Charlie Gallagher (°1995, Belfast, United Kingdom) makes films, media art, mixed media artworks and conceptual artworks. By rejecting an objective truth and global cultural narratives, Gallagher creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
His films are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in film. By demonstrating the omnipresent lingering of a ‘corporate world’, he plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By applying a wide variety of contemporary strategies, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His work urge us to renegotiate film as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. With Plato’s allegory of the cave in mind, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. Charlie Gallagher currently lives and works in Edinburgh.
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