https://jeremymillar.org Jeremy Millar Thu, 25 Jan 2024 22:32:12 +0000 https://jeremymillar.org en https://jeremymillar.org/Home-Page Mon, 15 Nov 2021 17:17:25 +0000 Jeremy Millar https://jeremymillar.org/Home-Page <img width="4448" height="5678" width_o="4448" height_o="5678" data-src="https://freight.cargo.site/t/original/i/9d89703ea2581fd459c619fc010dfd9fb31cd75b5cabf38101b516aaac57e325/MD3B.jpg" data-mid="188921719" border="0" src="https://freight.cargo.site/w/1000/i/9d89703ea2581fd459c619fc010dfd9fb31cd75b5cabf38101b516aaac57e325/MD3B.jpg" /> <img width="2930" height="3951" width_o="2930" height_o="3951" data-src="https://freight.cargo.site/t/original/i/847eda8bc51c5348f82bc2d31f36983078c16ab36353741cd9918e80507721e5/Slant-of-Light-detail.jpg" data-mid="124676304" border="0" src="https://freight.cargo.site/w/1000/i/847eda8bc51c5348f82bc2d31f36983078c16ab36353741cd9918e80507721e5/Slant-of-Light-detail.jpg" /> <img width="3823" height="2911" width_o="3823" height_o="2911" 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data-src="https://freight.cargo.site/t/original/i/26db95a74eb14fdf92c9767075ea3ab3a5826df4bc3da930c0b2679b6a80a685/Screenshot-2021-11-15-at-23.55.00.png" data-mid="124677422" border="0" src="https://freight.cargo.site/w/1000/i/26db95a74eb14fdf92c9767075ea3ab3a5826df4bc3da930c0b2679b6a80a685/Screenshot-2021-11-15-at-23.55.00.png" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/878749e85afcf279b6180304312f49171b94d66027ba7da73428e337691202d2/Celan-Bag-03149.jpg" data-mid="175271428" border="0" src="https://freight.cargo.site/w/1000/i/878749e85afcf279b6180304312f49171b94d66027ba7da73428e337691202d2/Celan-Bag-03149.jpg" /> <img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/39af187e9100d7b93c444973cb62b8620d70637d03728584a53b78ff6c48cf32/DM-CCA-4.jpg" data-mid="124632132" border="0" 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data-src="https://freight.cargo.site/t/original/i/025512247ff87364280b6759a1cee8d6624ca97279c6867ee1c36b89b8b5939f/SP-Dual.jpg" data-mid="125085333" border="0" src="https://freight.cargo.site/w/1000/i/025512247ff87364280b6759a1cee8d6624ca97279c6867ee1c36b89b8b5939f/SP-Dual.jpg" /> <img width="2876" height="1584" width_o="2876" height_o="1584" data-src="https://freight.cargo.site/t/original/i/961ee6fc57f2574fbd76cea6a33331801ebc807bb8cb37538d011ae5e3181e85/Screenshot-2023-05-22-at-22.22.10.png" data-mid="179835273" border="0" src="https://freight.cargo.site/w/1000/i/961ee6fc57f2574fbd76cea6a33331801ebc807bb8cb37538d011ae5e3181e85/Screenshot-2023-05-22-at-22.22.10.png" /> <img width="2284" height="3293" width_o="2284" height_o="3293" data-src="https://freight.cargo.site/t/original/i/aab8ff7d16a34cf67ea49b87040d2d16c243d3a671632eb78e8d1b3d7c18a416/IMG-6570.jpg" data-mid="181387499" border="0" src="https://freight.cargo.site/w/1000/i/aab8ff7d16a34cf67ea49b87040d2d16c243d3a671632eb78e8d1b3d7c18a416/IMG-6570.jpg" /> <img width="4448" height="5678" width_o="4448" height_o="5678" data-src="https://freight.cargo.site/t/original/i/5f6be200e73bb6a0a624fac700eed56b463df5a728917f9f400a8afec1eff6f3/MD3B.jpg" data-mid="188921721" border="0" src="https://freight.cargo.site/w/1000/i/5f6be200e73bb6a0a624fac700eed56b463df5a728917f9f400a8afec1eff6f3/MD3B.jpg" /> <img width="2409" height="3064" width_o="2409" height_o="3064" data-src="https://freight.cargo.site/t/original/i/8879a91cf724b11b41e09fba973229310ff5641157e7f99f8cb0f5faf8149dfb/A236-Crop.jpg" data-mid="209654465" border="0" src="https://freight.cargo.site/w/1000/i/8879a91cf724b11b41e09fba973229310ff5641157e7f99f8cb0f5faf8149dfb/A236-Crop.jpg" /> https://jeremymillar.org/Human-Form-in-Art-2008-1 Sat, 20 Jan 2024 21:36:10 +0000 Jeremy Millar https://jeremymillar.org/Human-Form-in-Art-2008-1 Human Form in Art 2008 Duration 00:17:41:15 Digital Video / PAL 16:9 Anamorphic Content Warning: Film shows museum case containing human remains This short film was the first work I made during my AHRC Post-Doctoral Research Fellowship at the Ruskin, and marked an important development in my practice, not only with regard to the subject matter, but also in its approach. In it two white-coated curators decant two display cases in the Pitt Rivers Museum prior to its redevelopment; the film’s title is taken from that of the display cases which contain object representations of the human form. Given the comparative nature of many of the displays in the Pitt Rivers Museum, some of the objects are more representational, and some more abstract, than others; indeed, the