The New York City Independent Media Center, Big Noise Films, and Paper Tiger TV, 9.11 (28:00 min.)
Randi Cecchine, September 11 and September 16, 2001 (5:20 min.)
Jon Alpert Restaurant Pheonix (29:00 min.)
Hugh Gran, The New New York: Life in the Aftermath of 9.11 (5:20 min.)
Tami Gold and Kely Anderson, Thinking Out Loud (8:00 min.)
Paper Tiger TV, Turning Tragedy Into War (excerpt) (13:00 min.)
Guerilla News Network, War Conspiracy (4:55 min.)
Pro-TV, Human Rights: Our Side of the Story (7:24 min.)
Simin Farkhondeh, Salt Peanuts (5:00 min.)
fineArt forum’s traveling digital video program of digital and film works by artists from Malaysia, Australia, Singapore, France, and the Philippines. Organized by Nisar Keshvani.
Tan Jin Ho, A Friday’s Prayer (Malaysia)
A 3D animated film created especially to reflect the low profile, but comfortable lifestyle of local village people in Malaysia. All in a simple relaxing Friday.
Tina Gonsalves, Dissect (Australia)
These creatures don’t stop, forever eating, breathing, mutating, breeding, propagating continuously. What would happen if they were still for one second?
David Liongoren, Self-Portrait: I on Some Pieces of Paper (Philippines)
Identifying yourself on paper.
Cynthia Beth Rubin & Videochroniques, Recovered Affinities (France)
Recovered Affinities is an exploration of the strength of cultural ties. The various visual elements are based on references to historic sites from the Moroccan Jewish community. Through the processes of the computer, they are mixed with references which show the influence of Islamic culture.
Charlene Shih, Women (Taiwan)
Women was created with ink on rice paper, using Chinese brush painting techniques but with
controversial content and a contemporary style.
Raewyn Turner, Imagine (New Zealand)
Turner translated the lyric phrases of John Lennon’s song, Imagine, according to Goethe’s Theory of Psychological Colors. This work was made to be shown on a TV monitor to emulate the flickering colors from TV sets in domestic environments. The sound track was made by Alexei Shulgin, and assistance with computer animation came from Rolando Ramos.
Irina Goundortseva, Cog (Australia)
A unique soul faces the closed-mindedness of his mechanized society.
Kathy Smith, Indefinable Moods (USA)
In this work, the artist is exploring symbols and landscapes in nature and linking these to the
psychological hopes, fears and desires that exist in every culture. Carl Jung stated that ‘the collective unconscious refers to that level of our psyche that is the repository of inherited qualities and potentialities, and we come into life with it as part of belonging to the human species.’ In this work, the artist is trying to convey the universal symbolism of dream landscapes and the relationship of the human psyche to the environment regardless of its physical location or form.
Michel Kao, Eldred Tjie, Andrea Chan and Nicholas Liaw, Derman (Singapore)
What happens when you have two doors and a little blue guy in funny shorts? A cute comedy with its ups and downs of mindless fun.
Koh Siang Leng, Kek Li Ching, Lee Beng Kuang, James Lee, Wong Tuck Yin,
Against the Tide (Singapore)
Against the Tide is about the Sea Turtle’s endless race for survival. It presents in a strong artistic and dramatic fashion, mankind sometimes creates an imbalance in the natural cycle of Earth. Featured in Comgraph 2001 (SIGGRAPH Singapore)
Tan Pin Pin, Microwave (Singapore/USA)
Microwave is simple yet riveting – insound.com. One idea, one shot, one surprise. So simple yet so rich. A gem. – Doubletake Documentary Film Festival
Gabriel Teo Eng Giap, Sanctuary (Singapore)
The mystery of our existence sparks the creation of this animation. The experience of life could just
be a play on our subconscious. The beauty and sparkle of Asian cultures flow free in our inner
“sanctuary”. The beauty of life lurks within us.
