpatrick, Sarah Grimes, Dan Reidy, Julie Weber. Commissioned by aemi and Sirius Arts Centre. Funded by the Arts Council of Ireland. Additional funding Kildare County Council. PRESS ArtReview, Review of Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios by Declan Long Paper Visual Art, Review of Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios by Lucie McLaughlin RTÉ Lyric FM- Something for the Weekend: Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios, Dublin RTÉ Culture 5 - Your Cultural Highlights: Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios, Dublin Visual Artists’ News Sheet Ireland, Film column, detailing Solo Exhibition’s at Temple Bar Gallery + Studios, Dublin &amp; SIRIUS, CorkSCREENINGS&nbsp;Rencontres Internationales Paris/Berlin, 2025Film Fest Akizuki, Japan, 2025 Cork International Film Festival, 2024&nbsp; &nbsp;<img width="4961" height="7016" width_o="4961" height_o="7016" data-src="https://freight.cargo.site/t/original/i/c34d9551c19e3b23bd347de43dc5cc3e61e7b459dec173909136dc7f2154fff7/ApproxFilmPoster_LisaFreeman.jpg" data-mid="219884893" border="0" src="https://freight.cargo.site/w/1000/i/c34d9551c19e3b23bd347de43dc5cc3e61e7b459dec173909136dc7f2154fff7/ApproxFilmPoster_LisaFreeman.jpg" /> https://lisafreeman.net/Hook-Spill-Cry-Your-Eyes-Out-Film Thu, 23 Jan 2020 14:52:07 +0000 Lisa Freeman https://lisafreeman.net/Hook-Spill-Cry-Your-Eyes-Out-Film Hook, Spill, Cry Your Eyes Out Digital video, duration: 02:26 (2020-2024) <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/583df23ad0080131fbc21702bf09c839675946814b2a192bfc01912c69a1ab8d/20230913_181104.jpg" data-mid="214916878" border="0" src="https://freight.cargo.site/w/1000/i/583df23ad0080131fbc21702bf09c839675946814b2a192bfc01912c69a1ab8d/20230913_181104.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/56588eec5d22486f8a4f9d7c45c6cbabefb20074d119bc3ae3f42c332ddd7578/LisaFreeman_FilmPoster_HookSpillCryYourEyesOut_IFFR.jpg" data-mid="223469430" border="0" src="https://freight.cargo.site/w/1000/i/56588eec5d22486f8a4f9d7c45c6cbabefb20074d119bc3ae3f42c332ddd7578/LisaFreeman_FilmPoster_HookSpillCryYourEyesOut_IFFR.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;EXHIBITIONS &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;The Model, Sligo, gallery installation as part of&nbsp;&nbsp; &nbsp; Súitú, the aemi 2023 Touring Programme &nbsp;&nbsp; &nbsp;The LAB Gallery, Dublin, as part of ARC MA show &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; Unassembled, 2020 &nbsp; &nbsp; Shortlisted for the RDS Visual Art Awards, 2020 INFO A headfirst rush into the capitalist, urban landscape, using dynamic camerawork and canny editing.&nbsp; Productivity, optimisation, constant forward motion. In this experimental short from artist and filmmaker Lisa Freeman, frenetic camerawork and quickfire editing convey the body’s lacklustre requirement to always be working in our capitalist society. Using glimpses of concrete environments, bodies on treadmills, crash-test dummies, and other ubiquitous urban images, and melding these with a soundscape of ragged breathing and disjointed conversations, Hook, Spill, Cry Your Eyes Out provides a cutting commentary on what our society inflates with importance.– Sophie Tupholme, IFFR The work touches on things that are inflated;&nbsp;bills, lungs, bellies, airbags,&nbsp;egos &nbsp; Lisa Freeman‘s Hook, Spill, Cry Your Eyes Out is a breakdown and blitz of the man-made and its stresses on mind and body. In a brief but packed runtime, Freeman takes on a dash through overstuffed, hectic modern existence. Her spasmodic yet pointedly eliding camerawork and propulsive editing throws the spectator from pip to the post, through a variety of scenarios and distinctly urban, constructed spaces where the overriding impression is of a hyperventilating rat race. The film depicts a life and gaze governed by the demand to keep going and going which is the paramount tenet of any neoliberal, capitalist society. - Ruairí McCann, film critic and programmer Text commissioned by aemi to accompany the 2023 touring programme&nbsp;'Súitú'. Read Ruairí's text in full on the aemi website. &nbsp; &nbsp; &nbsp; &nbsp; SCREENINGS &nbsp; &nbsp; Rencontres Internationales Paris/Berlin, 2025&nbsp; &nbsp; International Film Festival Rotterdam, 2025 &nbsp; &nbsp; Included in Súitú, the aemi 2023 Touring Programme: &nbsp; &nbsp;Irish Film Institute, Dublin, IE &nbsp; &nbsp;The Model, Sligo, IE &nbsp; &nbsp;Black Hole Studio, Roscommon, IE &nbsp;&nbsp; WORM, Rotterdam, The Netherlands &nbsp; &nbsp;Filmhuis Cavia, Amsterdam, The Netherlands &nbsp; &nbsp;Galleri Format, Malmö, Sweden &nbsp; &nbsp;Filmform, Stockholm, Sweden &nbsp; &nbsp;&nbsp;South Tipperary Arts Centre, Clonmel, IE &nbsp; &nbsp;&nbsp;Mermaid Arts Centre, Bray, IE &nbsp; &nbsp;&nbsp;Belfast Film Festival, Northern Ireland &nbsp; &nbsp;&nbsp;Cork International Film Festival, IE <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/597d40cf73b90795d92899e1019f9f4b7a6782438833ae27649c40b57d7fe8b1/6_VideoStill_Hook_LisaFreeman.jpg" data-mid="166632206" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/597d40cf73b90795d92899e1019f9f4b7a6782438833ae27649c40b57d7fe8b1/6_VideoStill_Hook_LisaFreeman.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9ee58a9c8338fa6a0d3aa2b1875964ec8212a71ffd600bb8980296443b393467/Sequence-03_1.00_00_39_17.Still007.jpg" data-mid="103737966" border="0" src="https://freight.cargo.site/w/1000/i/9ee58a9c8338fa6a0d3aa2b1875964ec8212a71ffd600bb8980296443b393467/Sequence-03_1.00_00_39_17.Still007.