Experimental video art shot in the Wallingford neighborhood of Seattle
A young woman is fed up with the usual consumer's television and begins to make her own television, or more correctly, closevision. She is now a reporter who wanders around Berlin with her camera and 'telecasting apparatus' on her back. Her livingroom has been transformed into a studio and here the different programs are assembled and aired: statements, interviews, realistic and phantastic programs.
Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.
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A filmmaker plays with diary-docu and fiction as his camera joins his ventures into a phone dating club. Bored to death, hormones running, and desperately wanting to talk to someone his own age (preferably a girl), he walks into a local phone dating club. Can he hook up with someone? Borrowing the form of a diary-movie, the director unfurls an unpredictable and imaginative look into his own persona. 8mm experimental film by Murakami Kenji, the film that made his name.
A woman attends a party where she is observed by and finally meets a mysterious guest.
Peter Hutton's New York trilogy. An act of urban archaeology, a chronicle of indelible impressions of the city.
This one is a collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The soundtrack supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film.
Seven images, each staging their own disappearance.
A new exploration of familiar places located in the region of Rhône and Isère throught an reinvention of digital nuances, a study of perceptions and fluidity around the nature of motion in landscapes and human interactions.
Inside a computer a space-time is revealed in which image and sound become numbers and motion manifests as rhythm, flow and chaos. This tracking and integration experiment removes the superficial identity of video to detect kinetic disturbances in everyday environment.
What if you rediscovered the script you wrote when you were 12? And what if you performed it with real actors, without changing a word? In this unique comedy, actors faithfully bring their director's hilariously bad childhood script to life, while their "Teacher" Michael Smallwood uproariously reacts to the chaos.
Sabine is looking for a missing image: a day that has left its mark forever and that everyone remembers but her. But maybe this absence is what allows her to move on with her life?
Gare du Nord station. Everything goes so fast. Except this train, which is already disappearing...
Otro Sol is a group of real and invented characters trapped in a film. It is also a purgatory of retired thieves that takes place on the coast of the Atacama Desert. The film is circular and seeks to invent and verify the myth of Alberto Cándia, a Chilean international thief who stole the Cathedral of Cadiz in Andalucia in the late 1980s.
Angolan director and screenwriter Pocas Pascoal reminds us that it’s time for a change, proposing through this film a look at colonialism, capitalism, and their impact on global biodiversity. We observe that the destruction of the ecosystem goes back a long way and is already underway through land exploitation, big game hunting, and the exploitation of man by man.
The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.
Film produced and directed by Ricky Leacock, Edward Pincus, and MIT Center for Advanced Visual Studies documenting the Centerbeam kinetic sculpture project and its first installation at documenta 6 in Kassel, Germany in 1977
8mm experimental film directed by Minoru Shinojima. Shot and edited by Kenji Onishi. For 40 years, Minoru Shinojima has been opposed to mining Mt. Buko and is striving to protect the natural environment and cultural ground that inhabit the local area. Idomu’s will / last request. Spiritual journey with Mt.Buko folklore and mountain Gods (Kami-sama). An important message that the director saw after surviving a near-death experience and depression. ...Why don’t the flowers grow in the right places? Where have all the cute children gone?...
From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art. Integrating semiology and mass media imagery, he employed such strategies as appropriation, deconstruction, decontextualization, sequentiality, and text/image juxtaposition. With an ironic wit, Baldessari's work considers the gathering, sorting, and reorganizing of information. “Something that is part of my personality is seeing the world slightly askew. It’s a perceptual stance. The real world is absurd sometimes, so I don’t make a conscious attempt, but because I come at it in a certain way, it seems really strange,” Baldessari says in this interview with Nancy Bowen. A historical interview originally recorded in 1979 and re-edited in 2003 with support from the Lyn Blumenthal Memorial Fund.
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