Featured in Comgraph 2001 (SIGGRAPH Singapore)
Shela Wong, Kolla Effaroy, The Adventure of Cepe (Singapore)
An evil professor, Dr. Evil and his sidekick, Chickeen want to control the world. They operate from
the most unlikely hideout in the thick of Bukit Timah jungle in modern Singapore. He wants to take
control of the world and develops a transmitting device to turn people into zombies. The widespread use of mobile phones presents a unique opportunity for him to execute his evil dreams. Hero dog Cepe, saves the day.
Featured in Comgraph 2001 (SIGGRAPH Singapore)
Chen Lin, The Wishing Tree (Singapore)
Combination of Hong Kong comic style drawing with Japanese animation. The film conveys to the
audience that the world is engulfed with hope as long as you are willing to live bravely and
courageously for love.
Featured in Comgraph 2001 (SIGGRAPH Singapore)
In celebration of fAf’s 15th Anniversary, editor-in-chief Nisar Keshvani curated fAf’s inaugural traveling program showcasing works of young and emerging artists from around the world and displays the rich cultural digital content developed daily. Premiering at the Brisbane Multimedia Art Asia Pacific Festival and Digital Media Festival (Manila) in October 2001, the program travels to various global venues before closing at the 15th Singapore International Film Festival in May 2002.
fineArt forum (ISSN No: 1442-4894), is the longest running arts magazine on the Internet. Its primary mission is to inform new media arts and technology communities worldwide of the latest events, developments and opportunities in this field. The magazine services and covers all the fine and performing arts.
Organized by Euridice Arrata.
To celebrate Art in General’s 20th anniversary, this program features some favorite works from the nineties along with some newcomers. In looking through the video files from the last decade at Art in General, there is a consistent interest in the performance genre. At the center of the works shown in this program is the artist’s own body, mediated by video and other media technology.
Janine Antoni, Loving Care (1992-96, 11:00 min. Excerpt from January 7, 1996 performance, Matrix, Wardsworth Athenaeum, Hartford, CT)
In this video documentation of Janine Antoni’s well-known performance, Loving Care, the artist “paints” the floor of a gallery with her hair, using hair dye. Her adaptation of action painting and performance art of the 60s and 70s is recast in a reclamation of the gallery space.
Cheryl Donegan, Head (1993, 2:49 min.)
Head certainly inaugurated a wave of video works characterized by its low-tech simplicity, based on the performative action of the artist. Here she confronts sex, fantasy, and voyeurism in an erotic routine performed to pop music.
Lucy Gunning, Climbing Around My Room (1993, 8:00 min.)
The camera follows the protagonist, wearing a red dress and barefoot, who in a feat of domestic athleticism uses every available doorknob, clothes hook, wainscoting, window ledge, bookshelves, etc. to edge her way around the perimeter of an ordinary room.
Sandra Vivas, Eu Sou Una Puta Culta (1994, 4:00 min.)
In I Am an Intellectual Whore, Sandra Vivas addresses the viewer directly and gives a deadpan performance of an apparently absurd and exhibitionist routine in order to contest notions of women as sexually passive.
Jocelyn Taylor, Beauty Speaks (1997, 6:00 min.)
The question of beauty and value in relationship to art making are at the center of Jocelyn Taylor’s Beauty Speaks. Here the artist walks down a countryside road. Appearing within a pastoral painting-like landscape the artist dreamily relays her anger at how she and her work are stereotyped.
Astrid Klein, Bad Dreams (1997, 5:30 min.)
Klein engages the recall capacity of experienced film and TV viewers. In Bad Dreams, the artist has a conversation with a fictional counterpart, interwoven with fragments of dialogues and sounds taken from films and TV series.
Dave McKenzie, Edward and Me (2000, 4:30 min.)
The piece is a performance based on an actor’s small gesture from a scene in a Hollywood movie. The artist takes the gesture, something which most likely had required numerous takes to capture, and turns it into a spontaneous and enthralling dance.
Adriana Arenas, The Garland (2000, 3:28 min.)