move to abstraction was something to which the Museum's displays have, historically, paid particular attention. Similarly, the actual human forms of the curators working on these displays are subject to increasing abstraction — bisected by display cases, or becoming rather immaterial reflections — before disappearing completely, their protective coats and gloves all that remain. I have long been fascinated with museum displays, and the politics which they often hide in plain sight; indeed, my first exhibition as a curator, ‘The Institute of Cultural Anxiety — Works from the Collection’ (ICA, London, 1994) was influenced by the memory of a childhood visit to the Pitt Rivers. However, this film marked a closer consideration of these issues, and what it means to be put on display, and by whom. It also established was a way of working and looking — slow, attentive, and allowing for the emergence of meaning — which can be found in many of the works which followed it, such as The Oblate (2013), Analysis(2015), and Abdo Rinbo (Je est un autre) (2015), amongst others. https://jeremymillar.org/The-Man-Who-Looked-Back-2010-1 Sat, 20 Jan 2024 21:35:40 +0000 Jeremy Millar https://jeremymillar.org/The-Man-Who-Looked-Back-2010-1 The Man Who Looked Back 2010 Oak Display Stands; Hessian-covered display screens; Archive Photographs and Film Stills mounted on Card; Clips; Pins This work also emerged from a system of formal comparisons, and continues my fascination with the work of the German art historian Aby Warburg, and how his method of displaying images might suggest the making new art works as much as the consideration of old ones. Warburg was a member of an immensely wealthy Jewish banking family, who turned his back on tradition and inheritance in order to study (largely Catholic) art. He used his wealth to amass an enormous personal library in Hamburg, along with a collection of photographic images of artworks from around the world, and across human history, at a time when such imagery was not freely available. Warburg gathered together various of these photographs, each mounted on card, and placed them in relation to one another on hessian-covered boards in his library, in order to explore how certain forms or gestures might be found on a Cretan burial stone and a Renaissance Florentine canvas, say, despite their being no actual influence or historic connection between the two. These displays, which he termed the ‘Mnemosyne Atlas’, were not permanent, although photographic records of some of the ‘constellations’ remain. Warburg was interested in ‘looking back’, and in the recurrence of certain physical gestures, and so copies of a number of images from the Warburg Institute photographic library were obtained which related to the myth of Orpheus and Eurydice, a story full of gesture, and in which the consequences of looking back are tragic rather than contemplative. Alongside these, I have placed stills taken from Chris Marker's 1963 masterpiece, La Jetée, which, I would suggest, might also be considered a version of the Orpheus myth, albeit here the return to the loved one results in the death of the man, rather than the woman. All of these images were displayed in the manner of Warburg's ‘Mnemosyne Atlas’. Commissioned by Camden Art Centre for the exhibition Never the Same River (Possible Futures, Probable Pasts), curated by Simon Starling. <img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/8653c6e5c03a635ea57ebffb9e46c5f42cb88307bfa65693595696ea7d59c023/MWLB1.jpg" data-mid="202312387" border="0" src="https://freight.cargo.site/w/1000/i/8653c6e5c03a635ea57ebffb9e46c5f42cb88307bfa65693595696ea7d59c023/MWLB1.jpg" /><img width="3696" height="2876" width_o="3696" height_o="2876" data-src="https://freight.cargo.site/t/original/i/b1913ef221d73f656a751b97a9f310c119fe4745fa001c17d27db9d30494a9ee/MWLB2.jpg" data-mid="202312388" border="0" src="https://freight.cargo.site/w/1000/i/b1913ef221d73f656a751b97a9f310c119fe4745fa001c17d27db9d30494a9ee/MWLB2.