Resistances

Being Duchamp Becoming Elsa

A many-faceted project of speculative fiction, involving moving image performance, 3D printed objects and a publication. About an artwork that changed how we view art and what we think about the world, and how, in the absence of any evidence to contradict the myth, Duchamp, seminal 20th century artist, claims it as his own. What would it mean if the most important artwork of 20th century had been made by a woman? Elsa von Freytag-Loringhoven. Artist, poet and magical thinker. Art history and the world would be very different if Elsa vF was acknowledged as the originator of the now famous urinal.

The cross-dressing, gender-bending narrative, encounters the man who lived down the hall, Duchamp and Elsa’s run-ins with the old boys’ club. Secrets, lies, figurative and real murder. Examining the clues, what was Elsa trying to tell us?

BDBE ©LMoretonGriffiths 2021

Still from Being Duchamp Becoming Elsa, 2021

BDBE Photostory Thumb ©LMoretonGriffiths2021

A Readymade Photostory

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BDBE Sun ©LMoretonGriffiths2021

Still, performance in a wearable painting, based on eighteenth century Masonic symbolism, for Being Duchamp Becoming Elsa, 2021.

Watch the trailer here

 

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WORLD BUILDING AS CAPITALIST CRITIQUE: EBOOK TO READ ONLINE OR DOWNLOAD

Futures With Futures ©LMoretonGriffiths

FUTURES WITH FUTURES

Imagining the world differently

A collection of four short stories, designed around the alchemical Elements – EARTH WIND FIRE WATER – building blocks that built the world the way it is that could just as easily build it another way.

The overlapping themes play out in an imagined near future of corporate nation states, toxic supply chains and environmental collapse. The female characters, all take control, showing how the smallest act of resistance can have global effect.

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CAPITAL EXTRAVAGANZA TO WATCH ONLINE

The Adventures of Gas Hood ©LMoretonGriffiths

Still from The Adventures of Gas Hood, 2021

Gas Hood Does Busby Berkeley

Socialised as consumers, always producing, deeply entangled in how and what we produce, I perform myself and my character hidden in a mask, itself a character, a reconstruction of a WWI gas hood made to protect against early chemical warfare. Lost in a mass of technology, a material force. Where is our agency?

Hand-drawn animation and moving image performance.

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