Donning a sequined dress, Arenas performs in front of the camera as a pop song diva whose face is never seen. The video oscillates between the decontextualization and the pleasure produced by the cliches of romantic Latin-American tunes.
Guy Smit, Stand Up: In Defense of Painting (1996, 6:00 min.)
Taking on the genre of stand-up comedy and lampooning the super-star egomaniac artist of the 80’s, Smit creates the toxic Jonathan Grossmalerman— “An artist who can articulate his desires and act upon them. A man who understands his power and how to wield it.” In this video we get to see his first attempt at stand-up, a whole new medium for him to excel in.
Kristin Lucas Testing Results (2000, 6:10 min.)
In these episodes created while she was in Japan, Lucas is seen within a playful yet alienating
landscape of global pop culture and consumerism. Snatches of radio mix with video games and sales pitches on the soundtrack, as we catch Lucas’ image, distorted by surveillance cameras or
fragmented by the odd angles of electronics store display monitors.
Esther Harris Morning (2001, 2:37 min.)
Here the body of the artist is minimally exposed. At the start of a day, Harris’ left hand alone explores the feel of her bed sheets and blanket, trying to locate the trace of a dream, or another dreamer. After a while, the lazy soundtrack gives way to birdsong, and the focus shifts out of the window to look at the trees, before returning to capture the beginning of the day.
Special thanks to Flat, Greene Naftali, Pierogi 2000 and Roebling Hall.
Cooking performance by The Cook Sisters, Carrie Dashow and Tali Hinkis.
In the Cook Family’s real time performances, The Cook Sisters, Carrie Dashow and Tali Hinkis, combine diverse communication technologies, video mixers, visual processors, and edible items with live cameras, stoves, and computer feeds to alter and question the existing space as it is simultaneously captured, mirrored, and consumed.
Collaborating live with sound siblings and food experts from around the worlds, ranging form noise musicians, French and Jewish cooks, DJ’s, psychologists, and opera singers. The Cook Sisters create an overstuffed audio visual interchange. One sister mixes while the other cuts, cooks, builds, and animates inanimate objects, transmitting and projecting this hybrid visual imagery back into the live performance space while enabling a dialogue between performers, the physical space, and the audience.
Directed by Keiko Tsuno of DCTV.
Emmy award-winning producer Keiko Tsuno and Professor Peter Kwong take us on an insider’s tour of this bustling street, where immigrant businesspeople are caught between the forces of the Law and a street with a law of its own. For over a century, new immigrants have expected Canal Street to furnish the American Dream, to provide an opportunity to work hard and build a future.
Awards: National Educational Media Network Apple Awards, Film and Video Competition, Gold Apple Award
Organized by Art in General’s Video Advisory Panel: Anita Chao, Anne LePore, Rachel Melman, Ioannis Mookas, and Jeanine Oleson.
Michael Lasater, Passing Figure (1999, 5:00 min., IN)
The figure of a woman in forward motion emerges from black. Again and again, she appears in numerous planes and aspects. New images of her materialize briefly where these planes and aspects coincide, artifacts of her ceaseless forward motion.
Charmaine Wheatley, Centrefolds (2001, 5:00 min., NY)
Young Lee and Clifford, Dress You Up in My Love (2001, 4:00 min., NJ)
A short performance-video of two people dressing each other on a covered bed.
Dana Levy, What I Saw There (2001, 4:30 min., Israel)
A short video about voyeurism. The work shows girls (footage filmed at a synagogue on a Jewish holiday, the girls are really watching the religious men dancing below) looking at others but actually seeing a reflection of their own lives, inner selves, fears, and fantasies.
Susana Vidal, Making My Way (2000, 4:00 min., Spain)
A high-angle shot video that shows a leveled, sandy surface on which the artist, as if guided by the tune of an oriental melody, walks in a spiral and leaving her footprints on the ground. The artist leaves traces of her life, only to return later to erase herself.
