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Writes Acconci: "I walk in a circle around the camera: sometimes I'm on screen, sometimes I'm off, sometimes I change direction, leaving the screen on one side and coming back on the same side. Every five minutes or so, the location changes: my circle is continuous while the background shifts: bare walls—a corner with a window on one wall—outside, on a roof, with sky as the ground—outside, on a terrace, with other buildings and windows as the ground—inside, in a living room, bookcase and couch in the background. I'm silent; there's a voice-over, it's my voice: on screen, I'm talking about circling you, wrapping myself around you, as I did around 'her,' a person from my past: a kind of trap."
Schneemann's self-shot erotic film remains a controversial classic. "The notorious masterpiece... a silent celebration in colour of heterosexual love making. The film unifies erotic energies within a domestic environment through cutting, superimposition and layering of abstract impressions...
Generations
Barbara Hammer and Joey (formerly Gina) Carducci
2010, 14:36 min, color, sound, HD video
Generations is a film about mentoring and passing on the tradition of personal experimental filmmaking. Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, the filmmakers find that the fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Inspired by Shirley Clarke’s Bridges Go Round, the filmmakers edited picture and sound separately, joining their films in the middle when they finished making a true generational and experimental experiment.
George Maciunas With Two Eyes 1972, George Maciunas With One Eye 1976
Shigeko Kubota
1994, 7 min, b&w, sound
In this rare portrait of Fluxus founder George Maciunas, Kubota pays homage to a mentor and fellow Fluxus artist. Maciunas tours SoHo with artists and friends, including Nam June Paik, Barbara and Peter Moore, and Yoshi Wada; Kubota also documents Fluxus artist Ben Vautier's 1976 opening at the Guggenheim Museum in New York.
This complex, multi-layered work, called an "anti-documentary" by its authors, combines footage of rioting at the 2001 G-8 summit in Genoa with performances by Chloe Sevigny, Werner von Delmont and members of the Black Bloc anarchist group. These elements yield a disorienting and critical video that ultimately questions its own status and role as much as that of its subjects. The artists write that Get Rid of Yourself functions as "a cine-tract that aligns itself with nascent forms of political resistance within the anti-globalization movement... a filmed essay that works by betraying its own form."
Ghosts & Demons is a single-channel version of the four-channel installation of the same title. In the installation, appropriated broadcast television images — electronically processed and decontextualized by Jones — were rendered as abstract, black- and-white visuals. The visual sources were, as...
An iPhone-shot reverie depicting poet and scholar Fred Moten letting loose to the eponymous 1965 jazz standard, performed by Josiah Wise (known professionally as serpentwithfeet). The effect is a blurry, constantly shifting interplay between singer, dancer, camera, and viewer, a cheeky tribute to the fluidity of performed identity.
Girls | Museum is a voyage through the historical art collection of the Museum der bildenden Künste Leipzig/MdbK, guided by the expertise and insights of a group of girls, ages 7 to 19. Moving from painting to painting, century to century, they tell us what they see.
A film based on Sergei Eisenstein's notes and drawings for an unrealized science fiction movie that he pitched to Paramount Studios in 1930. Featuring Jim Fletcher and Kate Valk in a vertically-oriented narrative about an all-glass skyscraper, the theme of Glass House is the architecture of surveillance.
Global Groove is a seminal work in the history of video art. Paik's radical manifesto on global communications in a media-saturated world is rendered as an electronic collage, a sound and image pastiche that subverts the very language of television. With surreal visual wit and an antic neo-Dada sensibility, Paik brings together a cross-cultural melange of artworld figures and Pop iconography.
