<To be updated>
(2011 / 9:46 / colour / sound)
handclap/punchhole orbits two optical devices: Sherborne Abbey’s mirror-trolley which enables 2 visitors to view the ornate medieval ceiling without straining their necks, and Tony Conrad’s seminal 1965 minimalist film The Flicker which is composed of alternating black and white frames. Prodger contrasts the Reformation’s stripping away of excessive ornamentation with the supposedly subject-less surface of structural film. The film documents a small intervention – a queer countercultural body in an historical environment which has been repositioned into a mainstream tourist attraction. Cross-pollinating personal histories are woven throughout. In the final section, a voice describes a Youtube video of two boyfriends engaged in a curious footplay ritual. Their interchangeable black and white sportswear and back and forth gestures are analogous with Conrad’s formal structure. Prodger approaches the nexus of language and technology as a conduit for slippages and cross-association, where, for example, the increasing obsolescence of analogue cinema is seen as being simultaneous with the obliteration of public cruising spaces: queer subjectivity brushing up against the formal parameters of reproductive technology.