Lisa Oppenheim, Hall (2001, 2:00 min., NY)
Hall investigates the way in which specific places act as repositories for memory. Walking up and down the hall of her childhood building, the artist is reminded of narratives, however fractured, of the people around whom the memories of that place have been created.
Sarah Smiley, Frolic-Audience Participation Display (2001, 4:00 min., MA)*
Courtney Egan, Chaos Hag 3 (2001,1:00 min., LA)
Chaos Hag 3 is the paranoid Hag. Multiple hands caress body parts while eyes dart fearfully. This Hag expresses the panic involved in the mundane decision-making that women often engage in on a daily basis.
Perry Bard, Week In Review (1999, 4:00 min., NY)
The space between political and personal, public and private is examined in a raucous performance where the simultaneity and schizophrenia of the news become a barometer of shifting identities and boundaries.
Anna Van Someren, Certain Things (2001, 3:00 min., NY)
The artist weaves together bits of tense phone conversations with her mother, intimate images of them playing with a spy camera, and found footage of a patient undergoing electroconvulsive therapy to creak a short, but intense, foray into the issues surrounding medicated female identity.
Claudia Valdes, Bardos (2000, 4:02 min., CA)
Bardos is a Tibetan Buddhist term that refers to highly charged moments in our lives—moments of transition such as in birth and death. Through the juxtaposition of abstraction with figuration my intent is to evoke the quality of attention to life that these transitional moments and charged events invoke. These moments call the viewer to attention by their contexts and also through the sensation of the simultaneous compression and expansion of time.
Maria Venuto, She Sleeps with the Fishes (2001, 5:00 min., NY)
According to dream analysis theory, dreaming of many little fish reflects concerns, problems, difficulties that need to be thought about. This tape depicts a recurring dream I’ve had for the past ten years.
Michele Beck and Jorge Calvo, 01;09;03 (2001,1:00 min., NY)
01;09;03 is a digital video work which uses performance, sound, and manipulated image in order to create a window into dream and memory. The video focuses on a small, edible house and the response it evokes from the performers.
Sharon Paz, And I Feel like I Just Got Home (2001, 4:00 min., NY)
This work explores the borders between the public and private by observing the structure inside a family cell. Layered in one frame, the image of eating and speaking provides insight into the varied psychological states of each person around the table. The split screen creates defragmentation of space and time; the viewers are free to construct their own story in time, defining the relations between the figures, the sound, and the different parts of the screen.
Organized by Christopher Phillips, Curator, International Center of Photography and Chaos Chen Yeng, CHAOS Projects, Beijing.
YANG Fudong, City Light (2000, 6:00 min.)
An absurdist parody of police-action movies.
HU Jieming, Outline Only (2000, 10:00 min.)
A series of postcard views of famous Chinese landscapes appear on the screen. Using a computer program, Hu Jieming translates these scenes into musical form that accompanies the images.
XU Zhen, Rainbow (1998, 3:30 min.)
A person’s back becomes redder and redder as it is repeatedly slapped.
YANG Zhenzhong, 922 Rice Corns (2000, 8:00 min.)
The battle of the sexes. A rooster and a hen race to eat the 922 rice grains spread out on the floor, as a male and a female voice count each bite.
XING Danwen, Sleep Walking (2001, 10:00 min.)
Evokes a feeling of displacement experienced by a frequent traveler between Beijing and New York.
SONG Dong, My Fatherland Set Me Up a Stage (1999, 16:00 min.)
Documentary made in Beijing in October 1999, on the 50th anniversary of the founding of People’s Republic of China.
ZHOU Xiaohu, A Journey of Lust (2000, 10:00 min.)
WU Shixian, Bus 44 (2000, 11:40 min.)
A short film based on a true story. In Chinese, “44” sounds like the word for “death.” Award-winner at the Venice Film Festival.
ZHENG Dasheng, Wanderer, No. 1.2.3. (1993, 18:00 min.)
How the psychological displacement of a strange land reshapes the view of the journey from birth to death.
