Introducing Stereo JLG/ the editing of the trailer

Stereo JLG / the editing of the trailer is a text- based artwork by Irish artist John Lalor, which is currently emerging within the pages of the Irish Times.  Characterised by black text on a red ground, the work is arranged in 7 episodes.  The pilot and the first episode appeared among the World News pages on 8th March, on the Bulletin page on 13th, another on the 27th March, with forthcoming episodes scheduled for the 10th and 24th April issues. The concluding episode will coincide with an event at the Oonagh Young Gallery, Dublin on 6th May.

This is the latest iteration of a piece which the artist created 4 years ago, in response to a major exhibition at the Pompidou Centre, Paris, “Voyage(s) en Utopie, Jean-Luc Godard, 1946-2006. A la recherche d’un théorème perdu”, celebrating legendary Franco-Swiss filmmaker Jean- Luc Godard, where Godard in true fashion subverted the museum’s curatorial machine to render an event which itself defied any pre-digestion for its audience.  Lalor’s text grew out of that encounter, and flows along, unpunctuated, personal and authentic,  a spinning wheel of images and ideas.

Working within the organisational system of the Irish Times,  its language, format, house style – the siting of each episode depends on the sub-editor’s layout decisions. Modest in scale, it fits in and presents as a piece that can change itself and items around it. It is quietly radical. It re-shapes the landscape of the newspaper as it passes through.

John Lalor attended Limerick School of Art, Ireland. He lives and works in Paris since 1988 and has exhibited widely in both countries, most recently in Pallas Contemporary Projects, Dublin; Centre Culturel Irlandais, Paris; Temple Bar Gallery, Dublin; and
 Glassbox, Paris, along with film-screenings
at SUB:URBAN, Rotterdam, La Fémis cinema in the context of ‘Pointligneplan’, Paris, Centre international d’art & du paysage, île de Vassivière; and Temporarycontemporary, London. He was an
active member and director of Glassbox, a pioneering artists-run space from 2004-07 in Paris.  John Lalor is currently working on the publication of a collection of his writings in English and French, entitled ‘Found in translation’, as well as as film project entitled ‘Un incident urbain’ (An urban incident) around French architect Dominique Perrault’s BNF building (the French National Library) and Marin Karmitz’ nearby MK2 independent cinema, featuring actor Jean-François Stévenin and André S. Labarthe (actor, critic, film producer and director).

John Lalor and  C/K Projects

Next episode will appear tomorrow in The Irish Times.


One Response to “Introducing Stereo JLG/ the editing of the trailer”

  1. Helen Carey Says:

    I think it was a tuesday, or maybe a wednesday – anyway it wasn’t thursday or Saturday. Maybe sunday. Mondays are usually closed. Actually it was a tuesday. When I went to JLG’s Voyages en Utopie(s) with John Lalor. It was a great visit. The exhibition was an important departure from the clean aesthetic and was pretty angry. Making something unbeautiful, unprecise, emotional, stroppy in the Pompidou perhaps is the first hint at how concensus has blighted the energy in many exhibitions, and there was something important at how Dominique Paini, the curator at the beginning, had also become angry and annoyed and had stropped off. I remember meeting DP at another time, and wondering how on earth could they have thought that JLG and DP would not have fallen out, and probably sooner than later. Anyhow, John was very interested in the anti-aesthetic of the JLG exhibition and was very enthusiastic about the anarchy – the trailer in the CCI Paris was definitely an anti-aesthetic note against the 18th century backdrop of the CCI building and tone. It was Dr. Who’s tardis, we had envisaged it in the context of the celebration of Samuel Beckett’s centenary – who had taught in the Ecole Normale Sup just beside us, and who I had often pretended would have sought refuge from pristine Paris in the trailer, had he been around. Samuel Beckett hunched in this trailer with no sunlight surrounded by imagery, text and music, looking disappointed at being discovered…. Anyway, I also remember we were very caught up with Franck Ribery and with football that time….there were many important issues to clear about the management of the French national team. I think we were connecting all sorts of things, whether it was Beckett, JLG, Ribery or were you up for Rudi or Tom in Rich Man Poor Man, against a backdrop of storm clouds gathering we knew nothing about – and the idea of accommodating an absence of concensus in an exhibition, a society and see the aesthetic in the anti aesthetic, and being able to up for Rudi and Tom seems to be strangely relevant today. At any rate the trailer in the courtyard was the beginning of interesting times…..

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