GIANT BOMB, a collaboration between 12 year old Lucian Shalmy and his mum Shiri, are exhibiting Apollo 1, an 8 minute retelling of Greek Mythology. (Apollo 1 was actually the first submission we received for the Nanny Cam open call that asked for videos by artists without a degree in Fine Art - and, not gonna lie, I momentarily forgot the rules of the game and replied straight away to say it was accepted, lol. But no regrets at all, it’s excellent and I’m very excited to share it with the world). I spoke to Lucian over Skype when he got back from school. Shiri was at his side but out of view as she wanted this to be Lucian’s interview. sneakily snapping pix tho 8-)


The two shot the video in the summer of 2015 on top of a windy hill. ‘It was in Cornwall. It was like a ruined factory that they used to make bullets and ammunition in the world wars. This is on top of a mountain.’ ‘It’s on top of a mine,’ Shiri clarified off screen, ‘It’s where they were harvesting minerals to make bombs.’ There are 3 figures in costume in Apollo 1, Lucian, Shiri and a friend, acting out the story of Apollo and Leto. ‘So essentially, Leto was Apollo’s mum and she was murdered by the python also known as the Yeti. So, Apollo is out seeking revenge and he kills the python, but then his dad, Zeus, is not very happy. And so, Apollo goes into hiding in that cave that I went to. After 38 years he comes out and - hahaha - he threw the dead body of the Python into a hole. Then this woman - the Oracle! They sat on top of this hole and the fumes from the dead python made them see visions into the future. They told prophecies. But I think for real, like in real life, it wasn’t a python. It was just some gases underground that made them slightly bonkers.’ After Lucian kills the python, he throws its vacated body spinning across the sky and for a moment it looks like a kid’s TV show. He’s wearing a silver mask over his head, carrying a toy sword and a bow and arrow, and the Yeti costume is defeated and floundering in the air. But much more developed than a kid’s TV show, this production is paced, careful, and it has an engaged sense of humour.


GIANT BOMB chose to work with this myth in particular because it is relevant to their dynamic as mother and son. And Lucian happily admits it’s cool to make art within this relationship. I ask about school and he realises that where other kids might be better at painting or drawing, he is enjoying a wider creative experience. He says he ‘gets’ art, and that his classmates ‘don’t get to do things like we have,’ looking left to Shiri and smiling. Lucian lists Martin Creed and Carsten Höller as artists he likes, and remembers best exhibitions as those with video games and interactive tech. But he explains at school, ‘we're taught to draw each other or (the teacher) takes pictures of us, prints them out and then we have to draw ourselves.’ I wonder how many more kids would enjoy art if they knew it was more than faces and representation. Because besides video, GIANT BOMB have worked in live performance too. As Lucian explains, ‘We made a piece where I sat and I played a video game. You had to shoot a ragdoll out of a canon and knock down blocks and whatever. What I was shooting had different skins and one of them had a yeti, and it was the same yeti as Apollo 1 and mummy was dressed up as it. Every time I shot the canon she would go like this (he shakes).’ There’s a recording here of that performance at Yinka Shonibare's Guest Projects gallery, and it's great. There’s screamo playing in the background and it’s kind of amazing to watch Lucian sit small in front of a MacBook, his legs swinging, not even reaching the ground. Even the fact we can see the same character of the Yeti coming through into other works - it's impressive to watch Lucian build rhetorics and an aesthetic vocabulary. Like, when I was his age I was just badly drawing out scenes from Ghibli films and buying little canvases from home and bargain. 👏🏻 bravo 👏🏻


:))) thank you 2 GIANT BOMB for being a part of this screening. You can see more on their website here

b͓̽e͓̽s͓̽t͓̽ ͓̽v͓̽i͓̽e͓̽w͓̽e͓̽d͓̽ ͓̽i͓̽n͓̽ ͓̽l͓̽a͓̽n͓̽d͓̽s͓̽c͓̽a͓̽p͓̽e͓̽
͓̽o͓̽r͓̽ ͓̽o͓̽n͓̽ ͓̽a͓̽ ͓̽d͓̽e͓̽s͓̽k͓̽t͓̽o͓̽p͓̽

