Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years.

Produced in 1974, and restaged in 2002, near Pilot Butte in southwestern Wyoming.

The artist makes a pilot light using ice, which he has fashioned into a magnifying lens to start a small fire.

This piece was originally shot using 1/2" open reel video and later incorporates edits from DV video.

Pitayas are the sacred Mesoamerican fruits that grow on Mexican nopales, an ancient plant. This is the colorful body, the vibrant blood and the radiant skin of the open life.

In imaginary landscapes where trees talk and frogs turn to handsome princes, Pizzly Bear is a story of a cross between a Grizzly and Polar Bear. Like in so many fables, the story is based in fact and this small animal is an archetypal stand-in for humanity.

Created and commissioned for Little Sun, Fast Forward short film series exploring a sustainable world. For this project over 100 interviews were conducted in five destinations throughout Ethiopia; teachers, brokers, farmers, students, engineers, carpenters, soldiers, merchants, taxi drivers, cashiers, security guards, housewives, managers, nurses, designers, cameramen, accountants, pharmacists, architects, mechanics, technicians, retirees, and more.

Structured on the central metaphor of Shakespeare's The Tempest, this work alludes to the position of the individual in (post) modern culture, and the tension between natural and technological power. Orchestrating these forces in a foreboding premonition of upheaval, Hall tempers his role as an omniscient Prospero with the passive condition of the contemporary individual. Natural and urban landscapes are juxtaposed with close-ups of his face, howling as if in pain.

If second lives have grown into the landscape of social network space and avatars engage a full range of human emotions and experience, it follows that they would eventually encounter existential questions. A plot of land is purchased in the online network of SecondLife and a simple questions is asked: Where do discarded 3D objects go and can we build a dumpster to accommodate them? To find out eteam set aside a year to let this virtual land use problem unfold and what is captured in Prim Limit is the lived experience of avatars managing and recording this dumpster.

I reconcile the violent act. Project Gasbuggy pertains to the site where the first of three nuclear bombs were dropped a mile into the earth as part of a government collaboration with natural gas companies to see if nuclear energy could be used to free up natural gas in the earth. As a result of the radiation from each explosion, the land was labeled a dead zone where no harvesting or development of any kind is allowed.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

This is the hauntological image of the sacred Mesoamerican snake. The contemporary flickering of his shamanic presence. Part of the Hauntology series.

A daily chronicle of the Ashaninka community during the rainy season, recorded on video during a workshop in a village on the Amônia River in the state of Acre. The involvement of the filmmakers with the Ashaninka community makes the film go beyond a mere description of activities, reflecting the rhythm of the village and the humor of its inhabitants.

Direction and photography by Valdete, Isaac, and Tsirotsi Ashaninka, Llullu Manchineri, Maru Kaxinawá, Nelson Kulina, Fernando Katuquina, and André Kanamari; edited by Mari Corrêa.

In Ashaninka with English subtitles.

Designed as the centerpiece of Eiko & Koma’s three-year Retrospective Project, Raven is a radically scalable work. It can be performed in a theater, a gallery, outdoors, or at any other special site, and its length can vary depending on the context of the presentation. Raven’s genesis is in the concept underlying Eiko & Koma’s 1991 Land. The earth is precious in part because it can be unyielding. The landscape does not squander its riches on us; we have to negotiate our survival.

Reclamation is a documentary-style imagining of a post-dystopian future in Canada after massive climate change, wars, pollution, and the after-effects of the large-scale colonial project which has now destroyed the land. When Indigenous people are left behind after a massive exodus by primarily privileged white settlers who have moved to Mars, the original inhabitants of the land cope by trying to restore and rehabilitate the beautiful planet they belong to.

Eiko edited this video to illuminate, in fast pace, her solo performance project A Body in Places. The red cloth she often uses in her performance is used as a visual link between different places and communities where Eiko performed.

The seemingly groundless debate as to whether a river is "riley" or "roily" can be interpreted as an example of language's descriptive failure. A shouting match over how to describe the river has no effect; the face of nature continues unchanged. Riley, Roily, River graphically illustrates the gap of meaning that exists between the natural, empirical world and the language we use to describe it.

This is the ritual consecration to the moon, on whose eroded surface the colorful blood of the fruits is poured, which is also our pulsating blood disseminated in the celestial body of the moon. Sparkling bleeding body that crosses the dark space of our present times. Part of the Lunar Films series.

“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”

-- Graham Harvey, Animism

Trance dance and water implosion, a kino-line drawn between secular freak-outs and religious phenomena. Filmed in a single take at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist's everyday are revealed as time itself is undone. Rites are the new Trypps -- embodiment is our eternal everything.

Filmed during a trip sponsored by UCLA CAPS in 2019.

Camera by Alexis Moh.
Edited by Eiko Otake.

In Rotten Apples, George Kuchar explores the themes of life, lust, decay and death, all through the act of grinding apples for cider. As Kuchar walks around an orchard with his friends in an attempt to enjoy the natural beauty of their surroundings, his creeping hand gestures make it clear that the threat of destruction is always looming. However, this destruction can also be understood as the simple transformation of a thing’s physical state.

This video was originally created to be used as a projection in a performance of Bodies on March 29, 2019. DonChristian Jones and Eiko performed Bodies at the public plaza in front of Columbia University's Lenfest Center for the Arts on 125th Street between Broadway and Riverside Drive. The footage was shot at the same location days prior to the performance. Eiko re-edited the piece in May 2020.

Camera and edit by Eiko Otake.
The footage of Eiko's performance was shot by Alexis Moh and Sumie Yonei.

A meditation on maritime trade routes, SEA – SHIPPING – SUN is a short film directed by Tiffany Sia (b. Hong Kong) and Yuri Pattison (b. Dublin) shot over the span of two years to render a simulated duration of a day, beginning at twilight and closing at sunset. The film is set against shipping forecasts from archival BBC Radio 4 broadcasts. The sun emerges and disappears, again and again.

A meditation on maritime trade routes, SEA – SHIPPING – SUN is a short film directed by Tiffany Sia (b. Hong Kong) and Yuri Pattison (b. Dublin) shot over the span of two years to render a simulated duration of a day, beginning at twilight and closing at sunset. The film is set against shipping forecasts from archival BBC Radio 4 broadcasts. The sun emerges and disappears, again and again.