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Film stills: Hook, Spill, Cry Your Eyes Out https://lisafreeman.net/Approx-1-Second-of-a-Sweet-Kiss-5-Channel-Film-Installation Wed, 15 Feb 2023 10:13:08 +0000 Lisa Freeman https://lisafreeman.net/Approx-1-Second-of-a-Sweet-Kiss-5-Channel-Film-Installation Approx 1 Second of a Sweet Kiss Solo Show, Temple Bar Gallery + Studios, Dublin 22 March - 26 May 2024 Five-channel 4K film installation with stereo sound <img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/8110bf0527c4062c03bb26942d28a0f817f1d4bcfc88a0500dfcb4a9d18335d4/14LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913400" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/8110bf0527c4062c03bb26942d28a0f817f1d4bcfc88a0500dfcb4a9d18335d4/14LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/0d287af406655a524532d5668d530236fdeae7d88c8104e8bab1b216bc805f4b/15LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913401" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/0d287af406655a524532d5668d530236fdeae7d88c8104e8bab1b216bc805f4b/15LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/ab967f0fbb80aa986083fb45a63e6ae7ee22e675395710b067bc27d9a0ba30e7/1LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913387" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/ab967f0fbb80aa986083fb45a63e6ae7ee22e675395710b067bc27d9a0ba30e7/1LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="3600" height="4800" width_o="3600" height_o="4800" data-src="https://freight.cargo.site/t/original/i/2badd4780d2108d1ddafb437c0e9c4b9445d08d155021c9470ae580927caaa05/11LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913397" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/2badd4780d2108d1ddafb437c0e9c4b9445d08d155021c9470ae580927caaa05/11LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" />&nbsp;<img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/6cd873ece0e78414f0dbff5f017af3e22a46aad94c7e8f789dfab75faf43e5cf/2LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913388" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/6cd873ece0e78414f0dbff5f017af3e22a46aad94c7e8f789dfab75faf43e5cf/2LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /> <img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/33909cdc212ef735498945d9ae96e454e47b070397f571f41919e58eb114bf22/4LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913390" border="0" src="https://freight.cargo.site/w/1000/i/33909cdc212ef735498945d9ae96e454e47b070397f571f41919e58eb114bf22/4LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="3600" height="4800" width_o="3600" height_o="4800" data-src="https://freight.cargo.site/t/original/i/d21f0beb46dddf3e8c3656c2f6fe701689b2989f861a2f7beebcde4869f3717e/13LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913399" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/d21f0beb46dddf3e8c3656c2f6fe701689b2989f861a2f7beebcde4869f3717e/13LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/618dd438d6cc912282ac45286b9ec56f6e86fe1a71aa343e7ebc60bf9914ee3d/7LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913393" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/618dd438d6cc912282ac45286b9ec56f6e86fe1a71aa343e7ebc60bf9914ee3d/7LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/264d76758177f7f7be656d04ea2525b1b9b10c591540ba3b009213c011ff989a/9LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913395" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/264d76758177f7f7be656d04ea2525b1b9b10c591540ba3b009213c011ff989a/9LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /><img width="3600" height="4800" width_o="3600" height_o="4800" data-src="https://freight.cargo.site/t/original/i/a2c7e700c1c776f59a418a0b7ebca9c5c779e1440aa9e9d03165c9302e944fc2/3LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" data-mid="214913389" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/a2c7e700c1c776f59a418a0b7ebca9c5c779e1440aa9e9d03165c9302e944fc2/3LisaFreeman_Artiist_Film_Approx1SecondofaSweetKiss2024_TempleBarGallery-Studios.jpg" /> Photos: Ros Kavanagh&nbsp; Running time: film 13min, intermission 3min, film with closed-captions 13min, intermission with closed captions 3min, looped. EXHIBITION TEXT Sunlight heightens intensity. It bleaches or enhances colour, it focuses attention and strains the eyes, it is simultaneously nourishing and draining; it expresses a multitude of contradictions that elevate and impede closeness and connection. In her new film, Approx 1 Second of a Sweet Kiss (2023-24), Lisa Freeman draws on natural light’s influence on psychological positivity, patterns and focus. The film begins with an awakening, the soft vibration of a phone call in a room lit with the bright glow of summer sunshine. The call is answered by a young woman who relays her experience of a personal dilemma, and tells of how the artificial lights at home have been fizzing and flashing, a hint that an energy imbalance is affecting her luck and connectivity to others. As the woman opens the apartment’s balcony doors, the sound of a bustling city square fills the room and she immediately falls into a state of relaxation. Approx 1 Second of a Sweet Kiss follows the woman, the film’s protagonist, as she makes her way through an unfamiliar city. During the course of a day, she meets several people with their own sets of expectations and forms of communication. The film uses elements of holiday suspense or ‘sunshine noir’ genres to convey psychological drama, but rather than the protagonist succumbing to a situation of horror or dread, her encounters are acts of kindness and openness from strangers in a place away from home. These gestures appear unnerving, even to the woman, as there is an expectation of hostility and confrontation in this urban landscape. Freeman reclaims a sense of tenderness and generosity in the civic space, which is a development of her recent works that also address gaps in emotional and verbal interaction (Slipped, Fell and Smacked my Face on the Dance Floor, 2022), and social isolation in the public realm (Hook, Spill, Cry Your Eyes Out, 2022). Rejecting the desire for idyllic escapism, Freeman instead proposes intimacy as a method of resistance. The young woman describes a longing for comfort and cosiness, but does not anticipate the gentle, spontaneous empathy afforded her by strangers that mark her journey. This is a tenderness that transcends friendships and family, and is closer to an understanding of fate, when people