Michelle Williams Gamaker, House of Women (still), 2017). Courtesy of the artist.
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https://www.eventbrite.co.nz/dissolution-trilogyFor the month of March, Gus Fisher Gallery is hosting weekly film screenings relating to the current exhibition I Multiply Each Day
Dissolution Trilogy (2017-2019)
Michelle Williams Gamaker
Duration: 58 minutes
Thursday 10 March, 6.30pm
Michelle Williams Gamaker’s Dissolution Trilogy comprises of House of Women (2017), The Fruit is There to be Eaten (2018) and The Eternal Return (2019). House of Women and The Fruit is There to be Eaten revisit the 1947 film Black Narcisuss to examine the representation of South East Asian people on screen who were often played by white actors, such as the film’s character Kanchi. Recasting the once silent role in a new script, Kanchi is reimagined with agency and becomes the new protagonist of the storyline, evoking Williams Gamaker’s strategy of ‘fictional activism’.
In The Eternal Return, the life of Indian actor Sabu Dastagir is told through a kind of fictional biography that imagines the emotional toll of his rise and fall in 1930s era Hollywood.
This dedicated screening is an opportunity to see all three films in a theatre setting.
Date
- Thu 10 Mar
Time
- 6:30 pm
Location
- Gus Fisher Gallery
- Level 4, The Kenneth Myers Centre
- 74 Shortland Street
- Tāmaki Makaurau, Auckland 1010
For the month of March, Gus Fisher Gallery is hosting weekly film screenings relating to the current exhibition I Multiply Each Day
Dissolution Trilogy (2017-2019)
Michelle Williams Gamaker
Duration: 58 minutes
Thursday 10 March, 6.30pm
Michelle Williams Gamaker’s Dissolution Trilogy comprises of House of Women (2017), The Fruit is There to be Eaten (2018) and The Eternal Return (2019). House of Women and The Fruit is There to be Eaten revisit the 1947 film Black Narcisuss to examine the representation of South East Asian people on screen who were often played by white actors, such as the film’s character Kanchi. Recasting the once silent role in a new script, Kanchi is reimagined with agency and becomes the new protagonist of the storyline, evoking Williams Gamaker’s strategy of ‘fictional activism’.
In The Eternal Return, the life of Indian actor Sabu Dastagir is told through a kind of fictional biography that imagines the emotional toll of his rise and fall in 1930s era Hollywood.
This dedicated screening is an opportunity to see all three films in a theatre setting.