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/fb6b303fc4f9d7c7dda9ed035ad39ddea07a52bd922aaae7f6c52b71610536f6/MWLB4.jpg" data-mid="202312390" border="0" src="https://freight.cargo.site/w/1000/i/fb6b303fc4f9d7c7dda9ed035ad39ddea07a52bd922aaae7f6c52b71610536f6/MWLB4.jpg" /><img width="3240" height="4320" width_o="3240" height_o="4320" data-src="https://freight.cargo.site/t/original/i/2709f311ee4563c9a6a4bed39760e54ffeb1329f817444e6f77be83a27655a98/MWLB3.jpg" data-mid="202312389" border="0" src="https://freight.cargo.site/w/1000/i/2709f311ee4563c9a6a4bed39760e54ffeb1329f817444e6f77be83a27655a98/MWLB3.jpg" /> https://jeremymillar.org/Notes-on-Gesture-for-H-C-2015-1 Sat, 20 Jan 2024 21:36:15 +0000 Jeremy Millar https://jeremymillar.org/Notes-on-Gesture-for-H-C-2015-1 Notes on Gesture (for H.C.) 2015 34 framed black-and-white photographs In a number of my works, certain influences or references reoccur, or are reconsidered. The work of Aby Warburg is one, as can be seen in The Man Who Looked Back (2010), and also Chris Marker’s 1963 masterpiece, La Jetée, which was central to that work and to this one, also. In The Man Who Looked Back (2010), I considered the many gestures within the film, frozen within its still images, and this is my interest here, too. I have replicated a number of the poses of the main female character — played by Hélène Chatelain, the ‘H.C.’ in my title — especially those in which her hand gestures play an important role; this is further emphasised by my own lack of facial expression. As many of these gestures are made during the scene in the museum — one of great tenderness, and intimacy — a rather unusual effect is created. Smiles and soft glances are replaced by closed lips and blank stares; love is replaced with melancholy. Some of my works, including that which follows, are incredibly elaborate, and depend upon a certain scale, and set of resources; here, and in other works, I am interested in the making of work with very little: a camera, a body, and a room. This work was made with the assistance of Emma Smith during a week-long residency with Siobhan Davies Dance as part of ‘Station to Station’ at the Barbican. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/edbae4f3c6f5c9fc422ccc6e73305d402e91e5d9d98c2c8155a0fff0ee61d94c/DSC09080BW.jpg" data-mid="202312432" border="0" src="https://freight.cargo.site/w/1000/i/edbae4f3c6f5c9fc422ccc6e73305d402e91e5d9d98c2c8155a0fff0ee61d94c/DSC09080BW.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b47e2eeca5d5ebed9711cc049b81cd1dbfdd343d9b959477bad7bb6568d4f319/DSC09082BW.jpg" data-mid="202312433" border="0" src="https://freight.cargo.site/w/1000/i/b47e2eeca5d5ebed9711cc049b81cd1dbfdd343d9b959477bad7bb6568d4f319/DSC09082BW.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" 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rearranged / to / be 2017Performance-exhibition This sense of reconfiguring or expanding upon that which already exists can also be seen in another ambitious work, material / rearranged / to / be (2017) made in collaboration with Siobhan Davies and her dance company. While discussing gesture I told Davies of the work of the German art historian Aby Warburg, an influence and source of a number of my earlier works, and this became the basis of a large-scale performance-exhibition; m/r/t/b was an assemblage of works, each developed by individual visual and dance artists albeit in close discussion with one another; in addition to making my own work I conceived of the structure and thematic concept for the project, and designed the display system used in each venue. The performance-exhibition was ‘live’ for the normal opening times of the exhibition space, and the audience could arrive and leave as they wished; although the performances and actions were strictly scheduled, this was not made available to the audience and so they could never be quite certain what they might see, nor indeed if they had seen it ‘all’. There were certain fixed elements, or displays, such as my film Daphne (2013), set in the Warburg Institute, London, and Melancholy Mobile (2017), which could be seen at all times, although around these other elements moved. Dance artists performed their works, or moved the display systems, partitions, or screens into new configurations, changing the space, and also what was visible to otthers. With these ‘events’ taking place in different parts of the gallery the audience was being choreographed also, invited to change their positions and move elsewhere. m/r/t/b opened at The Curve, Barbican in January 2017 — where it received national media coverage and was visited by over 6000 people in 10 days, a record attendance — before travelling to Glasgow, Manchester, and Liverpool. Public talks, discussions, and workshops were held in each venue in order to discuss the processes developed, and how they might be used by others. (Prior to the exhibition, Davies and I also spoke at the the Jacqueline Du Pré Music Building in Oxford on the development of