La Vista, the Downtown Cinema Club is a collaborative, community-based exhibition organization which has presented 100 programs in an on-going exhibition series at 303 East 8th Street. Almost every Sunday evening at 7:30pm, they dedicate themselves to the social pursuit of their various interests in history, spectacle, pleasure, and investigation. 16 mm motion pictures from the extensive holdings of the Donnell Media Center, a branch of the New York Public Library constitute the explicit aspect of our presentations.
In their third participation in the Art in General Video Marathon, they present an hour-long program demonstrating the dynamic, entertaining and educational resources deposited in that collection.
Organized by Art in General’s Video Advisory Panel: Anita Chao, Anne LePore, Rachel Melman, Ioannis Mookas, and Jeanine Oleson.
Jillian McDonald, Paper Advantage (2001, 3:30 min., NY)
The imperative printed on New York deli brown bags, ‘Reuse this package for its many alternate uses in the home’ is taken to extreme.
Lisa DiLillio, Corrections and Clarifications (2000, 10:00 min., NY)
Based on text taken from the “Corrections” sections of the New York Times and Science Magazine from January through June of 2000. The errors cover such subjects as space, time religion, identity and perception as well as unknown facts and estimated data.
Julia Cowing, How to tell your friends from the Japs, from White Man’s Burden Series (2001, 4:00 min., NY)
In White Man’s Burden, Julia Cowing mixes found footage, songs, and articles with contemporary scenes and staged performances. Cowing juxtaposes imagery with sound and text, creating a disjunction between the three. Humor and parody is used to depict historical events and “incidents” against Asians in America.
Karina Aguilera Skvirsky, Go Go Go (2001, 5:00 min., NY)
Go Go Go (video) is a single channel one minute looped video work created from captured live footage games. The mouths of famous athletes have been digitally cropped from video stills and re-animated to show the athlete’s gesture while engaged in competition. Once animated a soundtrack of sports announcers’ bloopers has been added to the work to reference the “sports arena”.
Tarikh Korula, Mr. F (Again) (2001, 5:20 min., NY)
with Lynea Diaz-Hagan and Joe Murphy
Mr. F (Again) is a meditation on Downtown Brooklyn, looping and splicing fragments of collected sounds and images from the neighborhood. It was shot during the summer of 2001 and was made using inexpensive consumer electronics equipment and software.
Liselot van der Heijden, Monument Valley (1999-01, 7:30 min., NY)
Monument Valley combines footage from several sources that relate to the famous landscape and tourist destination of the Southwest of the United States. The famous valley, located in the Navajo Indian reservation on the border between Arizona and Utah, continues to fascinate tourists worldwide drawing from a mystique of the cinematic Western. The video juxtaposes footage of tourists visiting the site and excerpts from John Ford’s The Searchers and documentary on the film.
Jennifer Zackin, Apu Dharmasala (2001, 5:00 min., NY)
The footage was shot in Dharmasala in the Himachal Pradesh region of INDIA while visiting the Dalai Lama’s home. Some of the sounds were sampled from a sunrise boat ride up the Ganges in Varanasi, monks chanting in Dharmasala during a procession, wild peacocks (national bird of India) in the early morning.
Lisa Adams, Eva Wu (2001, 3:37 min., CA)
A narrative video about a girl in search of connection. Making reference to the trope of adolescent girl’s identification with and attachment to horses, she eventually finds connection in a horse.
Paula Delgado, Candy Queen of Karaoke (2001, 5:00 min., Uruguay)
The blond Candy is the star of the music video. She is the queen of karaoke who is pretending to be an 80s pop star, following all the steps a girl has to take to get on TV these days. The result is a mix of the grotesque and the glamorous.
Wago Kreider, To Hug You and Squeeze You (2001, 2:25 min., NY)
Against the narrative backdrop of the doomed marriage of a Hollywood starlet and a North African prince, this video tests the limits of visual and aural legibility through a rapidly alternating montage structure.