{ 𝔱𝔥𝔢 𝔬𝔫𝔩𝔶 𝔯𝔢𝔞𝔰𝔬𝔫 𝔗𝔥𝔢 𝔚𝔥𝔦𝔱𝔢 𝔓𝔲𝔟𝔢 𝔠𝔞𝔫 𝔰𝔱𝔦𝔩𝔩 𝔢𝔵𝔦𝔰𝔱 𝔦𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔬𝔲𝔯 𝔯𝔢𝔞𝔡𝔢𝔯𝔰 𝔠𝔥𝔬𝔬𝔰𝔢 𝔱𝔬 𝔰𝔲𝔭𝔭𝔬𝔯𝔱 𝔲𝔰 𝔢𝔞𝔠𝔥 𝔪𝔬𝔫𝔱𝔥 𝔳𝔦𝔞 𝔓𝔞𝔱𝔯𝔢𝔬𝔫. 𝔚𝔢 𝔰𝔬𝔪𝔢𝔱𝔦𝔪𝔢𝔰 𝔡𝔬 𝔱𝔞𝔩𝔨𝔰 𝔞𝔫𝔡 𝔬𝔱𝔥𝔢𝔯 𝔧𝔬𝔟𝔰 𝔟𝔲𝔱 𝔓𝔞𝔱𝔯𝔢𝔬𝔫 𝔦𝔰 𝔥𝔬𝔴 𝔴𝔢 𝔤𝔢𝔱 𝔭𝔞𝔦𝔡 𝔣𝔬𝔯 𝔱𝔥𝔢 𝔞𝔠𝔱𝔲𝔞𝔩 𝔴𝔯𝔦𝔱𝔦𝔫𝔤 𝔥𝔢𝔯𝔢 - 𝔱𝔥𝔢 𝔯𝔢𝔳𝔦𝔢𝔴𝔰 𝔫 𝔞𝔯𝔱 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔰 𝔞𝔫𝔡 𝔰𝔬 𝔬𝔫. 𝔄𝔫𝔡 𝔦𝔱'𝔰 𝔰𝔬 𝔦𝔪𝔭𝔬𝔯𝔱𝔞𝔫𝔱 𝔱𝔬 𝔲𝔰 2 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔠𝔞𝔫 𝔰𝔱𝔞𝔶 𝔦𝔫𝔡𝔢𝔭𝔢𝔫𝔡𝔢𝔫𝔱 𝔠𝔯𝔦𝔱𝔦𝔠𝔰 𝔴𝔦𝔱𝔥𝔬𝔲𝔱 𝔱𝔦𝔢𝔰 𝔱𝔬 𝔟𝔦𝔤 𝔣𝔲𝔫𝔡𝔢𝔯𝔰 𝔬𝔯 𝔦𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔦𝔬𝔫𝔰, 𝔭𝔲𝔟𝔩𝔦𝔠 𝔬𝔯 𝔭𝔯𝔦𝔳𝔞𝔱𝔢. 𝔗𝔥𝔞𝔫𝔨 𝔶𝔬𝔲 𝔣𝔬𝔯 𝔟𝔢𝔦𝔫𝔤 𝔬𝔲𝔯 𝔬𝔩𝔡 𝔱𝔦𝔪𝔢𝔶 𝔭𝔞𝔱𝔯𝔬𝔫𝔰 - 𝔴𝔢'𝔩𝔩 𝔡𝔬 𝔬𝔲𝔯 𝔟𝔢𝔰𝔱 𝔱𝔬 𝔭𝔯𝔬𝔡𝔲𝔠𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔲𝔱𝔭𝔲𝔱; 𝔴𝔯𝔦𝔱𝔢 𝔰𝔱𝔲𝔣𝔣 𝔱𝔥𝔞𝔱 𝔦𝔰 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔣𝔲𝔩 𝔞𝔫𝔡 𝔰𝔦𝔫𝔠𝔢𝔯𝔢. }

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