the work.) I also devised a complementary publication and contributed an essay for it. Installation Photographs: 1–2: The Curve, Barbican, London 3–5: The Whitworth, Manchester 6: The Bluecoat, Liverpool 7: Tramway, Glasgow <img width="7087" height="4730" width_o="7087" height_o="4730" data-src="https://freight.cargo.site/t/original/i/73376d0a8e0ec4001588faa599ceb73c25dcf4993977fbc8f39c9244992e8dbf/HG4_4486.jpg" data-mid="205096102" border="0" src="https://freight.cargo.site/w/1000/i/73376d0a8e0ec4001588faa599ceb73c25dcf4993977fbc8f39c9244992e8dbf/HG4_4486.jpg" /><img width="7087" height="4730" width_o="7087" height_o="4730" data-src="https://freight.cargo.site/t/original/i/953fa655dba8d2fde0316acee409321e78df99a00b72fe9abc4a9850cf4dd66c/HG4_4480.jpg" data-mid="205096101" border="0" src="https://freight.cargo.site/w/1000/i/953fa655dba8d2fde0316acee409321e78df99a00b72fe9abc4a9850cf4dd66c/HG4_4480.jpg" /><img width="5562" height="3708" width_o="5562" height_o="3708" data-src="https://freight.cargo.site/t/original/i/086a38c03de144de439c06e0301a708dde67fd83dcdf405b5bd7bf1e18ef82e8/material-rearraged-to-be-at--the-Whitworth-photo-by-David-Oates--52.jpg" data-mid="205096153" border="0" src="https://freight.cargo.site/w/1000/i/086a38c03de144de439c06e0301a708dde67fd83dcdf405b5bd7bf1e18ef82e8/material-rearraged-to-be-at--the-Whitworth-photo-by-David-Oates--52.jpg" /><img width="5606" height="3737" width_o="5606" height_o="3737" data-src="https://freight.cargo.site/t/original/i/5c70e85f5f7ee325d9c9c1faae79dd68266c6aad25cd1641c19f35445970f4c2/_MG_8714.jpg" data-mid="205096148" border="0" src="https://freight.cargo.site/w/1000/i/5c70e85f5f7ee325d9c9c1faae79dd68266c6aad25cd1641c19f35445970f4c2/_MG_8714.jpg" /><img width="5486" height="3657" width_o="5486" height_o="3657" data-src="https://freight.cargo.site/t/original/i/5401925cca6862470fcdb4437397abae54485218fd5b2ad87cf9200a497fb4d0/material-rearraged-to-be-at--the-Whitworth-photo-by-David-Oates--78.jpg" data-mid="205096154" border="0" src="https://freight.cargo.site/w/1000/i/5401925cca6862470fcdb4437397abae54485218fd5b2ad87cf9200a497fb4d0/material-rearraged-to-be-at--the-Whitworth-photo-by-David-Oates--78.jpg" /><img width="1600" height="1151" width_o="1600" height_o="1151" data-src="https://freight.cargo.site/t/original/i/9e7bda8117bde8863964c711954f82d7bc52ba6aa989daf9d30b91df3600366a/Siobhan-Davies-Dance--material-rearranged-to-be-at-Bluecoat--2017.-Photo-Brian-Roberts-116.jpg" data-mid="205096119" border="0" src="https://freight.cargo.site/w/1000/i/9e7bda8117bde8863964c711954f82d7bc52ba6aa989daf9d30b91df3600366a/Siobhan-Davies-Dance--material-rearranged-to-be-at-Bluecoat--2017.-Photo-Brian-Roberts-116.jpg" /><img width="4096" height="2304" width_o="4096" height_o="2304" data-src="https://freight.cargo.site/t/original/i/5639d53899eb8aef46348935c131418a691cb939865d2ea5fbb3e33df7604e3c/jeremy-ref-2.jpg" data-mid="205096122" border="0" src="https://freight.cargo.site/w/1000/i/5639d53899eb8aef46348935c131418a691cb939865d2ea5fbb3e33df7604e3c/jeremy-ref-2.jpg" /> https://jeremymillar.org/Abdo-Rinbo-Je-est-un-autre-2015-1 Sat, 20 Jan 2024 21:36:01 +0000 Jeremy Millar https://jeremymillar.org/Abdo-Rinbo-Je-est-un-autre-2015-1 XDO Abdo Rinbo (Je est un autre) 2015 HD Video / StereoDuration: 01:25:00 A number of works I have made take as their starting point a small incident or detail, often overlooked, in the life or work of someone otherwise of immense stature and influence, whether that be a short stay on the Kent coast by Marcel Duchamp in 1913, or the recipe for black cake written by the American poet Emily Dickinson. This ambitious work, commissioned by the Jakarta Biennale, and filmed in various locations in as well as Java, London, Paris, and Charleville-Mézières, is based on a little-known incident in the life of French poet Arthur Rimbaud. On 10 June 1876, Rimbaud left the Dutch port of Den Helder on a three-masted steamship, the Prins van Oranje, his eventual destination Batavia, or as it is now known, Jakarta. He travelled as a recent conscript of the Dutch Colonial Army, a brutally-efficient mercenary force which had been crushing small revolts that had threatened to disrupt the flow of produce from the Dutch East Indies. Upon arrival in Batavia 10 days later, Rimbaud and the other recruits remained in local barracks for a further 10 days before boarding a steamer to Semarang; there followed a train to Tungtang before a march to Salatiga where his battalion was garrisoned. On the morning of 15 