share a conscious connection in the moment, with no baggage of the past, or pressure to consider future implications of their actions. In her 2019 Nobel Lecture in Literature, writer Olga Tokarczuk describes an inherent gravity holding feelings of connection and solidarity among people: “Tenderness is deep emotional concern about another being, its fragility, its unique nature, and its lack of immunity to suffering and the effects of time. (…) It is a way of looking that shows the world as being alive, living, interconnected, cooperating with, and codependent on itself."1 Tokarczuk also outlines the contemporary nature of first-person narratives, individualised perspectives that are emotionally personal, but tend to abandon broader collective viewpoints. This potentially alienating position is now present in many forms of storytelling in art, literature and cinema, and is closely aligned to online experience and social media. Freeman plays with these tropes in her film with the use of synchronised dancing to Youtube videos and selfie opportunities, and the online musical subculture phenomenon of ‘slowed + reverb’ remixes,2 which expand the emotional range from superficial to communal. The characters hum, sing, and dance to a repeated theme song throughout, a half-remembered and distorted tune that amplifies a kind of timeless and rootless nostalgia. The simmering hum of the cityscape and dislocated soundtrack suggests that the viewer is sometimes occupying the same headspace as the film's protagonist.Freeman’s exhibition at Temple Bar Gallery + Studios elaborates on her original single-channel cinema edit of Approx 1 Second of a Sweet Kiss, by reforming the film in its entirety over five television screens. In addition to the links drawn between the gallery’s site and architecture, the film’s new format expands on its own internal narratives of sensitivity, synchronicity and feeling both overwhelmed by and set adrift from the world around us. The installation draws its audience from screen to screen through a rhythmic loop of scenarios. This motif has been used in previous works by Freeman to question how we might relive past events, or to convey the monotony of restricted living situations.3 In addition to repeating alternative scenes that split the flow of time, Freeman uses visual repetition to obscure what is taking place within the subconscious, within the film’s reality, or through out-of-body sensations.During a repeat of the film’s opening scene, a pair of twin sisters discuss performative personas when moving through the city. The sequences of intricately choreographed movement and disorientating spoken exchanges activate a surreal psychological experience, in which layers of selfhood are shuffled and exposed. Everyday acts appear imaginary and just out of reach, while dreamlike interactions are depicted as ordinary occurrences. The characters’ dialogue is full of self-referential questions; declarations of feelings are absent-mindedly conjured and rarely reciprocated as several voices state their concerns without direct response to one another. Their moments of touch however are subtle, bright and perceptive, unselfconscious gestures of tenderness: a reassuring hug, an arm draped around a shoulder, a head nestled on a lap, one second of a sweet kiss.4 Text by Michael Hill&nbsp; 1 Olga Tokarczuk, ‘The Tender Narrator’, Nobel Lecture in Literature, 7 December 2019: https://www.nobelprize.org/pri... 2 Andy Cush, ‘How Slowed + Reverb Remixes Became the Melancholy Heart of Music YouTube’, Pitchfork, 7 April 2020: https://pitchfork.com/thepitch...3 ’We’re on a loop, we’re on a loop. This is exactly two metres by two metres and we lie on it sometimes to feel.’ Extract from the script of Slipped, Fell and Smacked my Face on the Dance Floor, Lisa Freeman, 2022. 4 This paragraph incorporates words and ideas by Lucie McLaughlin from critical conversations with Lisa Freeman. PRESS ArtReview, Review of Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios by Declan Long Paper Visual Art, Review of Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios by Lucie McLaughlin RTÉ Lyric FM- Something for the Weekend: Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios, Dublin RTÉ Culture 5 - Your Cultural Highlights: Approx 1 Second of a Sweet Kiss at Temple Bar Gallery + Studios, Dublin Visual Artists’ News Sheet Ireland, Film column, detailing Solo Exhibition’s at Temple Bar Gallery + Studios, Dublin &amp; SIRIUS, Cork EXHIBITION FILM Approx 1 Second of a Sweet Kiss, Temple Bar Gallery + Studios, 22 March – 19 May 2024. Documented by Jenny Brady.&nbsp; FILM + INSTALLATION CREDITS Written and directed | Lisa FreemanCast | Niamh McPhillips, Diana Sá, Carminda Soares, Maria R. SoaresDirector of Photography | Fábio MotaEditors | Lisa Freeman, Aoife CarolanSound recordist | Luís SilveiraCamera assistant | Márcio EnesGaffer | Jotta SousaColourist | Michael HigginsSound composer and mixer | Seán Mac ErlaineCaptions | Eat The Pips (Lucie McLaughlin)Titles and credits designer | Or Studio (Kate Brangan &amp; Jo Little)Multi-channel editors | Lisa Freeman, Aoife CarolanIntermission composition | Seán Mac Erlaine With thanks to: Miguel Amado, Alexandra Balona, Stephane Bena Hanly, Alice Butler, Vera Carmo, Matthew Coll, Daniel Fitzpatrick, Helena Gouveia Monteiro, Órla Goodwin, Sarah Grimes, Michael Hill, Sadbh O’Brien, Megan O’Driscoll, Anna Maye, Dáire Mc Evoy, Dennis McNulty, Dan Reidy, Seerish Sanassy, Tewson Seeoun, Clíodhna Shaffrey, Anna Stuart, Julie Weber. Originally commissioned by aemi and Sirius Arts Centre.Funded by the Arts Council of Ireland. Additional funding Kildare County Council. EXHIBITION EVENTS Art Walk: March 2024From Practice to Exhibition: Studio Visit with Lisa Freeman08 April 2024Young Art Writers workshop with writer Nicole Flattery15 — 22 April 2024Artist Talk: Lisa Freeman in conversation with Michael Hill17 May 2024 <img