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00:03 My name's Phil McKay.
00:13 I'm a sculpture environmental art student.
00:15 And my work kind of explores themes of realness and fakeness,
00:22 mostly within wrestling, pro wrestling specifically.
00:28 Because it has this kind of--
00:31 wrestling has this theater in it called kayfabe.
00:35 And basically, kayfabe is kind of all-encompassing term
00:40 used to describe the relationship between performer
00:44 and audience, as well as the relationship a performer
00:52 has with their own character.
00:55 So they bring in a lot of kind of self-mythologizing,
00:59 which also kind of runs parallel in my own practice
01:02 and in the practice of a lot of contemporary art.
01:07 Basically, what I do is I create these characters.
01:10 And I create performances where sometimes I'm wrestling,
01:14 sometimes I'm doing slightly more mundane things.
01:19 And it's all about really getting a rise out
01:22 of the audience and allowing them to be as much a part
01:27 of the performance as I am, really.
01:29 Well, in this performance, I've got a few people
01:33 performing with me.
01:35 Sometimes I have invited people in the ring
01:38 to go toe-to-toe with me.
01:43 And I've done performances with other people
01:46 previously as well.
01:47 I did a performance in November where
01:53 there's this thing in wrestling called heat.
01:55 You're trying to create heat, which is basically
01:58 anticipation for a fight.
02:00 And I was trying to create heat for two inanimate objects,
02:06 two rocks.
02:09 Wrestling is a kind of medium where the macho-ness is kind
02:15 of so absurd.
02:17 And you're kind of almost asking the audience
02:21 to suspend their disbelief.
02:23 That's what I want them to do.
02:25 And I don't really care about whether they're actually
02:31 watching a performance, but give in and accept that they are.
02:36 But then go one step beyond that and pretend
02:41 that they do believe it, like really here.
02:44 And that's where I think the magic, the amazing thing
02:48 about wrestling is.
02:49 The audience is a key part, not only of my practice,
02:52 but of wrestling as well.
02:54 And yeah, the other thing I'm kind of interested in
03:00 is the capacity for violence to give an audience
03:08 this kind of medieval urge, this kind
03:10 of rotten tomato-throwing energy that we
03:17 can create as performers.
03:19 My name is Axel Guitart-Folle.
03:21 I am from France.
03:23 I've been in Glasgow for six years.
03:24 I'm in sculpture and environmental art.
03:27 I've been really into world building.
03:29 And in this world, nature ceases to exist.
03:33 And queerness has thrived.
03:37 So it's the idea that queerness cannot exist
03:41 within the realm of capitalism.
03:44 So I'm just imagining that there's been an apocalypse
03:48 and the world ended.
03:51 And when the world ends, only plastic is left.
03:56 And out of plastic and out of the rubble,
03:59 queer people come out and perform a ritual in order
04:05 to understand the nature that they've never met before,
04:09 that they've never seen.
04:11 So I've made about 10 costumes for different people
04:15 in my community.
04:16 They're all made of melted plastic, recycled plastic.
04:21 And they all use mirrors in order
04:24 to get transported into another realm.
04:29 So that's just part one of this film.
04:31 They've not been transported yet.
04:34 So far, what I'm showing here is the ritual for them
04:38 to get to that other place.
04:40 I think my work is more about home.
04:44 Because I've changed home many times in my life.
04:48 My dad was a traveler.
04:50 And I kind of always wondered how and when to feel at home.
04:57 And for me, for the first time of my life in Scotland
05:00 and in Glasgow with my community and my queer community,
05:03 I feel like I can be myself and feel at home with those people.
05:07 And I feel like I wanted to celebrate them.
05:11 And I feel like more than just creating another world,
05:15 maybe I'm just welcoming people into mine
05:18 and into the world I've created here.
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