The small cruelties of a subliminal fog roll in. A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colorful creatures question their futures and navigate the longing for connection.
This is the fifth collaboration between Jessie Mott and Steve Reinke.
After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention.
In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.
In this humorous short, Astrid Hadad, dressed in traditional folkloric costumes and religious garments, sings and performs to a Chilean love ballad before a painterly background of fantastic landscapes. Her hyperbolic posturings enact the song’s tale of a woman’s heartbreak. This satirical presentation of femininity references pathos and the role of the victim. Cuevas’s use of animation and video montage adds a playful tone to the heartfelt melodrama of love songs, familiar touchstones in all cultures.
A summer sojourn is fleshed out for maximum solar exposure in this video travelogue of sun, sea and epidermal exhibitionism. The states of mind and geographic localities are awash in a flow of imagery that rushes in on a tide of both Pacific and Atlantic origins. The people and places that bathe in this magnificence add both a sacred and profane froth into the salty brew; a witches brew of sculpted creations bubbling up with volatile violations from the depths of unfathomable needs.
Covid Messages is a video in six parts, based around broadcasts of Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to eliminate the virus through the use of magic spells and rituals. While the pandemic spreads and the death toll rises, the Prime Minister makes repeated errors of judgement. Exasperated by his many mistakes, the spirits of the dead rise up and intervene.
Brave new shopping worlds are being created. What have mall owners, architects, surveillance technicians, and supermarket workers done to turn human subjects into pure streams of consumers, into the perfect inhabitants of shopping mall paradise?
George visits his mother in the hospital on Halloween and contemplates the autumn colors.
This title is also available on The World of George Kuchar.
A party of past students illuminates this diary of boxed dreams, as those enclosed face the real world and nurture into existence the future people of the next millennium.
The daughter of a famous detective infiltrates a vice ring of white slavery, only to become ensnared in a sordid world of Burlesque houses and subterranean urges best left buried under law-enforcement paperwork. A large and exuberant cast brings this San Francisco Art Institute production into full bloom as the evil fruits are plucked into view in full color and big sound! Many guest performers from the outside world graced our soundstage for this one!
This is the final part of a trilogy about the tribulations of Sherri Frankenstein (at least I think it's the last of these atrocities). Made with my class at the San Francisco Art Institute, this fast paced cheapy looks like a million bucks worth of eye candy as it relentlessly snowballs to a chilling climax. The thrills are cheap too as the plot details the heroine's joy ride through Hollywood and her detour into a cathedral of corruption. Fun for the whole, dysfunctional family!
In this classic example of the Kuchar style, George travels to the Bronx to visit his mother and to see old classmates from art school. “We see what they have become or are becoming or already became.”
This title is also available on The World of George Kuchar.
Tippi the she-devil gets a little playmate of the feline persuasion while I dangle about the puppet populated premises with a head full of scholastic memories that delineate several teaching gigs featuring the fruits of our intercourse.
Something primitive projects into the present to upset the lives of a group of people delving into past-life regression techniques. The hairy intrusion is both attractive and repellent as he strips bare a suburban carcass composed of Christian pretensions and pagan proclivities.
Alone in my room at the El Reno Inn, way out west from Oklahoma City, I face a big picture window that overlooks the refuse of Route 66 to ponder the fate of trailer trash in Twisterville. The skies darken and rumble to the sounds of Mother Nature in heat while Big Brother TV suffers an anxiety attack. Lightning flares up while rain pounds down on the terminal tourists of a raging planet. Only the ice-cold veneer of a sculpted ceramic gives comfort to the terrorized tenant who sweats in sequestered silence while the sky falls down.
In this interview, American artist, independent curator, writer, and experimental filmmaker, Vaginal Davis reflects on her initiation into the punk rock and art scenes of Los Angeles during the 1980s and 90s, her stylistic influences, and her ongoing efforts to theorize queerness and visuality. Caught between the opposing poles of Hollywood classicism and the rawness of punk, Davis defines her unapologetically gender-bending, campy, and at times aggressively critical performances as scenarios, rather than spectacles or entertainment.
Deaf Dogs Can Hear is an autobiographical work that traces the tragic yet humourous episodes of the artist as a young girl, and her pet chihuahua. Her love for this deformed and unattractive pet only grows deeper as one tragedy after another befalls the dog and the creature becomes repulsive to all eyes but its owner's.
A prop-filled encounter with a young fantasy filmmaker eventually becomes muffled by an earwax problem I develop; but not before the viewer is dragged through Studio 8 where my class and I are concocting a sordid, high school melodrama.
This time, the call of the west sends me packing to Oregon, California and Arizona. You too can experience the dizzy delights of a whirlwind tour and witness wonders seen through the savage eye of a Sony camcorder. Actually, the adventure is rather mellow in mood and should spare the viewer a need for the ever looming and inevitable barf bag. See Phoenix in all its rocky royalty! Relish in the student clogged ivy halls of Portland! Immerse yourself in a technicolor rendering of Irvine, California.
Defiantly humorous in its tone, Delirium reflects Faber’s mother’s personal experience with what has been classified as “female hysteria.” While never reducing her mother’s condition to a single explanation, Delirium firmly and convincingly links her illness to the historically embattled position women hold in a patriarchal culture. The video layers haunting imagery and humorous iconoclasm, referencing everything from television episodes of I Love Lucy to Charcot’s 19th Century photos of female hysterics.
A big colorful rendering of the monster now terrorizing Puerto Rico and the hot-blooded people who have to deal with its deeper mysteries. Made with my students at the San Francisco Art Institute, the video takes the viewer to our never-never land of constructed fantasy, loaded with visiting personnel who dropped by the class and got sucked into the venture. Lots of torrid, tropical mayhem and monsters.
A high-pitched melodrama featuring the noise saturated spiritual journey of a vegetarian youth embroiled in big city shenanigans and occult extravaganzas. Along the way we meet a crippled and lovely conservationist, fiery latin lovers, a Loch Ness monster and a wide assortment of characters from the gutter and the galaxy. There is a seance and a seduction at Castle Kebrina along with a glimpse of Armageddon and a repetitive message from the future that booms new age nuances into the snap, crackle and pop stew.
The genius and mystique of Edward D. Wood, filmmaker, actor, and author, permeates this excursion into the exposed underbelly of cookie-contaminated corruption and moral bankruptcy. Come along for the ride and experience the black and white world of bagged confectionary and bruised libidos as the 1940s meets the 1990s in a head-on collision of balding Bozos and blubbery bimbos. Fasten your girdles and seatbelts for the gut-expanding excursion to excitement.
Nazlı Dinçel’s hand-made work reflects on experiences of disruption. They record the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Their use of text as image, language and sound imitates the failure of memory and their own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United States at age 17. Dinçel resides in Milwaukee, WI where they are currently building an artist run film laboratory.
