b. 1966, Dublin, Ireland

Overheard conversations and human incidents, casually observed, often form the starting point for Jaki Irvine’s work. She weaves these real events with fictitious narratives to produce haunting super 8, 16mm films and videos. Her work makes use of the potential discontinuity between moving image, musical score and narrator to undermine any sense of linear narrative. Irvine’s work suggests the fragmented mysterious and often absurd nature of the human condition.

Jaki Irvine: Before the Page is Turned, 2011 – Chapter 1: Acid


In 2010 I was invited to spend some time in Dublin Graphic Print Studios. For some months, I hung around the studios, videoing the painstaking processes and rhythms of the print works. I recorded sounds: water dripping; stones grinding; crashes of metal; squeals of presses.

Meanwhile the economic wheel turned: a downturn. Some were crushed. Some hung on. Some were swept away. This seeped into everything.

Before the Page is Turned is a series of five inter-woven videos that opens out a space to both hold on and to be swept along.


Jaki Irvine


Before the Page is Turned, 2011

5 x Single Screen Projections running consecutively

HD 16:9

Total duration 29 mins 37 sec


Click on chapter links below:

Chapter 1: Acid

Chapter 2: Stone Traffic

Chapter 3: Upside Down

Chapter 4: Crying

Chapter 5: Gone


GO TO ->
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⎭⎝⎠⎛⎞⎩DJ JAH BEERS (de)
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Alternative audio-only stream:

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  • Florian Schneider

We made a mix for the Parisian festival Sonic Protest. The biggest mixtape of the universe. The mix started May 5th and goes on until.....
Listen HERE


  • mixtape sonic protest

A note about this interview: This interview was modeled after Pitchfork’s 5-10-15-20 interview series. I had initially asked Jim O’Rourke to pick something that defined his life at five year intervals. He told me that everything that had largest impact on him happened earlier in his life, so I agreed to have him choose 10 events or pieces of art (music or otherwise) regardless of his age at the time. The following interview is presented with these ten events that O’Rourke emailed me as headers. While we used these topics to guide our discussion, other stories are mentioned as well. Please read chronologically. At the end of the interview please find a list of 25 albums that Jim personally recommends people check out.


Joshua Minsoo Kim: Hello?

Jim O’Rourke: Hello! Hi, how are you?

I'm good. How are you?

I’m doing fine.

This is a bit funny, but 20 minutes ago my SD card got corrupted,which is kind of horrifying because I had to reformat it and I lost some—

Do you need some time?

Oh, no, it’s fine! It’s fine now. It's just a bummer because I lost a couple interviews that I failed to backup, which, lesson learned now.

Are they things that hadn’t been published yet?

Yeah, they hadn't been published yet. So I'm gonna have to talk with the artists again, and I’d really hate to burden them with that.

(in a playful tone like that of a psychic) Do I see another interview in my future? (laughter).

No, no, we should be good! The SD card is good now and the whole memory is wiped, so we can talk for dozens of hours if you want.

Oh, goodness. I see a long interview in my future (laughter).

Ha, it doesn't need to be super long.

Where do you live?

I'm actually in a suburb of Chicago.

Oh, goodness gracious. Don't tell me Elgin!

(laughs) Ah, not in Elgin, no.

God, not Schaumburg.

Ha, I live around Schaumburg!

NOOO! You’re doomed, get the hell out of there!

(laughs) Well, I’m a teacher and also teach in the North Shore, in Skokie.

Oh, God almighty! You're hitting all the hot spots. Schaumburg!

(laughs) Do you have any specific thoughts on Schaumburg?

I spent way too much time in Schaumburg. Oh boy oh boy oh boy.

What sort of stuff do you associate with Schaumburg?

Schaumburg was sort of the center of the tape, cassette noise scene in the ‘80s. That's where all the noise bands from Chicago kind of… what would you call something that grows like a mold? (laughter). 


happy birthday Oren 

What felt impossible has become thinkable. The spring of 2020 is suggestive of how much, and how quickly, we can change as a civilization.

The critic Raymond Williams once wrote that every historical period has its own “structure of feeling.” How everything seemed in the nineteen-sixties, the way the Victorians understood one another, the chivalry of the Middle Ages, the world view of Tang-dynasty China: each period, Williams thought, had a distinct way of organizing basic human emotions into an overarching cultural system. Each had its own way of experiencing being alive.

In mid-March, in a prior age, I spent a week rafting down the Grand Canyon. When I left for the trip, the United States was still beginning to grapple with the reality of the coronavirus pandemic. Italy was suffering; the N.B.A. had just suspended its season; Tom Hanks had been reported ill. When I hiked back up, on March 19th, it was into a different world. I’ve spent my life writing science-fiction novels that try to convey some of the strangeness of the future. But I was still shocked by how much had changed, and how quickly.

Schools and borders had closed; the governor of California, like governors elsewhere, had asked residents to begin staying at home. But the change that struck me seemed more abstract and internal. It was a change in the way we were looking at things, and it is still ongoing. The virus is rewriting our imaginations. What felt impossible has become thinkable. We’re getting a different sense of our place in history. We know we’re entering a new world, a new era. We seem to be learning our way into a new structure of feeling.