David Gryn blog

Salon 94 and Artprojx presents Takeshi Murata’s “I, Popeye” Thurs 13 Oct at 10.30pm

In Artprojx, Artprojx Cinema, Frieze Art Fair, London, Popeye, Prince Charles Cinema, Salon 94, salon94, Takeshi Murata, Video Art on 30/09/2011 at 2:04 pm

I, Popeye by Takeshi Murata

Salon 94 and Artprojx Cinema presents
The UK Premiere Screening of 
‘I, Popeye’ and other works
Takeshi Murata
Thursday 13 October 2011
10.30pm – 11.30pm
Artprojx at Prince Charles Cinema, 7 Leicester Place, London WC2

Artprojx at Prince Charles Cinema, 7 Leicester Place, London WC2H 7BY http://www.princecharlescinema.com

Please RSVP for your FREE guestlist ticket (with Popcorn or Beer) to this Frieze VIP event by 5th October
For additional tickets: Both screenings are £10. £6.50 for a single screening. Includes beer or popcorn.
Box Office: 02074943654 or buy Online at www.princecharlescinema.com
More Information:
This exciting Artprojx Cinema event brings together two very different art world projects in a great late night screening ‘Double Bill’ programme. The International galleries presenting these artist’s work are all featuring at this year’s Frieze Art Fair 2011. This has enabled the galleries to screen films by artists they represent in the great cinematic setting and at the home of Artprojx Cinema, The Prince Charles Cinema, in London’s Leicester Square.
‘I, Popeye’ by Takeshi Murata
(and screening of early works)

In Europe, Popeye’s copyright expired on January 1, 2009, which means his likeness can be used in comics, on clothing, and elsewhere without authorization from the copyright holder—but only in Europe, where the law protects copyright for seventy years following the author‘s death (E.C. Segar, who first drew the spinach-guzzling sailor in 1929, died in 1938). In the United States, however, copyright stands for ninety-five years after it is first registered, so uses of Popeye will have to be registered through 2024. The discrepancy in US and EU law has created an odd situation where geography determines legal constraints on the production of highly mobile images.

Takeshi Murata wasn’t aware of the copyright issue when he began working on I, Popeye (2010), but it highlights the contradictions that interest him: the possibility of “unauthorized use” with images that are as deeply embedded in the popular consciousness as a song like “Happy Birthday.” Here, Murata twists a cartoon of heroic triumph into a litany of failure—the opposite of what Disney does when adapting a tale that, in the Grimms’ telling, doesn‘t end happily. The halting, minor-key version of the Popeye theme song in Devin Flynn and Ross Goldstein‘s soundtrack and the leering, moneyed Popeye pictured on the anti-hero‘s T-shirt—a caricature of pop-culture icon as commodity—are two details that contribute the video‘s effect. But the key factor is the medium itself. By rendering the characters in the kind of slick three-dimensional animation commonly associated with big-studio production, Murata intensifies and complicates the discrepancy between the official Popeye and his own “folk” version. (text excerpt from “Free,” The New Museum, NY, written by Brian Droitcour) 

Takeshi Murata
Murata born (b. 1974, Chicago, IL, USA) lives and works in upstate New York. He received his BFA in film/video/animation from RISDI. His work has been shown widely in gallery and museum exhibitions in Europe and Asia and is included in the permanent collections of the Hirshhorn Museum and Sculpture Garden in Washington DC and the DESTE Foundation of Contemporary Art in Athens, Greece. Murata has developed painterly techniques for processing video using glitches and errors. Conjuring digital turbulence from broken DVD encoding, he carefully tends bad video compression to generate sometimes sinuous, sometimes violent flows of digital distortion. With a powerfully sensual force that is expressed in videos, loops, installations and electronic music, Murata’s synesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.

Salon 94
The film is presented by Salon 94, New York. Since its creation in 2002, the mission of Salon 94 has grown from exhibiting special projects by emerging and renowned artists alike. In addition to the two downtown spaces, the original 94th Street townhouse remains as a site for visitors to experience artworks and performances in a furnished, inhabited space.www.salon94.com

Artprojx Cinema screens and promotes artists’ film and video, working with leading international contemporary art galleries, art fairs, institutes and artists.

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