width="4950" height="6600" width_o="4950" height_o="6600" data-src="https://freight.cargo.site/t/original/i/d4be36744b5a9b644230658bf6e484442f23aaa16b1a7efc92c77154204709cc/LisaFreeman_TBG-S_Film_Approx1SecondofaSweetKissjpg.jpg" data-mid="214913479" border="0" src="https://freight.cargo.site/w/1000/i/d4be36744b5a9b644230658bf6e484442f23aaa16b1a7efc92c77154204709cc/LisaFreeman_TBG-S_Film_Approx1SecondofaSweetKissjpg.jpg" /> Photo: Jed Niezgoda https://lisafreeman.net/Slipped-Artist-Publication Sun, 20 Mar 2022 13:57:22 +0000 Lisa Freeman https://lisafreeman.net/Slipped-Artist-Publication Slipped, Fell and Smacked my Face off the Dance FloorArtist Publication, 2022 &nbsp; <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/fbaaa6efad6997b5e1257ab5ff28d58cbe02d39a9d763ece050d0d7310c8d3a2/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_1.jpg" data-mid="165821867" border="0" src="https://freight.cargo.site/w/1000/i/fbaaa6efad6997b5e1257ab5ff28d58cbe02d39a9d763ece050d0d7310c8d3a2/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_1.jpg" /> <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/a6bde5d4a5847ec33eb9d858c1af932cca2bdfec0ad764d691c41061fef334c5/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_2.jpg.jpg" data-mid="165821868" border="0" src="https://freight.cargo.site/w/1000/i/a6bde5d4a5847ec33eb9d858c1af932cca2bdfec0ad764d691c41061fef334c5/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_2.jpg.jpg" /> <img width="1655" height="1170" width_o="1655" height_o="1170" data-src="https://freight.cargo.site/t/original/i/d525231dc25cc7ef1087057b832f35f32c5539eb2411c0b42846910c9383d9ea/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_6.jpg.jpg" data-mid="165821873" border="0" src="https://freight.cargo.site/w/1000/i/d525231dc25cc7ef1087057b832f35f32c5539eb2411c0b42846910c9383d9ea/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_6.jpg.jpg" /> <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/d909535149bd05202a4beb67357a6f5c0e8634919e0de97e5b9e77c984b38dda/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_3.jpg.jpg" data-mid="165821870" border="0" src="https://freight.cargo.site/w/1000/i/d909535149bd05202a4beb67357a6f5c0e8634919e0de97e5b9e77c984b38dda/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_3.jpg.jpg" /> <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/8dac03c5a0af94dccd57dcfacc4220f674934019fd6dd9ac6e9676c37029e8ea/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_5.jpg.jpg" data-mid="165821872" border="0" src="https://freight.cargo.site/w/1000/i/8dac03c5a0af94dccd57dcfacc4220f674934019fd6dd9ac6e9676c37029e8ea/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_5.jpg.jpg" /> <img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/188c4e1e6003fa16acf01e70fc43ae90f88545ef34853ed6efc3f5bcd4582649/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_4.jpg.jpg" data-mid="165821871" border="0" src="https://freight.cargo.site/w/1000/i/188c4e1e6003fa16acf01e70fc43ae90f88545ef34853ed6efc3f5bcd4582649/SlippedFellAndSmackedMyFaceOffTheDanceFloor_Publication_LisaFreeman_4.jpg.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ABOUTThis new artist publication by Lisa Freeman and designed by the award-winning Or Studio documents the live performance Slipped, Fell and Smacked my Face off the Dance Floor (2022). It includes digital and medium format photography, script excerpts, archival imagery and drawings, alongside commissioned texts by Rachel Donnelly, Dennis McNulty and Astrid Newman. Excerpt from ‘Time Slips and Falls’ writer Rachel Donnelly’s text: Are they trying to excavate the ruins of the baths? To reach pre-internet time, when our primary civic spaces were physical (whether flesh, paper or radio-wave based) and democratic, rather than digital and commodified by Meta and Twitter? The concrete fragments sit heavy on the beach, guarding their past. The waves break continuously. Two of the performers are sitting back to back on the wall again, heads resting on each other’s shoulders. We’re on a loop, we’re on a loop. It’s exactly two metres by two metres and we lie on it sometimes to feel… Information on the live performance is available on the Mermaid Arts Centres website here. <img width="1646" height="732" width_o="1646" height_o="732" data-src="https://freight.cargo.site/t/original/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" data-mid="165168038" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" /> CREDITS &amp; INFO Currently stocked at The Library Project, DublinIncluded in Temple Bar Gallery + Studios Book Fair, 2022 Launched at Mermaid Arts Centre, November 2022 Size: 297 x 148 mmSoftcover, fold out pages, map insert Edition of 100 Publication Designed and Risograph printed by Or Studio Digitally Printed by Dublin Print Company Digital photography by Louis HaughMedium format photography by Vera RyklovaArchival imagery courtesy of Wicklow Library Local Studies Department With thanks to; Biaina Ryan, Niamh McPhillips,Tadhg O’Rourke (Actors) Andrea Jones (Saxophone), Temple Bar Gallery + Studios, Padraig Cunningham, Emma Conway, Rachel Donnelly, Louis Haugh, Jenny Sherwin, Julie Kelleher, Gerlanda Maniglia, Dennis McNulty, Astrid Newman, Claire Walsh, Dan Reidy, Lana May Fleming, Anne Mullee, Lauren Conway, Vera Ryklova. Kindly supported by Mermaid Arts Centre https://lisafreeman.net/Slipped-Fell-and-Smacked-my-Face-off-the-Dance-Floor-Film Wed, 15 Feb 2023 14:02:42 +0000 Lisa Freeman https://lisafreeman.net/Slipped-Fell-and-Smacked-my-Face-off-the-Dance-Floor-Film Slipped, Fell and Smacked my Face off the Dance Floor 4K digital video&nbsp; |&nbsp; Colour&nbsp; |&nbsp; Stereo Sound&nbsp; |&nbsp; 21 minutes 12 seconds&nbsp; |&nbsp; 2022&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/edb770c29c22be40afb57b85b313316690d8eac9e3fc376aa1025012627b7d1f/4SlippedFellAndSmackedMyFaceOffTheDanceFloor_LisaFreeman_FilmStill.jpg" data-mid="168517521" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/edb770c29c22be40afb57b85b313316690d8eac9e3fc376aa1025012627b7d1f/4SlippedFellAndSmackedMyFaceOffTheDanceFloor_LisaFreeman_FilmStill.jpg" />&nbsp; &nbsp;<img