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"In these horrific times when lies are blatantly exclaimed as truths, when fear makes us withdraw from each other, when difference is maligned as xenophobia, and when atrocities are committed in the name of spectacle, we must find and practice a quiet way of compassion, sympathy, and generosity through empathy." — Barbara Hammer
Cokes writes, "Evil.11 (The Katrina Debacle) is a text animated essay about the Bush Administration's response to the 2005 Hurricane Katrina disaster. The text is based on an e-mail I received in Korea in the immediate aftermath of the events. Juxtaposing three songs from diverse pop musical genres with minimal graphic and textual animation techniques, the video reframes a highly charged emotional and political reading of the disturbing events, its media imagery, and the deeply flawed presidential reaction."
Writes Cokes, "Evil.16: Torture.Musik animates excerpts from an article by Moustafa Bayoumi that was originally published in The Nation magazine on December 26, 2005. While surveying the topic I found this article to be a key and cogent text in a body of reportage and scholarship devoted to the military use of music and sound as a weapon, a form of psychological manipulation, or torture. The soundtrack features a playlist of songs or artists documented as being used in U.S. spy-ops and torture programs."
Cantor reimagines Kenneth Anger’s Invocation of My Demon Brother (1969) as if it were a paean to Hindu goddess of destruction Kali instead of Lucifer. In Cantor's take, Anger's hypermasculine imagination of the occult is replaced by that of an ironic depiction of female "hysterics."
Writes Zoe Beloff: "The philosopher Walter Benjamin and his friend playwright Bertolt Brecht spent time together in exile from Nazi Germany. Exile imagines that they are still in exile in New York, 2017. In the intervening years they have changed—in the contemporary world, refugees and victims of racism look different. Brecht is Iranian. Benjamin is African American. The down-at-heel comic duo are vagabonds in the tradition of Laurel and Hardy or Vladimir and Estragon; they are still doing what they always did, showing us how society works with whatever they have to hand—words, images, and suggestions on how to tell the truth in a world full of lies. Unfixed, oscillating between their time and ours, Brecht and Benjamin reveal what has been buried in our own history, making connections between fascism in New York in the 1930s and its manifestation in the Trump era."
Extracurricular Activity Projective Reconstruction #1 (Domestic Scene)
Mike Kelley
2000, 29:44 min, b&w, sound
Kelley has constructed a half-hour drama inspired by a photo found in a high school yearbook. The original, a still from a school play, depicts two young men in a shabby apartment. From this image Kelley has re-staged a 'Domestic Scene': the protagonists' unnerving, at times histrionic, relationship.
Acconci's face becomes a metaphorical theater for a narrative drama of the mythic American landscape. With language as a catalyst, the artist conducts a riveting examination of his own identity through American cultural mythologies.
In this exercise in nonverbal communication, Acconci explores facial expressions, and their psychological resonance, as a mode of performance narrative.
Face-Off is an ironic collusion of private and public, of exposure and masking, a tense ritual wherein Acconci divulges and then censors his self-revelations. Acconci turns on a reel-to-reel audiotape recorder and bends down to the speaker to listen to it, his face barely visible in the frame....
Fall NYC compiles glimpses of an autumnal New York City. Writes artist Whitney Claflin: “In Maggie’s videos, documentary and fantasy play b2b sets—the mundane is transformed into the magical almost immediately, only to have the next frame bring an action right back into its earthly setting. In Fall NYC, sound swerves across the scene as Maggie carries us with her around town. Blips of upbeat dance music ride over the visuals, woven un-Shazaamably with spoken words.”
