![]() ![]() Translated by Rachel GommeĢ013 22 April, Premier Screening, Tate Modern, 6.30pmĢ013 21 July, Glasgow Film Theatre, 8.20pmĢ013 11 August, Norsk Film Institute ‘The Dream That Kicks’ AugustĢ013 7 November, Screening with Q+A Institute of Contemporary Art, London, 6.45pmĢ013 13 November, Screening Cork Film Festival, 11.30amĢ013 19 November, Union Theatre, Milwaukee, USAĢ013 21 November, Aberystwyth Arts Centre, 6pmĢ013 7+8 December, Institute of Contemporary Art, LondonĢ014 15 January, Paula Mendersohn Becher Musuem, Bremen, Germany, curated by Christine RuffertĢ014 16 January, London Art Fair Panel screening and discussion on The Muse with Anthony Penrose (Lee Miller’s son) and Sue StewardĢ014 3 February, Dance Pavillion, Bournemouth, curated by Selina RobertsonĢ014 8 April, Freedman Gallery, Albright College, Reading, PA, USA, curated by Erin Riley-Lopez ‘International Film Series’Ģ014 9 April, Cinemarges Film Festival, BordeauxĢ014 26 April, La Cinemateque de ToulouseĢ014 31 August, Seoul International New Media Film Festival, International CompetitionĢ014 9 November, Pink Screen Film Festival, BrusselsĢ014 3 December, LUX DVD Launch of Magic Mirror, Selected text from Aveux Non Avenus (Confessions Denied), Claude Cahun, 1928. Part essay, part film poem, Magic Mirror translates the startling force of Cahun’s poetic language into a choreographed series of Vivantes Tableaux, intermixed with stagings from her writing. ![]() Likewise the voice is split between differently dressed voices, which sometimes speak at the same time and sometimes in dialogue. The splitting of identity appears as a double which persists throughout as a literal double (through super-imposition), as shadow, imprints in sand, reflections in water, mirror or distorting glass. Three women masquerade as Cahun’s characters: often it is hard to tell them apart. In Surrealist kaleidoscopic fashion the film creates a weave between image and word, exploring the links between Cahun’s photographs and writing as well as between those of the films of Sarah Pucill, as both artists share similar iconography and concerns.Ĭahun’s multi-subjectivity as expressed in both her book and photographs, set the scene for the film, where she dresses and makes her face up in so many different ways, swapping identities between gender, age and the inanimate. Magic Mirror combines a re-staging of the French Surrealist artist Claude Cahun’s black and white photographs with selected extracts from her book Aveux non avenus (1930, Confessions Denied). ![]()
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