width="1880" height="1057" width_o="1880" height_o="1057" data-src="https://freight.cargo.site/t/original/i/cfaaf34f165894b24e9e0849e4e035a039ead78004cf1578103e4ebfb7716284/LisaFreeman_Slipped.jpg" data-mid="176344493" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/cfaaf34f165894b24e9e0849e4e035a039ead78004cf1578103e4ebfb7716284/LisaFreeman_Slipped.jpg" /> &nbsp; ABOUT 4K digital video&nbsp; |&nbsp; Colour&nbsp; |&nbsp; Stereo Sound&nbsp; |&nbsp; 21 minutes 12 seconds&nbsp; |&nbsp; 2022 Slipped, Fell and Smacked my Face off the Dance Floor&nbsp;features three actors, a saxophone player and a significant location: the once-busy sea bathing pool at Naylor’s Cove, Bray. Drawing on Bray town’s history as a site of leisure and respite, this film positions the human body in this now-defunct site of relaxation. The actors create intimate moments of dialogue in this public space, where the script explores therapeutic infrastructures, tourism and the body as an archive. These moments are woven through this site of failed architecture, set to a musical score performed by a saxophone player. Collection of the Arts Council of Ireland&nbsp; SCREENINGS&nbsp; Collected Expression, MTU Alumni in the Arts Council Collection, Munster Technological University, 15th September - 15th October, 2025 Cité Open Studios, Institut français x Cité internationale des arts, Paris, 11th June 2025, curated by Violette Morisseau Screendance Film Tour, Salt Lake Film Society, Utah, USA, 2024 Festival ECRÃ, Rio de Janeiro, Brazil, 2023 aemi online, solo exhibition, October 2022 - January 2023 &nbsp; RTÉ Culture, In The Picture: Lisa Freeman's Slipped, Fell and Smacked My Face off The Dance Floor,&nbsp;2022Mermaid Arts Centre,&nbsp;solo screening and publication launch, 2022 CREDITS Written and Directed by Lisa Freeman Cinematographer: Kenneth Adams Sound recordist: Jack O’DonoghueEditor: Georgia Kelly Presented by Mermaid Arts CentrePerformers:&nbsp;Biaina Ryan, Niamh McPhillips, Tadhg O’Rourke (Actors) Andrea Jones (Saxophone). With thanks to; Temple Bar Gallery + Studios, Padraig Cunningham, Emma Conway, Louis Haugh, Jenny Sherwin, Julie Kelleher, Gerlanda Maniglia, Dennis McNulty, Anne Mullee, Astrid Newman, Claire Walsh, Dan Reidy, Lana May Fleming, Lauren Conway, Vera Ryklova. Kindly supported by an Arts Council of Ireland Project Award, Wicklow County Council and Mermaid Arts Centre. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="3000" height="3719" width_o="3000" height_o="3719" data-src="https://freight.cargo.site/t/original/i/7842c1a284ba67a304567caeef17cfe67ca4e69853e0de3a2cec356489e38629/Lisa-freeman-slipped-fell--copy.jpg" data-mid="239195212" border="0" src="https://freight.cargo.site/w/1000/i/7842c1a284ba67a304567caeef17cfe67ca4e69853e0de3a2cec356489e38629/Lisa-freeman-slipped-fell--copy.jpg" />Digital pigment print on Hahnemuhle photo rag 300gsm archival paper, aluminium frame. Image dimensions: 21 x 15 cm. In frame: 36 x 43 cm.&nbsp;Edition of 3 + 2AP.&nbsp; Private Collection. A Collection of Differences Slipped, Fell and Smacked My Face off The Dance Floor propagates outward like a Mandelbrot fractal animation, the parts containing the whole. It tumbles in time and space, occasionally threatening to shake itself to pieces with the asymmetric energy of a lopsided motor. It has been said that the truth of a mechanism emerges in its moment of collapse. Here, we see the vibrations in close-up. Each oscillation flickers like the shadow of a cloud across the performers' faces, passing through their bodies and into their limbs before being absorbed into the environment. Anguish. Anxiety. But totally normal. Totally fine. I’m grand. People keeping it together: trying, failing, performing. Totally fine. No, seriously. I’m fine. They play/ act the kinds of motifs that humans play/ act for each other in the run of the mill, as a reassurance that things are proceeding as expected, as hoped. Fingers crossed. Please God. The rules of encounter and the words they say are embodied in a manner that communicates a kind of calm working through of the shame, or confusion, they feel at their inability to account for the situation they find themselves in. The parts are recognisable but their arrangement is… challenging. They talk into the air, not really saying things to each other. Just putting it out there. Monologues come out of their mouths and land in an unsettling quasi-apocalyptic real-world faux-CGI scenario. Norms are deployed in the face of an abnormal state of affairs. Like their clothes, it’s all a bit uncomfortable, a bit mismatched, but carefully, consciously so. Lisa Freeman’s video Slipped, Fell and Smacked My Face off The Dance Floor is steeped in its context, specific to a tidal setting, a place of nature at the edge of an island; at the edge of a continent. Naylor’s Cove is the site of a historical attempt to wrangle a framework for health and leisure into being. If you’re Irish, you’ll know Bray. If you’re not, just think of any Victorian seaside town. This particular seafront crescent is currently somewhat neglected, separated as it is by geology from the sweep of the town’s main stony beach. It’s a shadowed space where teenage couples hang out in the evenings and people walk their dogs in the daytime. Of the former baths, only discontinuous planes of concrete remain, strange stage-like chunks, some cast adrift among the wave-worn pebbles and stones. A long, thin limb pokes out into the sea like a makeshift concrete catwalk. The Slipped, Fell… performers definitely feel styled for the season, the slicking of their hair and the tangle of their garb echoing fashion’s knowing nods to the just-past; the marrying of sportswear and formal elements in the same look communicating mixed messages; a work/ life imbalance. There’s something of the air of a fashion shoot in the performers’ restlessness too, the way they shimmer in front of the camera, the way they repeatedly re-style themselves. Clothes are removed, draped