TEMPORAL TOOLS FOR QUEERS: Vampiric Entanglements and Archaeological Excavations
TEMPORAL TOOLS FOR QUEERS: VAMPIRIC ENTANGLEMENTS AND ARCHAEOLOGICAL EXCAVATIONS is a curated screening & discussion series by Kat Lalor, framing their WOWTE residency research into vampiric methodologies and existence beneath the surface. Spanning across five screenings, each will tackle a specific core theme, and be accompanied by additional resources. From Temporal Theories and Queer Archeology to Jesus Christ hunting vampires, these screenings are intended to facilitate conversation around Queer Futurity, Restorative Narratives, and Historical Preservation.
SCREENINGS & DISCUSSIONS
Week Four: Daughters of Darkness
Daughters of Darkness
1971
Film, 88 mins
Director: Harry Kümel
“Set in a nearly deserted seaside hotel in Belgium, the film follows a newlywed couple who encounter a mysterious Hungarian countess and her enigmatic companion. As tensions rise, the couple is drawn into a disturbing psychological and sexual game, with fatal consequences.”
Event Details
Wednesday 21st May
6:30pm, Screening at 7pm
A4 Sounds Gallery & Garden
Content Warning: This film contains scenes of nudity and violence.
This event is masked and takes place in our gallery which is seated. Our full access information is below.
Overview
As the sun will be out and the film is a longer one, this week the format will be a little bit different!
Join us a little bit earlier in our garden if you want some pre sun and snacks. We’ll watch the film at 7pm and following it we will have a our chats and discussion in the garden with some drinks.
As always Kat has provided addtional resource texts for those that would like to read or know more.
All welcome . The session will be informal and you are invited to particpate as much or little as you feel comfortable with or have capacity to.Â
WEEK 5: Jesus Christ: Vampire Hunter, 2001
Thursday 29th May 7pm
Discussion Themes
Complicated entanglements of Sapphic Vampires, Queer Representation and Exploitation Films; finding Queer affinity in villains and reparative reading.
While at times problematic in its depictions of queerness, Daughters of Darkness simultaneously reads as anti-hetero, making it stand out against other vampiric representations of Queerness, in which heteronormativity prevails at the end.
Additional Resources (Optional)
The Bloody History of the Lesbian Vampire in 20 Films, Annie Rose Malamet, Online Article
Vampires and Violets: Lesbians in Film, Andrea Weiss, 1992
Both Ways (Jennifer’s Body), Carmen Maria Machao, It Came From The Closet, pg 25-32
Interview With The Vampire, 1994 film and Anne Rice’s novel by the same name, 1976
Touching Feeling: Affect, Pedagogy, Performativity, Eve Kosofsky Sedgwick, pg 123-151
PREVIOUS SCREENINGS
WEEK ONE
Additional Resources (Optional)
Queer Art: Freak Theory, Renate Lorenz, drag-radical, transtemporal, abstract, pg 21-23
Old Futures: Speculative Fiction and Queer Possibility, Alexis Lothian, A Brief History
of Queer Time, pg 5 -14
It Came From The Closet; Queer Reflections on Horror, edited by Joe Vallese
Vegas in Space, Doris Fish and Phillip R. Ford, 1991
Alone in the Heart of an Alien World
2024
2024
Performative Film, 25 mins
Director: Kat Lalor
.
A lone alien ranger, ‘The Unitary Now’, embarks on a trans-temporal journey in search of answers regarding its othering on earth. Led by a pink omnipotent time guide, The Unitary Now surveys alternate planets of the past; the temporal cycles of dysphoria and binary knowledge which have contributed to The Unitary Now’s isolation.Â
Using Drag as an acknowledged fiction and performative tool, ‘Alone in the Heart of an Alien World’ references cinematic archetypes as points of recognition, layered amongst Queer and subjective experience. The re-performance of a subjective experience of othering through a fictional lens allows for outcomes and pathways to be re-written and alternatively experienced; creating a breaking point in dominant, repeated narratives of othering and reclaiming agency.
WEEK TWO
Additional Resources (Optional)
Always Coming Home; Towards an Archaeology of the Future Ursula K Le Guin, 1985, pg 3-5
Why Queer Archaeology? An Introduction, Thomas A. Dowson
Museum of Bad Vibes, BBC PodcastÂ
The Museum Will Not be Decolonised, Sumaya Kassim (online article)
Decolonising Museums – a reading list, Shimrit Lee (online article)
1962:11
2024
Film, 13:46 mins
Director: Eden Munroe
The Violence of a Civilization Without Secrets 2024
Film, 13:46 mins
Directors: Adam Kahlil & Zack Khalil (Ojibway) and Jackson Polys
Discussion Themes
Queer Archaeology and Irish Vampiric mythology; underground as an active site, how do we approach and interact with deeply embedded histories both speculatively and ethically.
Fiction as a transtemporal investigative tool.
The violence of museums and issues of ‘ownership’ over historical artefacts
WEEK THREE
Additional Resources (Optional)
Yong Xiang Li in conversation with Alvin Li, Artist Interview as part of Crashing into the Future Screening Series, E-flux FilmÂ
Old Futures: Speculative Fiction and Queer Possibility, Alexis Lothian, Deviant Blood Lines: Queer Black Feminist Modes of Reproduction, pg 116-128
Fledgling, Octavia E. Butler, 2005
The Gilda Stories, Jewelle Gomez, 1991
Notes on Camp, Susan Sontag, 1964
Skin Shows: Gothic Horror and the Technology of Monsters, Jack Halberstam, pg 86-106Â
Dark ecology and queer, amphibious vampires, Naomi Booth, Undercurrents: journal of critical environmental studies (19). pp. 51-59.