August, nearly two weeks after his arrival, Private Rimbaud failed to attend chapel; that evening he was absent from roll call, also. Rimbaud had deserted. Disappeared. Abdo Rinbo (Je est un autre) is not so much about the fact of Rimbaud’s disappearance — especially as so little is known of it — as it is a reflection upon what it is to disappear. Indeed, who had disappeared? For whom was the Dutch Colonial Army searching? Who was Rimbaud during this period? The former Communard was now a mercenary soldier in a brutal imperialist force. Can we even describe him as a poet, as he had already written what was to be his last work (and maybe he knew this already)? As he had written in a letter some five years previously, ‘Je est un autre’, I is an other, and we are all of us something other than ourselves. Through a series of personal reflections, and material gathered throughout Java, this film considers who this other might be. While the film might seem to concern itself with an obscure and distant historical event, it actually has much to say about what is taking place in our own time. The then-British PM David Cameron is filmed on a TV screen in Jakarta speaking of the ‘swarms’ of people trying to enter the country — this was a time of crisis when many European countries had closed their borders to refugees from the south — and so using the very same language which had been used to dehumanise the Communards all those years previously, a language adopted by them, Rimbaud too, and adopted here visually in the film, with close-up images of insects crawling over and within orchids and other exotic flowers. Colonialism and migration, fear and religion, desire and political revolt: these are some of the themes of the film, of Rimbaud’s time and of our own. The film also shows the making of a shadow puppet of Rimbaud which I commissioned especially, and which was shown alongside the film, the projected moving images casting the puppet’s shadow upon another screen. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/55559c6621639002307ba9f95a600cdba2ba656b851d83ca1b3a43b840f77814/AR-Puppet-1.jpg" data-mid="202312395" border="0" src="https://freight.cargo.site/w/1000/i/55559c6621639002307ba9f95a600cdba2ba656b851d83ca1b3a43b840f77814/AR-Puppet-1.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9ebf7bfa9f8e50f2149cae3721d826d307609253894d6b9a970250d425bca162/AR-Puppet-2.jpg" data-mid="202312396" border="0" src="https://freight.cargo.site/w/1000/i/9ebf7bfa9f8e50f2149cae3721d826d307609253894d6b9a970250d425bca162/AR-Puppet-2.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5c57205015f2e59ab33b73251b0dd956fe015043a09fb86093d9b84ee7691cd7/AR-Still-09-42-09.jpg" data-mid="202312397" border="0" src="https://freight.cargo.site/w/1000/i/5c57205015f2e59ab33b73251b0dd956fe015043a09fb86093d9b84ee7691cd7/AR-Still-09-42-09.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8e40fa4c6d836dac4e8d2b82fb13cb7c1da40cb90649c07b014092c6abc3fd7d/Millar-AR-Bee.jpg" data-mid="202312398" border="0" src="https://freight.cargo.site/w/1000/i/8e40fa4c6d836dac4e8d2b82fb13cb7c1da40cb90649c07b014092c6abc3fd7d/Millar-AR-Bee.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a3994d4b7acff24a8211072a03e9f96c1e9682c43ce4ec3794cae4780a751c8e/Millar-AR-Birthplace.jpg" data-mid="202312399" border="0" 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data-src="https://freight.cargo.site/t/original/i/7bc3beeed0cd6f40b3274777c8b686bc716d4f447b8504f15ffc97a91a3ac559/Millar-AR-Books.jpg" data-mid="202312402" border="0" src="https://freight.cargo.site/w/1000/i/7bc3beeed0cd6f40b3274777c8b686bc716d4f447b8504f15ffc97a91a3ac559/Millar-AR-Books.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/06310421b08c670ffd23bb5b48425ecdc50957526d42318ad490414b77324ee0/Millar-AR-Chandelier.jpg" data-mid="202312403" border="0" src="https://freight.cargo.site/w/1000/i/06310421b08c670ffd23bb5b48425ecdc50957526d42318ad490414b77324ee0/Millar-AR-Chandelier.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/02d50c92be25f630abfcfceaa96524b3a4df1c0626810e5e6d1a64e316b8d77a/Millar-AR-Field-1.jpg" data-mid="202312404" border="0" src="https://freight.cargo.site/w/1000/i/02d50c92be25f630abfcfceaa96524b3a4df1c0626810e5e6d1a64e316b8d77a/Millar-AR-Field-1.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/232c18ab8060c2b99cf154de66a57a958be025d714819426ceb8f505dc887a11/Millar-AR-Gamelan.jpg" data-mid="202312405" border="0" src="https://freight.cargo.site/w/1000/i/232c18ab8060c2b99cf154de66a57a958be025d714819426ceb8f505dc887a11/Millar-AR-Gamelan.