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In Fractions I, four video monitors share the screen space with the dancers. Throughout the performance, these monitors show close-ups of the performers in the dance space, as well as images of those moving outside of the space.The performance suggests tension between what is seen and what is left unseen, and in turn, between different parts and their whole.
In Antin's 1979 performance extravaganza Before the Revolution, her persona Eleanora Antinova, an imaginary black ballerina in Diaghilev's Ballet Russe, performs as White Queen, Marie Antoinette, while quarreling with the great impressario about racial profiling and the promise of modernism. In revival performances at the Hammer Museum in 2013, live actors joined the original cast of life-scale puppets to perform this allegorical tragic-comedy, creating a kaleidoscopic world of shifting selves and ambiguous realities, with ballerinas, kings, lambs, maids, madmen and revolutionaries. Re-invented and transformed into a film, live actors and puppets move through a ruined landscape of narrative fragments of psychological and political oppression, a musical, poetic and dramatic interplay of continuities and interruptions, the dark chaotic music of modern life.
In Frame, four sets of measurements are made with a six-inch ruler. In the first, the rectangle of the camera is placed at an angle, and the trapezoid measured and perceived untrue from the camera viewpoint. In the second, the camera is placed at an angle, and the trapezoid measured is perceived...
Santos bases his self-described "video letter from Hong Kong" on the ambiguity of the word "frame." He refers to the picture or camera frame, as well as to the variable frame rate of digitally manipulated video, and, finally, to the act of framing as a process by which one names, describes, and...
Artists McCarthy and Kelley re-stage classic 1970s performance pieces by Vito Acconci, with a decidedly ironic Southern California sensibility. States McCarthy: "[The piece] is a reference to art now, to a resurgence of the 1970s and an interest in youth in the art world. There are also...
Vulvic puns, jokes and ruminations on the meanings of menstrual blood activate a range of taboos surrounding cultural notions of the feminine as a metaphoric battle ground of the body and of language itself. Schneemann, naked and in red pajamas, merged her physical movements within a continuous...
This film records the complete process of the destruction of Matta-Clark's truck by a bulldozer in a rubbish dump. Part of 98.5, a compilation of films by Ed Baynard, George Schneeman and Charles Simons, this piece was shown in Documenta 5 in Kassel, Germany.
Atlas' exuberantly hip homage to a specific time and place — New York, August 1983 — is a dance "home movie," a quasi-documentary that follows choreographer Karole Armitage and her dancers along the boardwalk of Coney Island and through the streets of Times Square. Atlas' witty "docu-narrative" format, Armitage's exhilarating choreography, and the vibrantly tacky visual milieu vigorously capture the garish, streetwise magic of a New York summer.
From Romance to Ritual invokes and inverts the title of the 1920 book by Jessie L. Weston, as it like the book, draws connections between pagan history and ritual and mythology. The filming style is of the ethnographic film without the expert observer and of the home movie without the father.
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."