over others, shifted around and put back on again. There is layering and a feeling that someone may lose track of where everything is or should be. It’s like that dream where you realise you’re in a public space but you’re only wearing your underwear. These incredible performers feel closer to models, in both the fashion and scientific sense, than characters. They are blank but they bring their own energy to the presentation. They are a substrate but they contaminate the material they host. They are delivery mechanisms but like all infrastructure, they shape the thing they support. They are not neutral. They’re magnetic. To watch them do the things they do is to watch them disprove the idea that thinking happens only inside the brain. What a hilarious thought! Haven’t you ever slipped, fallen and smacked your face off the dance floor? Some philosophers have suggested that in certain circumstances objects outside of the body become part of the mind. Slipped, Fell… seems to suggest that we could go further, proposing that, under certain conditions, people can mutually extend each other’s minds. The on-screen humans perform this kind of mutual mind extension, smudging the boundaries between self and other, between body and object, between inside and outside. I am happy in the knowledge that they’re out there, somewhere, doing this research for us. At some basic level, Slipped, Fell… asks the 'nature of reality’ question. Is reality always already out there or is it something that’s happening inside us? As we watch, we turn to each other and wonder, "did you just see what I saw"? In this working through of philosophical fundamentals, Freeman’s video has much in common with the works of Samuel Beckett. Other parallels include the precision of its choreography; the musical, permutational nature of its structure and ‘script’; its deadpan, deadly serious absurdity; and its concentration on all of the things that language can’t do. It has always seemed to me that the stage is a mind in Beckett’s works. His plays establish an internally consistent logic at odds with the non-stage (non-mind) world and ruminate on the gap. Therein lies their value. Likewise, the space of Slipped, Fell… could be considered a mental space, one rendered with bodies and words and clothing and music and the sea. It’s not that the on-screen bodies map directly onto thoughts. It’s not that they converse, like Beckett’s bodies, in a way that might resemble a subject’s internal dialogue. It’s more that – in their doubt and anxiety, their clustering and repeated reconfiguration, their attempts to fit in, to mimic each other, the objects present in the setting and the setting itself – they enact a process of cognition, a process of acquiring knowledge. They don’t have the answers but they face their world’s contradictions head on, attempting to map an understanding of its ongoing weirdness through mutual support, recognition and action. What is an artwork, if not a device for simmering contradictions, for reducing them, not in the sense of lessening them but in the sense of thickening them and heightening their intrinsic flavours? Video is the perfect vehicle for this kind of cookery. One common ingredient in media compression algorithms is the concept of storing the variation between consecutive frames rather than the frames themselves. Redundant information is systematically evaporated from the file, boiled down until all that remains is a collection of differences. In the case of Slipped, Fell and Smacked My Face off The Dance Floor, this feels particularly apt. By Dennis McNulty&nbsp; The publication of Slipped, Fell and Smacked My Face off The Dance Floor was launched with a screening at Mermaid Arts Centre, Bray on November 23rd 2022. This essay was commissioned by aemi,&nbsp;a Dublin-based initiative that supports and regularly exhibits moving image works by artists and experimental filmmakers. Slipped, Fell... was available to view on aemi online November 2022 - January 2023 and on RTÉ Culture&nbsp;here <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/eb254180be8174de53b74af1e8cf6ebec2b65a144342fd477f391f678e6ba894/20221123_173732.jpg" data-mid="199298927" border="0" src="https://freight.cargo.site/w/1000/i/eb254180be8174de53b74af1e8cf6ebec2b65a144342fd477f391f678e6ba894/20221123_173732.jpg" />Mermaid Arts Centre, solo screening and publication launch, 2022 <img width="1646" height="732" width_o="1646" height_o="732" data-src="https://freight.cargo.site/t/original/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" data-mid="168517523" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" /> https://lisafreeman.net/Slipped-Part-2-Performance Mon, 05 Aug 2024 15:25:24 +0000 Lisa Freeman https://lisafreeman.net/Slipped-Part-2-Performance Slipped, Part 2Irish Museum of Modern Art, Dublin, 2024&nbsp; <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/17e6f67ad6caa6a90f7045b4a504300b7098c8240c30175cf791a0f8f9114334/5LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279736" border="0" src="https://freight.cargo.site/w/1000/i/17e6f67ad6caa6a90f7045b4a504300b7098c8240c30175cf791a0f8f9114334/5LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/add86660a5289dc1c99ac1766291bb3c18dcb2d9b01396169270e23a8bdb3059/16LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279856" border="0" src="https://freight.cargo.site/w/1000/i/add86660a5289dc1c99ac1766291bb3c18dcb2d9b01396169270e23a8bdb3059/16LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/7223021557a07643179f5d5250b6e9b0d6fbad90cd0990136443fae1e7af4560/9LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279757" border="0" src="https://freight.cargo.site/w/1000/i/7223021557a07643179f5d5250b6e9b0d6fbad90cd0990136443fae1e7af4560/9LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/b6f0863ad7132c860331f636031b68aa4938ae99deb10fbe10a62cecf1768549/4LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279732" border="0" src="https://freight.cargo.site/w/1000/i/b6f0863ad7132c860331f636031b68