Jihoon Park, Torna a Surriento (2001, 0:57 min., NY)
Daniel Martinico, Kiss Me (2001, 2:10 min., CA)
A series of glances and a single action: extended, hacked at, and reworked in Kuleshovian fashion.
James Sadoski, Are We There Yet? (2001, 0:58 min., NY)
This video was done last year while crossing the Virginia and North Carolina state line coming back from Duke University Hospital. It is less than a minute long and tries to capture in a short time a race with the inevitable.
Masayuki Kawai, About a Theological Situation on the Society of Spectacle (2001, 6:30 min., Japan)
This work criticizes myths of “life” or “personality” in The Society of the Spectacle (Guy Debord). Stars and Mikados are spread not as “symbols” but “allegories” and we identity ourselves with them. I use Augustine’s theology, ‘The Trinity’ as an analogy to criticize the situation. And I quote many images from the spectacle and adopt a form of exaggerated imitation of mass media like flicker and subtitles.
Jack Hazard and Bruno Levy are responding to the urban culture in terms of both development and decay. Their works address the tension between human development and technological advancement. They are presently involved in underground urban performances. At these events DJs spin cutting edge music while Jack Hazard and Bruno Levy respond by mixing their current video works to the beat of the music. Their methods and technology paralel the DJs’ music on a visual level employing and reassigning the conventional uses of a video mixer, digital video decks, as well as live cameras observing the elements that are drawn to these underground events. The events are captured, re evaluated, then mixed with images from other cameras, animations, foreign tlevision broadcasts, and then distributed back into the environment.
Lilah Freedland, In the Spirit of Art in General (2001, 10:00 min.)
Interviews conducted by Carey Lovelace
Interviews with Agnes Gund, Holly Block, James Keith Brown, Martin Weinstein & Teresa Liszka, Martha Wilson, Franklin Sirmans, Nancy & Joel Portnoy, Andrea Salerno, Matthew Bakkom, Lilly Wei
This piece is a work celebrating Art in General’s 20th Anniversary with interviews from individuals who have direct and indirect relationships with Art in General through sponsorship, programming, exhibitions, or just by living and working in the same neighborhood. In addition, the work explores Art in General’s relationship with its surrounding communities.
Michael Kozien, Happy With My Failure: Murmur (2001, 0:20 min. loop, NY)
Happy With My Failure: Murmur works as an endless video loop that juxtaposes
a simple gesture with found and created sound. Often uncomfortable, often
humorous, the loop sends the viewer on a mantra-like journey exploring the artist’s interest in body image, assigned gender roles, and the peculiarities he finds within the suburban American landscape.
Diana Shpungin & Nicole Engelmann, Bruise and Tooth (2001, 2:00 min. excerpt from Five Acts, NY)
In Five Acts, two women play an intimate game of "make-up,” exploring the play between illusion and reality. In Bruise and Tooth, the two characters face one another and take turns applying make-up to each other’s eye. The characters have not been beautified, but on the contrary adorned with bruises, “black eyes”. Bruise and Tooth plays between comedy and horror. The characters face each other and take turns poking one anther’s front teeth. They turn to the viewer and smile comically revealing each of their shattered mouths
Monica Abend, Diamond Eye (2001, NY)
Diamond Eye highlights the obscure redundancy of the human face during
orgasm. Jewels represent both decadent wealth and hard commodities utilized in world trade. The gesture of the falling diamond reflects one’s unfilled desires.
Jillian McDonald, American Sandwich (2001, 3:00 min., NY)
As an experiment with processed food, the artist eats as much of the four food groups as possible. Music by Michael Stecky.
Perry Bard, The Kitchen Tapes (1996-2002, NY)
This growing collection of socio-hedonistic performance video tapes are messy, contradictory, and examine, not too seriously, ideas concerning femininity and public/private space. The tapes are performed by a persona, Fluffie Logan.
