Trevor Tweeten

After a young Swedish perfumer is stung by a jellyfish in the South of France, an attractive older man comes to her aid.

In 1972, officer Frank Serpico exposes the corruption which poisons the roots of the NYPD and becomes famous in 1973 when director Sidney Lumet tells his story in the classic film “Serpico,” starring Al Pacino.

Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.

Promises: Through Congress is a collaboration between Julie Mehretu, electronic music composer Floating Points aka Sam Shepherd, and filmmaker Trevor Tweeten. This 46-minute film features Mehretu’s expansive painting Congress (2003) and Promises (Luaka Bop, 2021), the acclaimed album from Floating Points and jazz titan Pharoah Sanders featuring the London Symphony Orchestra. Filmed on location at The Broad in Los Angeles.

In the centre of the gallery is a pavilion housing the 35mm film Paradise (2021), the final work of the trilogy. It is the first time that Paradise is being shown as an artwork outside of its staging in the ballet. The soundtrack is a digital simulation of Thomas Adès’s orchestrated score Paradiso. Known technically as a MIDI, the computer simulation became an invaluable tool while the orchestra were unable to record the music during the Covid-19 lockdowns. Paradise was filmed in the extended format Cinemascope and is entirely abstract, drawing on the circular and planetary motifs present in Dante’s ‘Paradiso’. The film’s rich colours were taken from the palette of William Blake (b. 1757 – d. 1827, London) and can also be seen in the ten hand-printed silkscreen prints representing the planetary states in the corridor.

After an unspoken line is crossed, three women are forced to navigate strange passageways and painful secrets.

Roberta Flack’s place in music history was assured when she became the first artist to win back-to-back Grammy Awards for Record of the Year with “The First Time Ever I Saw Your Face” (1973) and “Killing Me Softly with His Song” (1974). The depth and complexity of her lyrical and thematic choices, as well as the sophisticated mix of classical and soul influences on her style, all sprang from a woman who thoughtfully interrogated her role and identity throughout her life. Filmmaker Antonino D’Ambrosio has created a marvelous monument to a singular and unclassifiable musical genius, with commentary from contemporary artists whom she has inspired.

21-year-old Halit Yozgat was assassinated in broad daylight, in his family’s internet cafe on April 6, 2006 in Kassel Germany. Five witnesses were present in the 77 square metre space when Halit was shot twice in the head. Remarkably, an undercover agent from the German secret service was among those present in the cafe at the time of the murder, yet he claimed not to have heard gunfire nor noticed the body slumped at the front desk. A rigorous counter-investigation by London-based research agency Forensic Architecture inspired the Australian composer and director Ben Frost to write the opera The Murder of Halit Yozgat. With his unconventional combination of sound art, electronic music and dark metal, Frost brings a performance in which a sound nobody heard irrevocably ties all of those present together.

Guided by an off screen interviewer, SUNDAY follows a young Bulgarian woman in New York dealing with the harsh reality of her expired Visa. Through a cascade of images and events from her final days in the city, we see her building anxiety as she begins to realize the beauty and impermanence of her existence.

A dynamic configuration of images and videos overlaid with musings on human existence.

Petals cannot digitize themselves. Human hands must individually open the flower, pick the petal, place it under the lens, press the shutter, and upload the image to the cloud. Then again, and again, and again. Computers document the signals generated by humans. When computers were human, they were often women. In August, 10,000 roses were placed in the atrium of Bell Works. The work of photographing the individual petals and turning them into a dataset was performed by sixteen men. The photographs, a sequence of petals, reenact the rose. Beauty compels the act of replication.