I’m Not In Love (How to Feed on Humans) 2020
Film, 27 mins
Director: Yong Xiang Li
.
“I’m Not in Love restores the tired motif of the vampire, injecting it with a sense of queer warmth. In this freakish and playful combination of narrative film and music video, a 386-year-old Asian vampire—Vampy—struts about town tending to his three lovers, or symbionts. Apparently, his venom is not venomous at all, but instead grants pleasure and long life. (Alvin Li)“
Discussion Themes
Queering Vampiric Metaphor; the generation of speculative social-biological relationships
which work to undo extrapolative narratives of capitalism and white patriarchal rule.
Aesthetic Values; DIY Cinema and Camp.
ACCESS INFORMATION
HEALTH PRECAUTIONS
What we will do
- This exhibition takes place indoors & outdoors and is masked.Â
- FFP2 masks will be available at the door.
- Air purifiers with HEPA filters will be running in the gallery.
- A CO2 monitor will be in the gallery.
- Doors will be opened regularly to ventilate the room.
- All staff will take an antigen test on the day of the event.
What you can do
- Please take an antigen test before coming to the opening or gallery.
- If you test positive for Covid-19, or you feel newly unwell in any way please stay at home.
- If travelling by public transport or taxi please wear a mask for your journey.
GETTING HERE
Maps
Walking
- O’Connell Street: 14 mins from The Spire (directions)
- Phibsborough: 11 mins (directions)
Buses
Luas
- Parnell Stop (Green Line):
10 mins (directions) - Dominick Stop (Green Line):
12 mins (directions) - Broadstone Stop (Green Line):
12 mins (directions) - Abbey Street (Red Line):
17 mins (directions)
Accessible Parking Spaces
There are 30 accessible parking spaces nearby our studios between 2 and 8 mins away.
Map:Â https://rb.gy/sd41wu
Parking 2-3 mins away:
- Nelson Street:Â 1 space, 210m
- Hardwick Place:Â 1 space, 220m
- Eccles Place:Â 2 spaces, 220m
- Eccles Street:Â 3 spaces, 230m
- Hardwicke Place:Â 1 space, 220m
OUR BUILDING
Arriving at A4 Sounds
- When you arrive at the gallery there is a kerb outside as part of the pavement which you may need to navigate depending on the direction you arrive.
- There is a small slope at the entrance at the desk where the material of the floor changes from cement to a tiled surface.
- The door will be open and there will be a staff member to greet you at the front desk.
- The front desk will be immediately in front of you approx 1m from the front door.
The Gallery
- Our gallery is located on the ground floor and is accessible.
- It is located about 5m from the front door.
- There is a small ramp into the gallery space.
- The floor is suspended wood
- The room is painted a dark colour and will be low lit.
- Our garden can be accessed via the gallery.
Bathrooms
- Our bathrooms are gender-neutral.
- There is one accessible toilet in our outdoor garden area. It is a portaloo.
- There are three indoor bathrooms which are not accessible.
- The indoor bathrooms are located on the first floor via a flight of stairs (approx 22 steps) so may provide difficulties for folk with movement impairments.
The Garden
- The door to the outdoor area is straight across from the gallery door, and a distance of approx 5m.
- The outdoor area has heating which can be turned on and off to suit your needs.
- The outdoor area has a garden with a covered seating area with wooden benches, wooden and plastic stools.
- There are additional wooden benches which are not covered.
- To the back of the garden there is a mezzanine accessed by approx 15 steps with wooden benches
THE EVENT
Overview
- The event take places in our gallery and is masked
- The gallery is on the ground floor
- The event is seated
- The event is wheelchair accessible
The Screening
- The film and event will be introduced first by the artist
- The film is 25 mins long
- Following the screening there will be an informal discussion
- Feel free to participate as much or as little as you feel comfortable with.Â
- You can take breaks at any point during the event in our garden area
Lighting & Sound
- The room will be dark with LED spotlights on the ceiling pointing down
- The film will be played on a projector on a large screen
- The sound will be played on a PA System
- There are no loud or sudden sounds in the film
- There are no flashing lights or flickering in the film
- The artist may be speaking using a microphone (TBC)
Seating
- There will be plastic canteen chairs with seating pads
- There will be six comforable padded chairs which can be booked. Please select ‘I need a comfortable chair’ when booking your ticket
- There will be two armchairs which can be booked. Please select ‘I need a comfortable chair’ when booking your ticket
BOOKING YOUR TICKET
Booking Link
- You can book your visit via the link above or by clicking here
Page 1 of booking:
- First, select your preferred date and time to visit from the drop down menus. You can find them on the right handside of the page underneath the description of the event
- Next, if you have accessibility needs, click the box inside the pink area underneath accessibility needs section. Skip this section if it is not applicable
- Next, if you would like to make a donation, please enter the donation amount inside the box in the section marked pink
- Next, click the add to cart button which is located below the total amount
- The screen will refresh. Now you will see a ‘view cart‘ button on the top right of the screen. You can also click the shopping cart icon on the top banner area
Page 2 of booking:
- There is no shipping required for this booking, so please click the ‘continue to check out’ button
Page 3 of booking:
- Next, fill out your billing information in the pink box.
- Next, the subscribe to our newsletter button is automatically checked. If you do not wish to do this uncheck this box. It is just below the pink box
Important
- Next, if is the if shipping details are different to billing details. Please click the heading of this section so it closes and no longer requires details to be inputted. This is important to be able to check out without errors.
- Next, scroll down and check the I have read the terms and conditions box
- Next, check the I am not a robot box
- Â Finally, click the place order button.
Confirmation Page
- You will now come to a confirmation page. You do not need to do anything further. We will have your name ready at the door to check in.