Soren Dahlgaard, Hexagonal Cyclops (2000,1:30 min., UK)
Hexagonal Cyclops, taking its mark in surreal figments of the imagination about the hexagon as building structure – the panopticon, we look into hexagonal room from a bird’s-eye view as spectators.
James Hegge, Two Stroke Engine (2000, 3:00 min., NY)
In Two Stroke Engine, an off-screen construction translates the movement of a performer into camera movement. At times the viewer identifies the camera’s view with the performer’s vantage point, but often it appears to be the perspective of a detached eye plummeting through space. As the camera careens through its surroundings, the viewer’s sense of space is often destabilized. Courtesy of Paul Rodgers/9W.
Seung Jun Lee, Cross Wave (2000, 3:03 min., NY)
Although it is not always palpable, human beings confront the duality of separated currents of conscious: namely the subjective current and the objective one. Whether it is through the means of innate metaphysical force or other types of influences from external sources , an individual will discover its freely flowing self image by expanding his realm of spatial and chronological awareness.
Seung Jun Lee, Concresence (2000, 3:01 min., NY)
Lynn Cazabon, Reel (2001, 3:00 min., MD)
Reel shows a profile view of a film projector running a film in fast motion. As the film becomes progressively smaller on the reel, the light behind the projector gets brighter, dematerializing and abstracting the image. The singular nature of the image and our view of it produces a Zen-like meditation on the material of film and its disappearance as a representational medium.
Lynn Cazabon, Banquet (2001, 0:58 min., MD)
Banquet is a short animated sequence of still, photographic images that were originally produced for the cover of Banquet frozen dinners from the 1960’s. The medium of television, like all technologies, brought unexpected changes to culture. The invention of the TV dinner demonstrates how television altered communal rituals centered around food. The vibrant color and grid-like compositions of these arrangements of food make them resemble contemporary paintings.
Dafna Ganani, Beach Scene (2001, 7:06 min., MD)
In Beach Scene, the artist plays the objectifying-masculine-artist role by using her voice to call out instructions for the models to perform. I employ this as a reference to the traditional artistic convention that situates the model in the subordinated object of the gaze position, marking and constructing a deep hatred for the female image and female subjectivity.
Christine Dehne, Power On from Dirty Girl Videos (2001, 2:08 min., FL)
This video is from a body of work, The Dirty Girl Videos that the artist has been creating for 4 years. The Dirty Girl has been judged to be dirty by those around her, a judgment that is based on a code of etiquette, which, for some reason, she does not have access to. In contrast to those who judge her, the Dirty Girl has no problem discussing topics which society normally would deem undesirable.
Caz McIntee, Frequent Flyers (2001, 7:23 min., NY)
Frequent Flyers is the reflection of a premonition, a traumatic event that was first perceived in the mind’s eye. The psyche playing back a sequence is presented as the internalization of factually based authority or knowledge against the reality of personal understandings in the location of power.
Shigeno Ichimura, Toy Soldier world tour-2 (2001, 10:57 min., NY)
Toy soldiers are traditionally used for playing war games, an ironic function that this video is trying to give a different meaning. In the video, the toy soldier’s point of view exists somewhere before our point of view, creating a new vantage point and meaning with the toy soldiers that have the characteristics of subjectivity and objectivity.
Andrea Juan, Rescue (2001, 8:23 min., Argentina)
The action begins when a driver climbs into an ambulance and begins driving. The reality we perceive soon splits with a visual simulacrum: before our eyes the car becomes a toy car, and, unaffected, continues the journey across the city. The video refers to silence and violence when the scenery becomes ambiguous and turns virtual and metaphorical. We can foresee there is no point of arrival. Each one of us circulates life as we can, and achieves, or not, our own rescue.
Sara Ching-Yu Sun, …missing… (1997, 1:48 min., NY)
A video poem about making a collect call to myself.
Hack Ashley, Common Basement Spider (2001, 1:00 min., TN)
Nietzsche Jones, S-O-S (2001, 14:00 min., FL)
This piece is a three-part meditation on life, death, and memory using found photographs.
