RECENT AND HISTORICAL VIDEOTAPES FROM EAI
RECENT AND HISTORICAL VIDEOTAPES FROM EAI
New York City
RECENT AND HISTORICAL VIDEOTAPES FROM EAI
New York City
RECENT AND HISTORICAL VIDEOTAPES FROM EAI
New York City
Works
In this dizzying portrayal of futile searches through cluttered handbags and standing files, Baldino continues her provocation of the principles of narrative structure, letting us spy on the anonymous victims of failing manmade systems and the detritus of modern life.
Focusing on the discourse surrounding the music industry, Cokes continues his investigation of pop culture, setting black words on a white screen against the music of his band SWIPE. The resulting quasi-music video addresses the music of each decade since the 1960s with slogans and barbed statements.
In 67/97, Cho employs the technology of scanning to meditate upon the process of information gathering and the construction of meaning. The result is a lyrical and witty investigation of data systems, surveillance and information overload.
Thornton's continuing fascination with technology finds an unlikely expression in these digitally manipulated film sequences, in which a chimpanzee's pratfalls come to stand in for the human experience of media.
In Cinderella 2001, Hodel pushes her usual performance-to-camera work with a more developed dramatic structure. The result is a vibrant performance tape with an unnerving, compulsive narrative that explores issues of image and obsession.
Food documents the legendary SoHo restaurant and artists' cooperative Food, which opened in 1971. Owned and operated by Caroline Goodden, Food was designed and built largely by Matta-Clark, who also organized art events and performances there. As a social space, meeting-ground and ongoing project for the emergent downtown artists' community, Food was a landmark that still resonates in the history and mythology of SoHo in the 1970s.
Involuntary Reception is a multilayered piece that explores the alienation and exile of the self in a media-saturated world. Lucas performs as a young woman with an enormous electro-magnetic pulse field. Her Web project of the same name, which incorporates streaming video, performance and text, can be seen at www.eai.org/involuntary.
A portrait of threatened spirituality in an age of big guns and fast food, Numbering Numbers packs the torment of temporality into nine minutes. With Steve Reich's minimalist score set against a richly layered video collage, images of both the eternal and the incidental flicker and dim, creating...
Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing, using simulation to interrogate representation. Relating a long-circulated rumor that the landing was actually faked in a NASA film studio, Santos negotiates the increasingly blurry line between fact and fiction. As he notes in his on-screen text, the Internet makes any purported fact "easy to say, hard to prove."
In Suet-Sin's Sisters, Yau Ching explores issues facing Chinese women in same-sex relationships. Interviews are intercut with archival footage of a classic Cantonese opera singer known for being a "mannish" woman.
Steina manipulates footage of electroacoustic music composer Trevor Wishart at a studio microphone, electronically slurring his words into a stream of synthesized gibberish. Our attempts to understand what he is trying to communicate are frustrated, as both he and the viewer are subjected to digital control.