aa4938ae99deb10fbe10a62cecf1768549/4LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/6eb11970f7e8d1ecc2f48859acebbc6800e070c045fcfbfe494611d88f9c78a1/2LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279722" border="0" src="https://freight.cargo.site/w/1000/i/6eb11970f7e8d1ecc2f48859acebbc6800e070c045fcfbfe494611d88f9c78a1/2LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/be1543079b2dc3b8e4e0657f0219c90c4c1fba29d8c96fa6f5e41e43bd618504/25LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279904" border="0" src="https://freight.cargo.site/w/1000/i/be1543079b2dc3b8e4e0657f0219c90c4c1fba29d8c96fa6f5e41e43bd618504/25LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/882c2cb2fd3e2683e12f64a971e4aa16cfdb009a7db23035563ed244e8beef7a/27LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279923" border="0" src="https://freight.cargo.site/w/1000/i/882c2cb2fd3e2683e12f64a971e4aa16cfdb009a7db23035563ed244e8beef7a/27LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> ABOUT Slipped, Part 2A live site-specific performance on 3rd of August, 2024, performed on a loop for three hours.&nbsp; Slipped, Part 2 (2024) is a scripted performance work that features actors and a saxophone player. In a looping sequence, the intricate staging and choreography reveal a complex interplay and overlay of ideas around health, leisure, emotion and the body that are amplified by the rhythmic and pathos-infused script. The actors create intimate&nbsp;moments of dialogue touching on ideas of therapeutic infrastructures, tourism and the body as an archive. These moments are set to a live musical score performed by a saxophone player. This project stems from Freeman’s&nbsp;research into sites of failed and poorly designed civic architecture, and how these sites can negatively impact our health and leisure pursuits.&nbsp; Slipped, Part 2 at IMMA follows on from its original presentation as a site-specific response to the former public baths at Naylor’s Cove, Bray with Mermaid Arts Centre (June 2022). This presentation marks a new iteration in response to the formal gardens at IMMA. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/74ba5ecd53cc0db2c7eec4bf2d2623c89d6f9259b5730849ef9a2e74b27964b9/7LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279743" border="0" src="https://freight.cargo.site/w/1000/i/74ba5ecd53cc0db2c7eec4bf2d2623c89d6f9259b5730849ef9a2e74b27964b9/7LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/83f5f2fdb7bb5ab6dc38d3ab4d53eec1572a9ea4a5c18de5931305a5466406ec/22LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279863" border="0" src="https://freight.cargo.site/w/1000/i/83f5f2fdb7bb5ab6dc38d3ab4d53eec1572a9ea4a5c18de5931305a5466406ec/22LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/26582e5015c9a9375287903aede722759eacb18355422d0f040ae8a5ba5e1891/17LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279857" border="0" src="https://freight.cargo.site/w/1000/i/26582e5015c9a9375287903aede722759eacb18355422d0f040ae8a5ba5e1891/17LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/855678f6b3d7d7f23173966f4f41d753fbe6258832cdf0003ec29f9f1610e960/24LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279895" border="0" src="https://freight.cargo.site/w/1000/i/855678f6b3d7d7f23173966f4f41d753fbe6258832cdf0003ec29f9f1610e960/24LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/6305ddb0f7c1e25a95b446a49923930ddb79a3c0c6dcbdca2c04ec7de46f7d41/11LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279851" border="0" src="https://freight.cargo.site/w/1000/i/6305ddb0f7c1e25a95b446a49923930ddb79a3c0c6dcbdca2c04ec7de46f7d41/11LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/affc97716eeed99159323f7be9407afb54dce108798f799ec7a2a9d1342d4bc9/13LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279853" border="0" src="https://freight.cargo.site/w/1000/i/affc97716eeed99159323f7be9407afb54dce108798f799ec7a2a9d1342d4bc9/13LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/41eb21f282b83aaa71a882958f6bf35c0b7ee820f353a8a0d11d5ec706e3e2d1/12LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" data-mid="216279852" border="0" src="https://freight.cargo.site/w/1000/i/41eb21f282b83aaa71a882958f6bf35c0b7ee820f353a8a0d11d5ec706e3e2d1/12LisaFreeman_Slipped_IrishMuseumofModernArt_PhotoCaitFahey.jpg" /> CREDITS&nbsp; Written and directed by Lisa Freeman Presented by the Irish Museum of Modern Art Curated by Sara Muthi Performed by&nbsp;Mia Byrne (Saxophone), Ana Flood Gomez, Aphra Hartmann,&nbsp;Niamh McPhillips Digital photography (above) by Cáit Fahey&nbsp; Analogue photography (below) by Michael HillInformation on the original performance can be viewed here. Screenings of Slipped (The Film)Screendance Film Tour, Salt Lake Film Society, Utah, USA, 2024Festival ECRÃ, Rio de Janeiro, Brazil, 2023 aemi online, solo exhibition, October 2022 - January 2023 &nbsp; RTÉ Culture, In The Picture: Lisa Freeman's Slipped, Fell and Smacked My Face off The Dance Floor, 2022 <img width="3033" height="2010" width_o="3033" height_o="2010" data-src="https://freight.cargo.site/t/original/i/8e8b042acd8b3571ebdba39c33b20fc7cf1ceed90ed04c6917591592797a7483/33LisaFreeman_Slipped_IMMA_IrishMuseumofModernArt_Photo_MichaelHill.jpg" data-mid="216449117" border="0" src="https://freight.cargo.site/w/1000/i/8e8b042acd8b3571ebdba39c33b20fc7cf1ceed90ed04c6917591592797a7483/33LisaFreeman_Slipped_IMMA_IrishMuseumofModernArt_Photo_MichaelHill.jpg" /><img width="2638" height="1749" width_o="2638" height_o="1749" 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data-src="https://freight.cargo.site/t/original/i/27fab694f03fbf11f45183188c93013342b4b1bd9cf7fa906409cdf4e324ba27/37LisaFreeman_Slipped_IMMA_IrishMuseumofModernArt_Photo_MichaelHill.jpg" data-mid="216449121" border="0" src="https://freight.cargo.site/w/1000/i/27fab694f03fbf11f45183188c93013342b4b1bd9cf7fa906409cdf4e324ba27/37LisaFreeman_Slipped_IMMA_IrishMuseumofModernArt_Photo_MichaelHill.jpg" /> https://lisafreeman.net/Slipped-Fell-And-Smacked-my-Face-off-the-Dance-Floor-Performance Thu, 17 Mar 2022 15:08:48 +0000 Lisa Freeman https://lisafreeman.net/Slipped-Fell-And-Smacked-my-Face-off-the-Dance-Floor-Performance Slipped, Fell and Smacked my Face off the Dance FloorA live site-specific performance on 10th, 11th, 17th, 18th June 2022.On a loop from 1-4pm each day. Naylor’s Cove, Bray, Co. Wicklow.