With sampled image and sound sequences referring to one another in a precisely calculated rhythmic alternation on four projection surfaces, Călin Dan draws a portrait of the city of Bucharest. Dilapidated tower blocks next to estates of terraced houses, Roma families camping with their horses and carts in the wastelands in the midst of the city, broken streets and new shopping paradises--today the formerly communist Bucharest is a city in upheaval, full of social contradictions and oppositions.
PASSIONS run deep and LOVE flies high on Cupid’s arrow when ‘Boys’ are the desired target.
Do walls have ‘tales’ to tell? Are ghosts the only ’friend’ one has on sleepless nights when the mind whispers to the soul and a beating heart drums its deeply felt message out into the darkness?
- See what the drum discovers, and you will know why.
Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.
The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall. Cut the Parrot is three grotesque comedies in one: the stories of Gerry, Susan, and Albert. Songs of hope and heartbreak spill from the mouths of the performers. The order of impersonation rules.
Take a trip into and out of the body to ponder Time’s endless depths where Earth spirits roam and inner Demons lurk, and find secrets that hide behind the "self". Its here for you to see.
This title comprises Moon Lit Vows (2017), Boy in the Mirror (2015), Celestial Horizons (2019), Book of the Angel (2017) and Floating on the Currents of Consciousness (2019) which were compiled into this form by Mike Kuchar in 2022.
A world with no escape... from the surveying cameras, an eye, a presence, always there to control our minds and movements. Looking even for the most secure little movements of life.
This title is also available on Half-Lies: The Videoworks of Ximena Cuevas.
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.
This project on family violence, spanned two years and several sites across the country, and involved wrecked cars in sculptural installations. The cars were reconfigured by women and children who suffered violence at the hands of loved ones. Linked to each other through common experience, women from a domestic violence shelter in Pittsburgh, a family violence program at Bedford Hills prison, children from shelters in Niagara Falls and Cleveland, teenage girls in Oakland, and politicians on Staten Island all collaborated in making the cars.
Based on accounts of girlhood anorexia, Swallow unravels the masked and shifting symptoms that define clinical depression. With a densely layered soundtrack, humorous and painful scenes of potential psychological breakdown reveal a critical loss of meaning, and the failure to diagnose mental illness. Weaving narrative, documentary, and experimental strategies, Swallow intimately traces the awkward steps from unacknowledged depression to self-recognition.
In i am wise enough to die things go (2023), Syms explores the idea of psychosis through an unnamed protagonist reciting a monologue. Responding to the work of iconic animator Chuck Jones, Syms transfers the form and narrative structure of an animated short into live-action. Working with the inherent challenges and restrictions brought about by this sort of translation, she delves into both the breaking up of images and the breakdown of the psyche.
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
In shimmering rainbow hues, iridescent as the aurora borealis, this meditative presentation contemplates the mechanics inside existence. You’ll se a Soul’s loneliness and feel the bodies’ longings, while discovering answers to questions that haunt minds on sleepless nights…. It is the flesh of thought that reaches out into cosmic distances to touch the truth inside all of us!
The horizon, where the sky and the earth meet, is always elsewhere, a promised place where these two elements come together. A metaphor, an orienting, a promise of transition, change, transcendence. A place where the corporeal and spiritual meet, or are cleaved apart.
The tale of a fanatical tool collector who recreates the world according to a logic dictated by his cross-wrench. An examination of the abstract technology of sanity, Stanley inverts the documentary portrait—incorporating interviews, found footage, weapons catalogs, and alligator wrestling. An exploration of masculinity and instrumental power as wielded both in the tool shop and in the corridors of the Pentagon, Stanley underscores the larger significance of daily gesture in the production of meaning.
Vera is an assisted self-portrait of consumption. The subject is a woman whose passions and compulsions are of spending and loss, taste and subjectivity.
An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at night, the film confronts the hermetic nature of white-collar communities, dissecting the fear behind contemporary suburban design. An isolation-based fear (protect us from people not like us). A fear of irregularity (eat at McDonalds, you know what to expect). A fear of thought (turn on the television). A fear of self (don’t stop moving).
A hypnosis-inducing pan-geographic shuttle built on brainwave-generating binaural beats, Deep Sleep takes us on a journey through the sound waves of Gaza to travel between different sights of modern ruin. Restricted from travel to Palestine, I learned auto-hypnosis for the purpose of bi-locating. What results is a journey, recorded on Super 8mm film, to the ruins of ancient civilizations embedded in modern civilization in ruins, to a site ruined beyond evidence of civilization.
Are Reese and Ryan in "God's Eden," – or is it "Darwin's Jungle" they populate?
Prompted by Apple’s Siri to ask questions, Magenheimer takes the AI invitation seriously and invents a long list of queries. We see them appear one by one over scanned images from Architectural Digest magazine’s idealized interiors of 1981, the year Magenheimer was born and the year Ronald Reagan became president.
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.
Torn over the pressure to perform for his audience, Acconci fantasizes about "a dancing bear" who takes his place, performing in the spotlight, doing what others want, "what I always had to do." The viewer is placed in the position of an authority or analyst, above Acconci’s head, listening to his hallucination. This fantasy becomes increasingly erotic as Acconci unburdens himself psychologically and reveals his contradictory need to control and to be controlled.
This title was in the original Castelli-Sonnabend video art collection.
suicide is 70 packed minutes of a fictional filmmaker's crazed ruminations on travel, family history, death and sex as she traverses a world of malls, airports and train stations, chronicling her fiercely hopeful search for a reason to continue living.
Riffing on relations between grief, love, bodies, and embodiment, this short film features two former professional Ringling Bros. and Barnum & Bailey Circus clowns. A Dark Love Story for Clowns weaves together a loosely adapted William Faulkner story with a spiritual ritualistic practice in order to explore the performativity around ethics of care and love.
In this interview, American filmmaker, teacher, and video artist Peggy Ahwesh (b.1954) delves into the key figures and primary texts that have inspired her work in Super-8 and video since the 1970s. She discusses her early influences as a member of the underground art scenes in Pittsburgh in the late 70s and Soho’s Kitchen in the 80s. Ahwesh’s experimental hand-processing and controversial subject matter can be traced to feminist theory, and her exposure to underground experimental films, including works by Werner Herzog, George Amaro, Kenneth Anger, Jack Smith and her teacher at Antioch College, Tony Conrad.
