Sara Magenheimer earned her MFA at Bard in 2013 and has since shown her work internationally in Canada, Iceland, the Czech Republic, and Denmark. Her cross-disciplinary practice plays with the juxtaposition between the form and content of language, exposing the absurdity of expected meanings.
The Making and Unmaking of the Earth turns to geology as both a metaphor for and a psychic container of women's emotional states and embodied experiences of physical pain. Combining archival footage of earth processes with interviews describing mysterious physical experiences and emotional attachments, this film explores how everything we bury deep inside eventually speaks through the geology of the body.
"Mama mama mama...," a woman calls out again and again, over and over. Is it her child that she mimics, or is she calling for her own mother? A desperate video performance in the first person.
A distinguished looking man (performance artist Richard Layzell) is apparently trapped in an ever changing void of colour, locked in a power play with a perversely operated camera. A mute, caged, charismatic TV presenter he is by turns charming, menacing, educational, confused. At times he appears to have great powers. A voiceover tells us extraordinary things — how this man is special — the first man to 'have a baby'. Hallucinogenic flash-frames punctuate the colour field to give us a view of his world's disturbing and alien futuristic logic.
Kipnis describes this tape as "an appropriation of the aesthetics of both late capitalism and early Soviet cinema—MTV meets Eisenstein—reconstructing Karl Marx for the video age.” She presents a postmodern lecture delivered by a chorus of drag queens on the unexpected corelations between Marx’s theories and the carbuncles that plagued the body of the rotund thinker for over thirty years. Marx’s erupting, diseased body is juxtaposed with the “body politic", and posited as a symbol of contemporary society proceeding the failed revolutions of the late 1960s.
Revelers at a masquerade ball enter an UnderWorld of guilt, vice, pain, chaos and redemption.
-- Mike Kuchar
“Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.”
Commissioned by ICA Miami.
A mirror reflects voiceless eyes with stories to tell, ‘stories’ about feet attempting to climb steps to "perfection"....."stories" about canvasses that are traps for a caged artist who’s paint brush needs colors that will be at peace with itself.
This title comprises Angels We (2015), Feathered Hearts (2015), and Flesh and the Stars (2018) which were compiled into this form by Mike Kuchar in 2022.
There is no future in reproduction. I have no concern with any species extending itself through time. You think you have given birth to a baby, when really you have given birth to a bus driver, or tax collector. Instead I'm interested in the placenta, the real mother of us all, forgotten discarded. The softest machine, all lipids and blood, that blooms and rots like any vegetal/floral martyr. That umbilical cord did not connect you to your mother. It connected you to that most partial of objects — the placenta — part you, part mom, all martyr and garbage.
Theo Cuthand and his mother Ruth Cuthand have a candid conversation about Theo's last hospitalization for Bipolar Disorder in 2007. While Theo only knew his manic episode from the inside, Ruth had to deal with caregiving decisions and trying to find help. While they reminisce they also have to reckon with the feelings of animosity that arose between them during these events.
Co-directed with Ruth Cuthand.
The archive is not a repository of cultural memory, but of dreams, a bank of dream material. Both memory and archive embrace death, but from contrary positions. The archive is a mausoleum that pretends to be a vast garden. Memory is an irradiated zoo in which the various animals are mutating extravagantly and dying slowly.
-- Steve Reinke
‘ODDS AND ENDS’ is a dazzling patchwork of moods, lost and found, for the eye to savor.
After unintentionally leaving a boy named Paulo out of his frame, middle-aged filmmaker Cam Archer ruminates on what else is missing, and how to split from what's familiar.
Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...). This is the age of the "culture jammed" consumer preened with Friends hair, Survivor courage, and CNN awareness. A generation emptying their wallets for the most important corporate product of all: lifestyle. The psychological road trip across a slightly battered America travels at One Mile per Minute.
A young boy caught in an emotional web spun by adults must untangle the relationships that are deep as the sea surrounding him.
This title comprises State of Mind (2007) and Zoology (2006) which were compiled into this form by Mike Kuchar in 2022.
A nocturnal COVID-19 memoir.
Piano assemblage and image sequencing by Bob Snyder. Images by Sara Livingston.
The Only Ones Left (three-channel video installation*), featuring actor Jim Fletcher, weaves film noir and mafia genre references with CEO diatribes, while also exposing the conventions of the feature film climax. The three channels of video depict all plot points of the Hollywood film climax concurrently. The channels are arranged chronologically from left to right. This simultaneity draws attention to the familiarity of the subject matter and the inevitability of the violent consequences awaiting the characters.
Operation Atropos is a documentary about interrogation and POW resistance training. Director Coco Fusco worked with retired U.S. Army interrogators who subjected her group of women students to immersive simulations of POW experiences in order to show them what hostile interrogations can be like and how members of the U.S. military are taught to resist them. The group of interrogators is called Team Delta, and they regularly offer intensive courses that they call "Authentic Military Experiences" to civilians.
A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux. The narration centers on a young woman's struggle to find a relation between her body and her self as mediated by language. The text is a poetry of formal relations that carries personal and historical implications, including the desires of the woman paradoxically voiced by a male narrator. The title suggests the vivid virtuality of dreaming; scenes repeatedly refer to both reading and sleeping.
Toxic pigments of lust stain an artist’s brush as he struggles against lurid colors on the canvas of his life, – a "life" in brick jungles wit sordid, dark alleys on neon-lit avenues where he got lost… Will he, can he, find a new, unsoiled canvas on which to paint a better life?
The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.
Pandora is one who communicates to the human world the powers of the night. These are glimpses of her visions.
PANEL originated as a performance-based, multi-channel video/sound installation, drawn from a transcript of a discussion at “Schizo Culture,” the notorious conference on schizophrenia and radical politics organized by Sylvère Lotringer at Columbia University in 1975.
By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly. This physical audiovisual experience produces skewed reflections upon Love, its lyrical monstrosities, and a wounded act of disappearance.
Christmas Eve. A man alone finds someone he can talk to.
"Pétit Jesus, a man speaks in his native French about his loneliness, his desperate need for love. The content of his speech is a poem of his own creation which he holds in his hand (off-camera) and from which he recites. With tears and snot pouring from his face, and a voice wracked with sobs, his "performance" is compelling in its rawness, its stark honesty."
--Scott McLeod, Curator, Moving Stills, Gallery 44, Toronto, 2000