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/caf359b540a29184654f90fd97f7f85eae4f580354767c9b4d274dbd0660cedd/Millar-AR-Grave.jpg" data-mid="202312406" border="0" src="https://freight.cargo.site/w/1000/i/caf359b540a29184654f90fd97f7f85eae4f580354767c9b4d274dbd0660cedd/Millar-AR-Grave.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3a008c7106cb265dec72b807754cac30ba5ce9d10fc01da6268c92542d3ed958/Millar-AR-Office-Flowers.jpg" data-mid="202312407" border="0" src="https://freight.cargo.site/w/1000/i/3a008c7106cb265dec72b807754cac30ba5ce9d10fc01da6268c92542d3ed958/Millar-AR-Office-Flowers.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bad4b02ae53d8aa7fc84daf2ef7fc27ec07e86e14ca63498efab70488625ce56/Millar-AR-Port-1.jpg" data-mid="202312408" border="0" src="https://freight.cargo.site/w/1000/i/bad4b02ae53d8aa7fc84daf2ef7fc27ec07e86e14ca63498efab70488625ce56/Millar-AR-Port-1.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0766613a591c3dca97c0079332ea80437a60027e5e6d12ca35ded20761fa7b01/Millar-AR-Puppet-1.jpg" data-mid="202312409" border="0" src="https://freight.cargo.site/w/1000/i/0766613a591c3dca97c0079332ea80437a60027e5e6d12ca35ded20761fa7b01/Millar-AR-Puppet-1.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e9e7b11d733a4f0bcde850d83d7d17fa640f17df80a276466f9c620d174b7ff4/Millar-AR-Puppet-2.jpg" data-mid="202312410" border="0" src="https://freight.cargo.site/w/1000/i/e9e7b11d733a4f0bcde850d83d7d17fa640f17df80a276466f9c620d174b7ff4/Millar-AR-Puppet-2.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9f7c93fa26ef922825ae8d3cba14378132769c2750bd6de52bf7f9c24c6017db/Millar-AR-River--Smoke.jpg" data-mid="202312412" border="0" src="https://freight.cargo.site/w/1000/i/9f7c93fa26ef922825ae8d3cba14378132769c2750bd6de52bf7f9c24c6017db/Millar-AR-River--Smoke.jpg" /> https://jeremymillar.org/Cortem-2018-1 Sat, 20 Jan 2024 21:35:25 +0000 Jeremy Millar https://jeremymillar.org/Cortem-2018-1 Cortem2018 Vintage velvet; steel poles; hanging fixtures. Dimensions variableTotal width: 9m Cortem was conceived especially for the exhibition Metaphoria III at 104, Paris, and responds both to the intellectual theme of the exhibition and also the gallery space in which it was held. The exhibition was the third in a series developed by Silvia Guerra and responds to the writing of the late Portuguese poet Rui Costa; this third iteration takes its theme from Costa’s unpublished novel, Les Dialogues d’Adam et Ève au seuil d’un Monde Nouveau (The Dialogues of Adam and Eve on the Threshold of a New World). The story of Adam and Eve acts as the foundation for this work, too, or rather the representation of the story, most notably in the frescoes of Masolino and Masaccio in the Brancacci Chapel, Florence, the latter painter’s most especially. In his Expulsion from the Garden of Eden, Masaccio created an image that retains itssense of anguish nearly 600 years later, that of Eve as the Venus Pudica, or modest Venus, covering her body, and Adam covering his face, ashamed. It is this sense of shame, the formal qualities to be found in the chapel’s frescoes, and the enclosed and open space of the gallery that have come together to sugest the form of this commission. The title, Cortem, comes from the Latin for ‘courtyard’, and so refers to the space — now enclosed — in which the work was shown. The height of this once-open space invited the making of a mobile, albeit one on a far larger scale to that which I have made previously. Instead of the black forms of Dürer’s Solid which made up the Melancholy Mobile (2017), Cortem borrows the rich dusky colours — and some of the compositions — of the frescoes, and recreates them using draped lengths of vintage velvet fabric. In their slow rotation, the fabrics both reveal and conceal the space and themselves, an ongoing action that in itself might be considered comparable with the emotional workings of shame. It is to be noted, also, that from ‘cortem’ we can move to the Late Latin ‘cortina’, and the Old French ‘cortine’, before we arrive at the English ‘curtain’, the use for which these lengths of fabric were originally put. From the sixteenth century ‘to draw the curtain’ has had opposite meanings, both to reveal and to conceal, and it is both these senses, and the related sense of a representation — a making public — of shame, that one finds in this new