<img width="5314" height="3543" width_o="5314" height_o="3543" data-src="https://freight.cargo.site/t/original/i/c9d14831ad3ae1604114fa12e843d4eca216a46b1966dd03a93c69fc088eb8e7/Slipped_300DPI-9.jpg" data-mid="145445239" border="0" src="https://freight.cargo.site/w/1000/i/c9d14831ad3ae1604114fa12e843d4eca216a46b1966dd03a93c69fc088eb8e7/Slipped_300DPI-9.jpg" /> <img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/bd1c18330831d5a6e21c123c22752bfb9978f3f7b207511f90daaf8d9165cdea/Slipped_300DPI-1.jpg" data-mid="145445222" border="0" src="https://freight.cargo.site/w/1000/i/bd1c18330831d5a6e21c123c22752bfb9978f3f7b207511f90daaf8d9165cdea/Slipped_300DPI-1.jpg" /><img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/e8d2b2df027d15f6cbdda7ff6fcbe12db976b6151842b454fd4e6bc76e2184d2/Slipped_300DPI-6.jpg" data-mid="145445227" border="0" src="https://freight.cargo.site/w/1000/i/e8d2b2df027d15f6cbdda7ff6fcbe12db976b6151842b454fd4e6bc76e2184d2/Slipped_300DPI-6.jpg" /> <img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/91ede7d3563e72237511bd085579569754b2e4c070971ebfea6b3499b54dad8c/Slipped_300DPI-11.jpg" data-mid="145445241" border="0" src="https://freight.cargo.site/w/1000/i/91ede7d3563e72237511bd085579569754b2e4c070971ebfea6b3499b54dad8c/Slipped_300DPI-11.jpg" /><img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/36c1842867d12cdfd703a0c24bfc47385528154f41dabc0abfdaf6b82da50016/LF_Slipped_300DPI-128.jpg" data-mid="211513459" border="0" src="https://freight.cargo.site/w/1000/i/36c1842867d12cdfd703a0c24bfc47385528154f41dabc0abfdaf6b82da50016/LF_Slipped_300DPI-128.jpg" /><img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/a480d854019faadd9c280b3225330b719831ee38aaad321a81c3ebc63fc80e95/1LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" data-mid="216281225" border="0" src="https://freight.cargo.site/w/1000/i/a480d854019faadd9c280b3225330b719831ee38aaad321a81c3ebc63fc80e95/1LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" /><img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/99ab5fbab0c98ec7feec576666dd65a198870e60347bc8fa0f8a246225794b6a/3LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" data-mid="216281227" border="0" src="https://freight.cargo.site/w/1000/i/99ab5fbab0c98ec7feec576666dd65a198870e60347bc8fa0f8a246225794b6a/3LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" /><img width="5314" height="3543" width_o="5314" height_o="3543" data-src="https://freight.cargo.site/t/original/i/442f67125b50e090e2ada145832314a0f86465971502cf7157ded628e53dbcb0/2LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" data-mid="216281226" border="0" src="https://freight.cargo.site/w/1000/i/442f67125b50e090e2ada145832314a0f86465971502cf7157ded628e53dbcb0/2LisaFreeman_SlippedFellandSmackedmyFaceoffTheDanceFloor_Mermaid_Bray_Performance.jpg" /> ABOUT Slipped, Fell and Smacked my Face off the Dance Floor A live site-specific performance on 10th, 11th, 17th, 18th June 2022.A 20 minute performance on a loop between 1-4pm each day. Naylor’s Cove, Bray, Co. Wicklow.Lisa Freeman’s new scripted performance work features actors, a saxophone player and a significant location: the once-busy sea bathing pool at Naylor’s Cove, Bray. Drawing on the town’s history as a site of leisure and respite, this work positions the human body in this now-defunct site of relaxation. The actors create intimate moments of dialogue in this public space, where the script touches on ideas of therapeutic infrastructures, tourism and the body as an archive. These moments are woven through this site of failed architecture, set to a live musical score performed by a saxophone player. Information on the work can be viewed on the Mermaid Arts Centres website here. SCREENINGS OF SLIPPED... (THE FILM)Festival ECRÃ, Rio de Janeiro, Brazil, July 2023 aemi online, solo exhibition, October 2022 - January 2023 &nbsp; RTÉ Culture, In The Picture: Lisa Freeman's Slipped, Fell and Smacked My Face off The Dance Floor, November 2022 CREDITS &amp; THANKS Written and directed by Lisa FreemanPerformed by Biaina Ryan, Niamh McPhillips,Tadhg O’Rourke (Actors) Andrea Jones (Saxophone). Presented by Mermaid Arts Centre With thanks to Temple Bar Gallery + Studios, Padraig Cunningham, Emma Conway, Jenny Sherwin, Julie Kelleher, Gerlanda Maniglia, Dennis McNulty, Anne Mullee, Astrid Newman, Claire Walsh, Dan Reidy, Lana May Fleming, Lauren Conway, Vera Ryklova. Kindly supported by an Arts Council of Ireland Project Award, Wicklow County Council and Mermaid Arts Centre. Photography by Louis HaughAbout Naylor’s Cove Naylor’s Cove has a long history as swimming destination and is located just below the start of the popular Bray to Greystones cliff walk. The Cove was named after local fisherman and boat builder Bart Naylor, who leased the land from Town Commissioners in the 1870s. He erected bathing boxes and a small pier, and the spot became a popular sea bathing spot. It fell into disrepair following Naylor’s death in the First World War, but was revived in the 1930s when Bray Urban Council built a small children’s swimming pool. The spot became so popular that three further sea pools were built, and it remained busy until the advent of the package holiday in the late 1960s. In 2011, Bray Municipal Council removed the then derelict remaining structures leaving it in the condition it is in today. <img width="1646" height="732" width_o="1646" height_o="732" data-src="https://freight.cargo.site/t/original/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" data-mid="147999753" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/472393fb21c98fb70d20e77b7a1862efc33e2e92c0c8030ba723aaab48c14baa/Screenshot-2022-06-01-at-14.22.33.png" />