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In the summer of 1994, Hammer was in invited to have a retrospective at the first Gay and Lesbian Film Festival on the African continent. In addition to screening her films there, Hammer created Out in South Africa, a documentary on race, sexual orientation, and civil rights in a transitional post-apartheid South Africa.
In this translation of Foreman's theatrical sensibility to video, the artist's own voice propels the interaction of elaborate wordplay and stylized tableaux of people and objects. A "young woman who finds herself surrounded by the relics of Western culture" is the starting point for Foreman's...
Mike gets nominated as an Outstanding Young Man of America and decides to have a party to celebrate. He digs out his Disco suits and, 'strutting his funky stuff' to the sound of Disco Inferno, sets up glitter balls and decorates the house. Night falls as Mike looks to the sky and contemplates his...
This delirious montage of appropriated and computer-generated elements merges perennial Paper Rad themes such as Gumby and the 8-bit computer aesthetic with a keen, critical take on contemporary culture. This self-described "mix tape" — a term that refers here both to the group's montage strategy and to popular compilations of bootlegged hit music — takes on the war in Iraq, the art market, and the images of ostentatious wealth and glamor flaunted by pop stars today.
P.opular S.ky (section ish) submerges characters from other sections of Any Ever into an extreme poetic state where their creative limits bloom, but perhaps only on an illusory level. As the section "ish" (vs. section "a") to the works above, the movie's threads appear to be the culmination of situations initiated during other parts of Any Ever, but at the same time they are annexed as outcomes that might not be part of the official record.
In this videotape, Nauman walks around the perimeter of a small square with his hands clasped high over his head. He then circles it in increasingly larger loops until he is out of camera range completely. Since the camera is inverted, he appears to be walking on the ceiling.
Yonemoto uses the potato ("papa" in Quechua), which is indigenous to Andean Peru, as the starting point for his inquiry. Restaging Van Gogh's famous painting The Potato Eaters with a modern Andean Quechua family in place of the original's Dutch peasants, Yonemoto parodies conventional documentary "objectivity" and its discourses surrounding third-world agricultural misery. Footage of rural poverty from Bunuel's 1932 surrealist documentary Land Without Bread—itself a landmark parody of the documentary form—serves as an ironic counterpoint to the "real" family tableau.
Conceived as a visual and sound poem in seven scenes, this animation of a two- thousand-year-old textile in the collection of the Brooklyn Museum invites entrance into a different visual and sonic space: the universe of the pre-Columbian weavers who created the portrait of a ritual procession...
This lyrical meditation on the cultures of the African diaspora is a richly visualized collage of sounds and images derived from African cosmology, tracing the long historical struggle to define a trans-cultural African race.
In PARIS (Metro), d'Agostino uses the Metro's closed-circuit surveillance cameras to record the movement of passengers in and out of the subway. The monitored images allude to a found text on the confusing etymological origins of "metro" and "poly" and their metaphoric connection to the subway as a vehicle of communication, while simulating the disassociation experienced by passengers in the system.