work, too. <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/268cf1446cc3ce1f0805a6849d4f991cef9c3c1254bbc90b11d8b46d6a0d981b/_ARM9491.jpg" data-mid="202312384" border="0" src="https://freight.cargo.site/w/1000/i/268cf1446cc3ce1f0805a6849d4f991cef9c3c1254bbc90b11d8b46d6a0d981b/_ARM9491.jpg" /> https://jeremymillar.org/Via-Crucis-Misericordia-2021-1 Sat, 20 Jan 2024 21:35:19 +0000 Jeremy Millar https://jeremymillar.org/Via-Crucis-Misericordia-2021-1 Via Crucis (Misericordia) 2021956 lengths of cord; red binding cord During my AHRC Research Fellowship at the Ruskin, I read a lot on ritual and ceremonial objects and how, in some cases, the object might be imbued with certain powers, which we might consider religious or magical. I was interested in the fascination which the Surrealists had with African objects — many contributors to the Surrealist movement in Paris were anthropologists — and how this affected their making of, or alteration of, sculptural objects. My research over later years also considered these in relation to the material culture of Christianity, the Host used in Holy Communion, for example, or relics which seem a form of confirmation of an act or that someone, or something, has been present. Despite the ornate cases in which many such relics are now held, the objects themselves are extremely modest: a fragment of bone; a splinter of wood; a scrap of fabric. This work was made to possess a similar modesty, while opening itself up to the working of belief, and the identification with something far larger than oneself. This small sculptural work consists of a bundle of white cords which have been laid out and bound together. Each cord is the length of my stride, and their number will approximate the number of steps it would take me to walk the Via Dolorosa in Jerusalem, the route taken by Jesus to the site of his crucifixion; the resultant work thereby acts as both a form of document, and a devotional object. This work was created for ‘The Feuilleton: I Will Bear Witness’, Spoleto, Italy, curated by Jo Melvin.&nbsp; &nbsp; <img width="3823" height="2911" width_o="3823" height_o="2911" data-src="https://freight.cargo.site/t/original/i/b56dde0e2e71e67be73401ced71a21898356755f163302daa2885b2bdb470f7b/IMG_7297.jpeg" data-mid="202312380" border="0" src="https://freight.cargo.site/w/1000/i/b56dde0e2e71e67be73401ced71a21898356755f163302daa2885b2bdb470f7b/IMG_7297.jpeg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e6c799792c05dade3dc95c2e941c3001d3854dde4128586c585a65b9674ddc31/IMG_7299.jpeg" data-mid="202312381" border="0" src="https://freight.cargo.site/w/1000/i/e6c799792c05dade3dc95c2e941c3001d3854dde4128586c585a65b9674ddc31/IMG_7299.jpeg" /> https://jeremymillar.org/Self-Portrait-as-a-Drowned-Man-The-Willows-2011-1 Sat, 20 Jan 2024 21:41:42 +0000 Jeremy Millar https://jeremymillar.org/Self-Portrait-as-a-Drowned-Man-The-Willows-2011-1 Self-Portrait as a Drowned Man (The Willows) 2011Silicone; fibreglass; hair; clothing; mixed media. An important part of my practice is the bringing together of different elements into a new work; sometimes these elements are placed side by side, such as the images from the Warburg Institute and Chris Marker’s La Jetée in The Man Who Looked Back (2011), whereas in other works the elements are combined in order to make something new. It is this latter approach which can be found in this work. As the title may suggest to some, this work is an assemblage of two prior works by other people: the photograph Self-Portrait as a Drowned Man (1840) by Hippolyte Bayard, and ‘The Willows’ (1907), a short story by Algernon Blackwood. In this story (considered by HP Lovecraft the greatest supernatural story ever written) a man is found drowned and marked with small funnel-shaped indentations — ‘That awful mark!’ — made by an unknown supernatural being; the title of Bayard's photograph (considered by some the first conceptual art photograph) suggested the identity of the unfortunate victim. The sculpture was made by Grant Watson, a film special effects technician in Glasgow, and required the making of a life-mask of my face; the clothes are my own, and typical of what I wore at the time. The entire sculpture has been treated so that it always appears wet, as if only just removed from the water and laid within the gallery. The work was commissioned by CCA, Glasgow, for my solo exhibition there and caused a great deal of controversy in the city and its press; it later received even more international attention when shown at Turner Contemporary, Margate, when the now Princess of Wales was photographed looking at it, an image which appeared