Much of Charlotte Prodger’s work uses the legacy of structural film, minimalism and queer subjectivity to investigate tensions and contradictions that arise between form and content, revealing an ongoing enquiry into the contingency and intimacy of materials. Her installations and performances look at what happens to speech – and the self for which it is a conduit – as it metamorphoses via time, space and various technological systems.Anonymous YouTube user Nikeclassics posts domestic videos documenting acts of adoration and destruction to his pristine collection of trainers. Prodger ripped two of his videos, playing them on two video monitors on the floor. An audio cassette on a separate boombox interweaves narrative fragments and anecdotes from throughout Prodger’s life, rubbing the material polemic of structuralist film up against the lived experience of queer oral histories.
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