FIONN MEADE

Rachel Harrison: Consider the Lobster
The Center for Curatorial Studies, Bard College
June 27—December 30, 2009

And Other Essays
The Center for Curatorial Studies, Bard College
June 27—December 30, 2009

Bivouac
Vox Populi, Philadelphia
March 6—April 26, 2009

Entr'acte
The Center for Curatorial Studies, Bard College
March 8—April 5

Degrees of Remove: Landscape and Affect
SculptureCenter, Long Island City
September 7—November 30, 2008

Degrees of Remove: Film Series
Anthology Film Archives, New York
November 2008

Selections from The Greenroom
The New School, New York
May 27—May28, 2008

Rules of the Game
Park Avenue Armory, NY
February 21—25, 2007

Nocturnes
Boise Art Museum, Boise
August 25—October 21, 2007

Marie Jager: The Purple Cloud
Henry Art Gallery, Seattle
May 8—June 21, 2007

Jenny Perlin: Possible Models
Henry Art Gallery, Seattle
November 12—December 31, 2006

Steve Roden: day ring, night ring
Henry Art Gallery, Seattle
August—November 12, 2006

In Resonance
August—Sptember, 2005

Sublime Frequencies Showcase
Henry Art Gallery, Seattle
April 19, 2007

Our Land Is Our Land
Guest artist Ronnie Bass
Henry Art Gallery, Seattle
February 15, 2007

It's a matter of the stomach. Stomachs are very sensitive
Guest Artist Walid Raad
Northwest Film Forum, Seattle
January 24, 2007

The Purple Cloud and Other Stories
Guest artist Marie Jager
Northwest Film Forum, Seattle
May 23, 2007

Bar Talk: Red 76's Sam Gould & Climax Golden Twins
Rendezvous Jewlbox Theater, Seattle
February 7, 2007

Breathe In, Breathe Out
Guest artist Jenny Perlin
Henry Art Gallery, Seattle
November 9, 2006

Henry Art Gallery's University Art Institute
Henry Art Gallery, Seattle
2007-2008

PROJECTSWRITINGBIONEWS

Jenny Perlin: Possible Models

Henry Art Gallery, Seattle
November 12—December 31, 2006

In conjunction with a related film program, Breathe in, Breath Out, featuring Perlin’s Perseverance & How to Develop It, 2003, the following 16mm animations were on view at the Henry Art Gallery. Exploring different social and cultural histories via stop-motion, Perlin deconstructs documentary modes through an unlikely medium.

Jenny Perlin, Possible Models, 2004, 16mm, b/w, silent, 10:45, still

Possible Models, 16mm, b/w, silent, 10:45, 2004
Outlines a news story about John Ashcroft’s announcement in June, 2004 that a Somali immigrant to Columbus Ohio was charged with plotting to blow up a mall. The Somali, Nuradin Abdi, was arrested and held for more than 6 months before being formally charged. The film continues with three parts detailing the history of shopping malls, the construction of mega-malls in Dubai, and the hyper-capitalist project, “The Freedom Ship,” a floating mile-long home for the wealthy, before returning to the story of Abdi and what might await him in the U.S. justice system.

Jenny Perlin, Review, 2004, 16mm, b/w, sound, 3:00, still

Review, 16mm, b/w, sound, 3:00, 2004
The hand-drawn film Review combines headlines about the war in Iraq with interjections from major operas and receipts from movie tickets and film rentals from the fall of 2003. The dates of the headlines and the film receipts are the same, connecting a daily experience of tragic news with a subsequent escape into cinematic entertainment.

Jenny Perlin, Notes, 2006, 16mm, b/w, silent, 3:20, still

Notes, 16mm, b/w, silent, 3:20, 2006
Harry Gold, codename “GOOSE,” was convicted in 1951 for passing secrets of the atom bomb from physicist and spy Klaus Fuchs to Soviet agents. The animations in this film are copies of Gold’s absentminded drawings, scribbled over drafts of his resume and cover letter to the Atlantic Refining Company, Personnel Department, Philadelphia, Pennsylvania, in 1948.