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Hilary Lloyd
The almost narrative engagement with her subjects that is emphasised in Lloyd's DJ work is minimised in her installations at the Chisenhale Gallery and Tate Britain in 1999 and 2000 respectively.

Rather than filming everyday activities, Lloyd proscribed her performers' actions, focusing in on the simple gestures that take place in front of her camera. In Maddy and Kate (1999), two women unravel a ball of twine in between them, staring impassively at each other, incongruous in the setting of green fields edged with trees. Their almost meditative action is in contrast with the pseudo violence of Fiorenzo (1999), which pictures a young man bashing cardboard tubes, with the sound dominating the installation. As two of the seven works installed at the Chisenhale, they are part of a series of small actions, including a man taking off and putting on a red vest as slowly and sensually as could be imagined; a woman sitting on a chair; a one minute film of light reflecting on water; the landscape whizzing past, filmed by cameras held by skateboarders. Lloyd describes how she mapped out what she was going to film, saying "I wanted to make a stripping film… and I knew I wanted a woman on a chair. And I knew I wanted to do a violent film… and something very fast." Her minimal beginnings point not to portraits of individuals - as the naming of the films by the protagonists' first names might suggest - but instead to an orchestration of movement and gesture that is dislocated from their beginnings in the everyday. Discussing the film's relationship to portraiture, Lloyd comments: "I am interested in the fact that they are great performers, but I am not interested in revealing their personality…. I am interested in the fact that nothing is revealed. You're kind of thrown back on your prejudices when you are watching…" The central work in the installation, Constructors (1999), shows series of men from building sites creating sculptures with their bodies, responding to Lloyd's suggestions for poses. With the materiality of the videos emphasised by Lloyd's installation, the individual works operate in conversation with each other, building up a vocabulary of gesture that is not defined by socio-political concerns, although these are never completely erased.

Installation view, Chisenhale Gallery, 1999, (left to right: Constructors, Landscape, Maddy and Kate, Dawn) Photo: Hugo Glendinning
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