Touch Of Organs, Like Function Eyes, 2022
Video still. Performance to camera
Touch Of Organs, Like Function Eyes, 2022
Video still. Performance to camera
Touch Of Organs, Like Function Eyes, 2022
Video still. Performance to camera
Touch Of Organs, Like Function Eyes, 2022
Video still. Performance to camera
Video # 1
Video documentation existing as a test pieces / works-in-progress, for future works that examine the migration of film, objects and materials placed within a sculptural landscape.
Films combined in a double projection were: ‘Crushing Fractal Being’ (2020) and ‘At The Moment of An Apparition (Gober’s Eyes)’ (2024)
Video # 6
Video documentation existing as a test pieces / works-in-progress, for future works that examine the migration of film, body, and materials placed within a sculptural landscape.
Film projected: ‘A Meniscus (Between)’ (2021), a phantom version, where the colour has been partly inverted, creating a phantom of the original.
Touch Of Organs, Like Function Eyes, 2022
This film is one of several ‘performances to camera’, where Ahmet examines the body, their usual context or routine abstracted, forcing a new position on his chosen body part or feature, to behave and react, according to their altered condition.
In this performance film, devised of several scenes, we are confronted by Ahmet’s motionless and fixed eyes, intently staring straight at the viewer, or found in a hyper state of sleep dreaming - not dissimilar to that of rapid eye movement. His eyelids are captured in a gesture of kinesics, serving as a form of non-verbal code that obliges to be deciphered.
Installation view, at Two Queens Two Screens, the second in a series of screening events, held at Two Queens Gallery & Studios, Leicester, 2023
A Dislocation Occurring (work in progress)
Detail view
A Dislocation Occurring (work in progress)
Detail view
A Dislocation Occurring (work in progress)
Detail view
A Dislocation Occurring (work in progress)
Detail view
A Dislocation Occurring, 2024
Detail view
A Dislocation Occurring, 2024
Detail view
Hello Russell, 2022
When Stephen Sheehan, the curator and director of Existential House, invited the artists Cos Ahmet & Gary Finnegan to show their work in ‘We Are All Going To Die’, he also asked them ‘not to show their work’.
In response, the duo turned up at the gallery, with two mugs. Upon these mugs were stills from their film. ‘Stills’ from the film they were asked not to show — the reason being, that for this particular show the curator did not want any video works.
The artists presented a piece of novelty merchandise from a film. Nothing serious, just a tongue in cheek moment. While the mugs themselves are indeed designed to be a novelty in a sense, when observed, they become a vessel for broader consideration and questioning beyond their existence as a mug.
Installation view of ‘Hello Russell I + II ‘, part of the group show, ‘We Are All Going To Die’ at Existential House. Curated by Stephen Sheehan.
Hello Russell, 2022
Installation view of ‘Hello Russell I (2022)‘, ceramic printed mug with film still and caption. Part of the group show, ‘We Are All Going To Die’ at Existential House. Curated by Stephen Sheehan.
Hello Russell, 2022
Installation view of ‘Hello Russell I (2022)‘, ceramic printed mug with film still and caption. Part of the group show, ‘We Are All Going To Die’ at Existential House. Curated by Stephen Sheehan.
Hello Russell, 2022
Installation view of ‘Hello Russell II (2022)‘, ceramic printed mug with film still and caption. Part of the group show, ‘We Are All Going To Die’ at Existential House. Curated by Stephen Sheehan.
Hello Russell, 2022
Installation view of ‘Hello Russell II (2022)‘, ceramic printed mug with film still and caption. Part of the group show, ‘We Are All Going To Die’ at Existential House. Curated by Stephen Sheehan.
They Say That Everyone Has To Start Somewhere, 2022
For the artists, Cos Ahmet & Gary Finnegan, their film and sound installation at The Royal Standard, places a demand on the moving image, questioning the conventions of staging.
In contrast to the generic display of moving images and video works, typically projected on gallery walls or large screens, the artists consider the ‘video screen’ in particular, as sculpture, steering bodies and gazes not only through a space, but through a sculpture that houses a moving image, blurring the boundaries between the work and the viewer.
Installation detail. Five channel film and sound Installation. The Royal Standard, Liverpool.
They Say That Everyone Has To Start Somewhere, 2022
Installation (detail view)
They Say That Everyone Has To Start Somewhere, 2022
Installation (detail view)
They Say That Everyone Has To Start Somewhere, 2022
Installation (detail view)
They Say That Everyone Has To Start Somewhere, 2022
Installation (detail view).
They Say That Everyone Has To Start Somewhere, 2022
Installation (detail view)
They Say That Everyone Has To Start Somewhere, 2022
installation (detail view)
They Say That Everyone Has To Start Somewhere, 2022
installation (detail view)