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"In 1998, twenty years after production began on William Friedkin’s 1980 notorious, gay leather underground crime thriller, Cruising, I reversed it scene by scene. The 'from behind' approach was suggested by the logic of the film itself. The narrative dissonance of the original film is amplified in Back to Front, the antinomy of law and desire patent. Moving in reverse, cause cruises outcome, with often queer effects." — Robert Buck
Atlas records a late-2000's revival performance of the 1993 dance CRWDSPCR, which Merce Cunningham choreographed using the choreographic software program LifeForms. In program notes to a performance of the dance, Cunningham suggested that the vowel-less title referred to the way in which technology both crowded space and quickened the pace of daily life. The project merges Cunninham's vision of a decentered organization of the stage with Atlas' use of the computer as a conceptual extension of chance-generated decision-making.
"Cycles of 3s and 7s is a doubled statement. First and foremost, it is a commentary on computer art and the role of computers in video. Secondly, its arithmetic project has some bearing on the construction of musical scales. In reclaiming the computer as a performance instrument, I intended that the human operator must compete directly with the computer, doing what the computer does best. The selection of a simple hand calculator was a deliberate denial of the computer aesth/ethic of bigger, faster: computer art must be doable within even the most modest architecture. Cycles of 3s and 7s shows that it is not the answer that 'counts,' but the pleasure in getting there. Simple rote calculation is turned into rhythm and song; accuracy of gesture and count become a game. These are 'stories' about numbers, the kind machines should like to hear and tell—if they 'liked.' The 'stories' here are calculated approximations to 1, each having the form
In musical theory, the prime numbers 3, 7, and p are harmonics, and a just-intonation interval scale with equal steps requires approximations of this form. For instance, our twelve-tone scale depends upon the approximation"i j -k p x 3 x 7 x 2
—Tony Conrad12 -19 3 x 2 = 1.0136
Kelley's carnivalesque opus is a genre-smashing epic in which vampires, dancing Goths, hillbillies, mimes and demons come together in a kind of subversive musical theater/variety revue. This riotous, feature-length theatrical spectacle unfolds as an episodic series that forms a loose, fractured narrative. The video comprises parts 2-32 of Kelley's multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. The source materials are high school yearbook photographs of "extracurricular activities," or what Kelley terms "socially accepted rituals of deviance." Kelley then stages video narratives around these found images. Here these restagings take the form of "folk entertainments" that Kelley memorably subverts.
In May 1972, Matta-Clark worked on an abandoned pier in New York for two months, where he cut sections of the door, floor, and roof.
"Death of a Marriage I think is my first psychodrama – finding images and filmic methods of portraying my interior emotional being. I had built by hand with my husband a home in the woods, made my own horse corral, and had an art studio. Yet the alternative lifestyle didn’t erase the feeling of entrapment, proscribed role, and constrictions. Yip, yip and away!" — Barbara Hammer
In Decision Fatigue Harris-Babou’s mother stages an intimate, absurd, occasionally painful makeup tutorial tracing the choices she has made in her life, both large and small, to hold onto youth and remain well.
"Dérive Veneziane is about Venice. Cities are sometimes represented by strong stereotypes or clichés. Dérive Veneziane tries to show another side of the city, the hidden, the unknown, the mysterious. Through a journey based on the Situationists’ dérive, by night and from a boat… Dérive Veneziane bri...
