Mike Builds a Shelter is a performance comedy with apocalyptic overtones, a narrative extension of Smith's installation Government Approved Home Fallout Shelter/Snack Bar. In this darkly humorous morality play, Smith contrasts Mike's rural adventures in a pastoral landscape with his home fallout shelter. Throughout, the dual narratives are intercut with episodes of Mike's Show on cable, in which Mike's banal domestic activities are eagerly if passively received by living-room TV viewers.
In this video, Glennda Orgasm and Chris Teen travel to Washington, DC to attend a feminist art exhibition titled Walk the Goddess Walk at the District of Columbia Arts Center. The pair talk to the owner of the gallery, artists included in the show, and attendees, including Francy Caprino, Teena Cromwell, Andrew Melon, Camille Paglia, and Joseph Virgilio.
An episode of Glennda and Friends, hosted by Glennda Orgasm and Chris Teen.
In Takeover of the Empire State Building, Brenda and Glennda visit the top of the Empire State Building as it is lit up in lavender for Gay Pride. They interview both tourists visiting the building, and activists who have come to see the lights. Ultimately, they question whether this gesture is adequate, or if there is still a way to go until equality is achieved.
In this episode of The Glennda and Brenda Show, Glennda and Brenda take over a public bus to protest discrimination and violence against queer people who are "out and outrageous". They pick up many other out and proud friends to stage this queer sit-in.
Commissioned by Boston Dance Umbrella, this work was created during a month-long residency in Boston. Clayton Campbell painted a mythological scene of the river that a dying person crosses to reach the world of the dead. The piece was first titled as Eye Below but later changed to By The River.
Created at Eiko & Koma's home in the Catskills and set to Gamelan music, Grain was first presented during a month-long season in an East Village loft. Charles and Stephanie Reinhart were among the ten audience members one night and invited Eiko & Koma to the American Dance Festival that year. Since then, the work toured widely.
Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.
"In the late 1980s, as violence continues in the north of Ireland, censorship is increasingly being enforced on British and Irish television. In response, broadcasters have entered into a blackout strike, occupying several stations and transmitting a programme bringing censored voices back onto the airwaves."
Introduces the audience to the rockin' talkin' pony, who provides musical accompaniment for a series of Texas country-dance lessons.
This title is also available on Ben Coonley: Trick Pony Trilogy.
...As the Moth is lured to the candle's flame, so it is that a group of misfits enter a dark house to converse with shadows amid the dust of Time.
—Mike Kuchar
This video was produced as a part of Eiko & Koma's exhibition Time is not Even, Space is not Empty which opened at the Zilkha Gallery in Wesleyan University in the fall of 2009. Edited by Eiko with assistance of Tara Kelton and Shoko Letton, 38 Works shows the trajectory of Eiko & Koma's career through short excerpts of most of their works created between 1976 (the year they arrived in the US) and 2009 (the year they started the Retrospective Project).
"Pointing at my own image on the video monitor: my attempt is to keep my finger constantly in the center of the screen — I keep narrowing my focus into my finger. The result [the TV image] turns the activity around: a pointing away from myself, at an outside viewer."
— Vito Acconci, "Body as Place-Moving in on Myself, Performing Myself," Avalanche 6 (Fall 1972)
A re-reading/ re-construction of a Wooster Group theater production: Part I / LSD: Just the High Points, 1978
5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.
"Emptiness: I just watched your latest video, Colchones Individuales (Single Beds), Volume 1: Desolacion, and I wanted to write you about it. Oddly, Single Beds sums up much of what I have been thinking lately. In these times of speed, where everything is propelled forward at an incredibly spiraling rate, it is only in moments of pause, of inertia, that we examine what is occurring to us. Your piece, Single Beds, performs an arrested time, a succinct suspension of time. (It is in many ways a companion piece to an earlier video of yours Staying Alive).
Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out.... Im open to you, I'm open to everything.... This is not a trap, we can go inside, yes, come inside...." Acconci continues to plead in this way for the length of the tape, his mouth held unnaturally wide open. The pathological psychology of such enforced openness betrays a desperate struggle to accept and be accepted by others.
This tape examines the meaning, impact, and future of the early-1980s avant-garde through interviews with artists (Scott B., Robert Longo, Walter Robinson, Michael Smith), an art dealer (Helene Winer, Metro Pictures), a museum director (Marcia Tucker, The New Museum of Contemporary Art), and an art historian (Roselee Goldberg). “Whenever you feel confident that you know what’s happening at the outside edge, something’s always happening that you don’t know about. The avant-garde, if it exists at all... is determined by the artist, not the peripheral people like myself,” Tucker says.
Ana Mendieta performs a kiss in Old Man's Creek with another performer.
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.
The final film in Friedland’s Movement Exercises trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumentalization for capitalist management. Amending the choreography of team-building and the visual grammars of corporate video, Trust Exercises braids together movement from three work spaces: a fictional start-up retreat, a body work session as interview, and a dance rehearsal.
Hokey Sapp Does SPEW features Kate Schechter performing her invented media personality Hokey Sapp interviewing some of the luminaries at SPEW: The Homographic Convergence, a queer zine convention hosted by Randolph Street Gallery in Chicago in May, 1991. SPEW brought together artists, writers, editors of zines, performers, video-makers, activists, and bands from throughout the US and Canada, and marked the explosion of queercore subcultures through unabashed fashion, outrageous politics, humor, and joy.
Shot during the fall of 2009 in Wesleyan University, this short documentary follows Eiko & Koma as they construct the first exhibition of their Retrospective and ponder upon questions the project asks. Directed and edited by Joanna Arnow.
Linda Montano is interviewed by Janet Dees, Curator at the Mary and Leigh Block Museum, Northwestern University.
Since the 1960s, Linda Montano has aimed to blur the distinction between art and life with her performance and video work. Delving deep into subjects like death, spirituality and personal trauma, she is seen as an influential figure in feminist performance art.
A garage in central Portland, Oregon is the setting for this conceptual re-working of James Joyce’s Ulysses. The garage owner Jay, mechanics and neighborhood denizens serve as narrators, reading lines from the novel that focus on death, love, social inequality and the relationship between individuals and the universe.
Caught by video on a mountainside, Swiss cows compose and orchestrate a bell sonata.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
This collection of five shorts includes "These Are The Rules", a frightening incantation of "dos and don'ts" delivered by a red-faced fascist figure played by Hall. Each unique video "song" conveys and elicits a psychological space that is at times beautiful, and often disturbing. This tape also includes: "Fear of Falling", "Sounds of Glass", "Through the Room", and "Leaning Forward Carefully". "