in newspapers around the world. Such is the level of detail in the sculpture that during both exhibitions there were rumours that it was indeed either a corpse, or a performance piece in which I lay on the floor unmoving. It was also included in ‘The Horror Show’ at Somerset House, an exploration of British counter-culture from Punk until the present day. With thanks to Grant Mason FX, Glasgow. Commissioned by CCA, Glasgow. Installation photographs from the exhibition ‘Resemblances, Sympathies, and Other Acts’, CCA, Glasgow, 2011, and ‘Self’, Turner Contemporary, Margate, 2015 (Suzanne Plunkett | AFP/Getty Images) <img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/39af187e9100d7b93c444973cb62b8620d70637d03728584a53b78ff6c48cf32/DM-CCA-4.jpg" data-mid="202312612" border="0" src="https://freight.cargo.site/w/1000/i/39af187e9100d7b93c444973cb62b8620d70637d03728584a53b78ff6c48cf32/DM-CCA-4.jpg" /> <img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/2a7470a4ad8fc7be1557dd298c9a27820ab66cd2cd86c1aa7a268fb69a955178/DM-CCA-8.jpg" data-mid="202312616" border="0" src="https://freight.cargo.site/w/1000/i/2a7470a4ad8fc7be1557dd298c9a27820ab66cd2cd86c1aa7a268fb69a955178/DM-CCA-8.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/63e25dbc1d07ccc86340fee8643a091c14bacd8d31ec0e739525c06e70d59ffc/DM-CCA-6.jpg" data-mid="202312614" border="0" src="https://freight.cargo.site/w/1000/i/63e25dbc1d07ccc86340fee8643a091c14bacd8d31ec0e739525c06e70d59ffc/DM-CCA-6.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/160198d2f597b36e0b66544f0fedeb20042936b62ee1b6c2b44529f3d52b63c9/DM-CCA-1.jpg" data-mid="202312609" border="0" src="https://freight.cargo.site/w/1000/i/160198d2f597b36e0b66544f0fedeb20042936b62ee1b6c2b44529f3d52b63c9/DM-CCA-1.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/fba2936d3208770df085691d3226fb2b38e0ea722edf0f51c1025b967caac9af/DM-CCA-2.jpg" data-mid="202312610" border="0" src="https://freight.cargo.site/w/1000/i/fba2936d3208770df085691d3226fb2b38e0ea722edf0f51c1025b967caac9af/DM-CCA-2.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/a9c661ca68bbd2affc6a8d0d666365161b301be1f38d2bab951c381c51cb370e/DM-CCA-5.jpg" data-mid="202312613" border="0" src="https://freight.cargo.site/w/1000/i/a9c661ca68bbd2affc6a8d0d666365161b301be1f38d2bab951c381c51cb370e/DM-CCA-5.jpg" /><img width="4320" height="3240" width_o="4320" height_o="3240" data-src="https://freight.cargo.site/t/original/i/aaddbe2361f10dc4a8545eb2fabf11d922d7fba55266d2bfe605767b9f55e876/DM-CCA-7.jpg" data-mid="202312615" border="0" src="https://freight.cargo.site/w/1000/i/aaddbe2361f10dc4a8545eb2fabf11d922d7fba55266d2bfe605767b9f55e876/DM-CCA-7.jpg" /><img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/fe8429aac01c15c971bd86c6d32dc2cb26885837028f44a0ed7e8880040e8ac8/drownedman.jpg" data-mid="202842501" border="0" src="https://freight.cargo.site/w/1000/i/fe8429aac01c15c971bd86c6d32dc2cb26885837028f44a0ed7e8880040e8ac8/drownedman.jpg" /> https://jeremymillar.org/The-net-knotted-out-of-thought-ends-Blue-2023 Thu, 13 Apr 2023 16:05:38 +0000 Jeremy Millar https://jeremymillar.org/The-net-knotted-out-of-thought-ends-Blue-2023 The net, knotted out of thought-ends (Blue) 2023 Flit net shopping bag; lightbulb Approx. 90 x 30 x 15 cm At the beginning of his book Under the Dome: Walks with Paul Celan, Jean Daive writes: ‘A recollection: near Avenue Emile-Zola, Paul Celan looks for a grocery store. He buys a lightbulb that he puts in a huge netbag. Carrying the netted lightbulb he moves on in a lordly way. And the net hangs heavy.’ The netted bag, mostly empty, mostly nothing, yet hanging heavy with something that will bring lightness: this seemed a perfect image for Celan and his work. The title of this sculpture is a line taken from Celan’s poem ‘Thick Easter smoke’, published in his 1970 collection Lichtzwang (Forced light). &nbsp; <img width="2799" height="5937" width_o="2799" height_o="5937" data-src="https://freight.cargo.site/t/original/i/dc08307aa5f4de42aa94f05e2f5893948bc96882786fcf0b0b41ace9ef4ccdef/Celan-Bag-03153.jpg" data-mid="175269735" border="0" src="https://freight.cargo.site/w/1000/i/dc08307aa5f4de42aa94f05e2f5893948bc96882786fcf0b0b41ace9ef4ccdef/Celan-Bag-03153.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/878749e85afcf279b6180304312f49171b94d66027ba7da73428e337691202d2/Celan-Bag-03149.jpg" data-mid="175269733" border="0" src="https://freight.cargo.site/w/1000/i/878749e85afcf279b6180304312f49171b94d66027ba7da73428e337691202d2/Celan-Bag-03149.jpg" />