26.10.12 Mark Dean 'Scorpio Rising 2' film screening 26.10.12
In connection with ‘Brittle Crazie Glasse’, Mark Dean’s film ‘Scorpio Rising 2: The Gospel According to St.Matthew / Hells Angels on Wheels’ (1997) will be screened at St Philip’s Church, 2 Wilton Place, Salford, M3 6FR at 7pm on Friday 26th October.
To reserve a place at the screening, please email firstname.lastname@example.org
Mark Dean will give a brief introduction to the work and after the screening there will be an opportunity for discussion with the artist, followed by a curator-led tour of ‘Brittle Crazie Glasse’ at Islington Mill.
‘Scorpio Rising 2’ was conceived as a kind of remake of Kenneth Anger’s ‘Scorpio Rising’ which (among many other things) intercuts scenes from a Bible movie with Anger’s own biker imagery. According to Anger, the Bible movie was misdelivered to his doorstep while he was in the process of editing his own footage. Anger’s work was informed by his engagement with the occultism of Aleister Crowley, and thus his appropriation of Bible imagery was a deliberate inversion of meaning.
‘Scorpio Rising 2’ mixes biker and biblical footage by presenting two entire films (Richard Rush’s ‘Hells Angels on Wheels’, and Pasolini’s ‘Gospel According to Matthew’) simultaneously, on a split-screen. By making no edits to this source material, apart from the split-screen process, Dean intends to return the balance of interpretation towards the median, as compared to Anger’s polemical intercutting. Whilst Dean’s choice of subject matter is specific, as registered by the text of the subtitles, his interest is also in the kind of meaning that can arise when authorship is surrendered to a process. Throughout the work there are many moments when the gospel itself seemed to be being translated at some level in the language of the work, up to the ending, when (in the lower screen) the stone falls away from the tomb to reveal the resurrection, while (in the upper screen) a door to a party bursts open, following a killing.
‘Scorpio Rising 2’ touches on many of the themes explored in ‘Brittle Crazie Glasse’; in particular through its capacity to draw attention to the animating forces that exist ‘between the lines’, or beyond the raw materials of the work, but which nevertheless, bring the work to life.