Mary Klein, One Breath (2001, 9:00 min., NY)
One Breath explores how rapid breakthroughs in genetics are blurring the boundary between the real and the unreal and driving an unprecedented patenting of human and animal life. Loosely structured around the four elements once believed to constitute all physical matter – fire, air, water
and earth – One Breath presents hybrid aesthetics that are both beautiful and menacing.
Laura Bethune, Model Body (2000, 2:05 min., NY)
The video is part of an installation in which the outside of the structure resembles the open hood of a black car with a white racing stripe. The video is viewed on a monitor placed inside the structure, which acts as if one is looking under the hood of a car. Model Body is about the artist’s fetish
with the physicality of classic cars/ racing cars, as well as the desire to be seen looking good in good-looking cars.
Shannon Carpenter, Vertical Love Chronologies (2001, 4:05 min., NY)
The Vertical Love Chronologies document the tension between a “feminine” expression and its “masculine” perception. Through video, the artist positions herself as both subject and analyst within the temporal process of expression and perception.
John Landewe, Red White Spin (2000, loop, NY)
Through graphic manipulation and repetition, the video suggests a compressed realm or habitat. Despite the colorful surroundings, it offers a particular pathos of seeming isolation.
Diane Dwyer, Pet Project (2001, 4:11 min., ME)
Pet Project explores the following questions: At what point do you feel connected to or responsible for the helpless? What kind of hierarchy do you give life forms? What really is the human idea of “pet”? How does that reflect our ideas about nature?
Juan Manuel Echavarria, Guerra y pa (2001, 10:00 min., Columbia)
Damian Catera, Stratagem (2000, 6:44 min., NJ)
A moment of transformation along a pre-war commercial strip in Michigan. Part of an exploration of the material/temporal dialectic.
Ihsuan Lin, 00;03;48;12 (1999, 3:48 min., PA)
A short video composed of three frames of moving images in duration of three minutes and forty-eight seconds.
Taryn Fitzgerald, Over the Rainbow (2001, 7:00 min. loop, NY)
Playing with ideas about identity, refraction, and scale, Over the Rainbow explores the shifting relation between self and world. Mirrored images of rainbows and waterfalls accompany telephone answering machine messages from people responding to an ad placed in the Village Voice for familiar-looking people. Messages such as: “People say I look like Fidel Castro, but I’m a lot shorter and I don’t smoke cigars,” and “I’m the prototypical brunette; I remind everyone I’ve ever met of someone. Call me.”
Jeremy Chien, Picturing Time (2001, 10:00 min., NY)
Picturing Time is a hybrid of film, video and photography exploring the phenomenon of living in a city, specifically New York. The city is an organic monster of movement on the street, in cars, and trains.
Annick Nölle, Organized Guilt/detail from Miss Joy Ride (2000, 5:00 min., Belgium)
Music video for Glyph exploring the power of music as a form of resistance and liberation.
Forcefield, Tunnel Vision (2001, 12:00 min., RI)
Tunnel Vision was made frame-by-frame using clay.
Alberto Roblest, From the Silence in the Cities (2001, 1:52 min., MA)
From the Silence in the Cities is a collection-collision of video poetry; poetry and video; video in poetry; video at poetry; video to poetry; video plus poetry; video rhythms; and poetic senses; or video-poetry in any other combination you can find. Director: Alberto Roblest. Producer: Christine MacDonald. Music: Terry Mohre, María Moran, DJ Flack, Maravillosa Industria Video. Poetry: Alberto Roblest. Camera: Christine MacDonald, A. Roblest, Brother Raaa.
Heath Hanlin, Eso (2001, 26:46 min., NY)
The primary goal of Eso is to affect cognition through the presentation of temporal patterns that have been changed through image and audio processing techniques and rebuilt through procedural logic and geometry. Through Eso, viewers are given the opportunity to consider and reevaluate their own internal structures of cognition.