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Cokes continues his investigation of the uses of appropriated text and pop music as a form of political critique. Statements on the Iraq war and Bush's "war on terror" by Donald Rumsfeld, Colin Powell and Richard Clarke, among others, are displayed as on-screen text against flat bands of color; the graphic presentation and accompanying pop soundtrack suggest commercial advertising strategies.
Evil.6 animates an edited transcript from George W. Bush's 2003 State of the Union Address, in which he outlines his case for the invasion of Iraq and toppling Saddam Hussein's dictatorship. The text is juxtaposed with video images and sounds from Intelligence Failures by Benj Gerdes, which isolates only the pauses between sentences from the same televised speech.
Cokes continues to explore the uses of appropriated text and pop music in illuminating the discursive nature of issues that are presented in the media as essentially ethical and humanist. Here he employs a selective, chronological list of twenty explosions that occurred during the first year of the US invasion of Iraq, originally published by the Associated Press news service.
Evil.8 presents a word-for-word transcription of a 2004 New York Times editorial discussing the notorious Abu Ghraib prison images, and the actions and tactics of the Bush administration before and after these images were made public. This animated text, rendered in "patriotic" colors, is set to a pop song decrying the Defense Department's image control policies.
Evil.9 combines an Internet-circulated hip-hop music video by the Canadian-German artist Mocky with an Associated Press text outlining the effect of the U.S.A. Patriot Act on the basic rights of U.S. citizens. Cokes writes: "Our unwillingness to confront the implications of our acts and the consequences of our history represent failures to take responsibility."
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.
