RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
535 W 22nd Street, New York City
RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
535 W 22nd Street, New York City
RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
535 W 22nd Street, New York City
Works
1/1 is a new direction for Seoungho Cho. This playful study, shot largely in degraded black and white, knowingly recalls the early performative experiments of 1970's video practitioners. In part an exercise in gesture and noise, the piece is also a reflexive anecdote on the nature of video itself.
The fifth and final installment in Cokes' series of "promotional videotapes," 5% (subtitled Manifesto E) shares its predecessors' format: a strict graphic presentation of on-screen text, coupled with a pop soundtrack. As with the other installments, this work is concerned with delineating the status of pop music as a cultural form located within structures of production, capital, and society.
Baldino explores both the sublime and mundane aspects of symmetry, from the physicist Lee Smolin discussing "super-symmetry," to individuals confessing their design for eating corn on the cob. Sliding across the screen, each image produces a clone; the ceaseless, conveyor belt-like motion suggests the senselessness of manufacture and machinery, and the maddening frustration of the need for balance.
In a series of witty, minimalist exercises that are introduced by inter-titles (Touching, Boxing, Feeling, Hearing, Tasting, and Walking), VALIE EXPORT explores the relationship between word and action.
Writes Thomas Zummer: "Perhaps her most visceral work to date, [Have A Nice Day Alone] is as unnerving as it is fascinating to watch, extending Thornton's interest in the vicissitudes of language and narrative into what feels like an entirely new form of discovery... Thornton's newest work sings like it doesn't have any conception of music — like it's the very first song."
Baldino renders the progression of a migraine headache as fluttering, glowing shapes, which swiftly overtake the field of vision with a brilliant insistence before finally passing. The work is Baldino's visual articulation of a subjective physical phenomenon, elevated by her precise, almost diaristic narration.
