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QUARKS is a rigorous analysis of how television functions. Structured in a series of thirty-second intervals, three layers of information — sound, image and written texts — are ironically juxtaposed with TV patter. D'Agostino questions the meaning of what is seen and heard on television by...
In the beginning of Railroad Turnbridge, Serra frames the span of landscape visible through the railroad bridge over the Willamette River in Portland, Oregon. The camera remains stationary, while the bridge rotates 360 degrees, creating an illusion of what is standing still and what is moving....
Employing archival film clips and new video, Atlas' self-described "video montage" is a portrayal of filmmaker/choreographer Yvonne Rainer. While an extended interview with Rainer runs throughout the piece, four "performers" enact and re-enact the interview. Atlas undermines genre conventions, shuffling and superimposing image and voice tracks to yield a video palimpsest of theatricality and ambiguity.
Rare Performance Documents 1961-1994 Volume 1: Paik-Moorman Collaborations
Charlotte Moorman and Nam June Paik
1965-73, compiled 2000, 25:08 min, b&w and color, sound
Newly restored, rare performance material from Nam June Paik's personal archives is featured in this remarkable volume. These documents trace the evolution of Paik's eclectic performance work over three decades. Volume 1 includes documentation of his emblematic collaborative pieces with Charlotte Moorman, including TV Bed, TV Cello, and TV Bra. These works are performed at venues that include the Howard Wise Gallery, the Everson Museum (where David Ross joins Moorman on the TV Bed), and the WGBH television studio.
Rare Performance Documents 1961-1994 Volume 2
Nam June Paik
1961-94, compiled 2000, 18:37 min, b&w and color, sound
Newly restored, rare performance material from Nam June Paik's personal archives is featured in this remarkable volume. These documents trace the evolution of Paik's eclectic performance work over three decades, from a haunting, silent 1961 film (Hand and Face) to a 1994 tribute to John Cage at the Kitchen in New York. Volume 2 features rare documents of performances ranging from the iconic Violin Dragging (1975), to the pioneering turntable composition Fluxus Sonata and a 1991 collaboration with the hard-core band Bad Brains.
WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
"RAZZLE DAZZLE is an early Edison shot cut off at its head and tail and along its four sides from the continuity of events like any camera-shot from a bygone day; no, like any camera-shot, immediately producing an abstraction. This abstraction pictures a great spinning maypole-like device lined with young passengers dipping and lifting as it circles through space... Early stereopticon images also appear, digitally manipulated to reveal their depths. A digital shadow falls upon the scene and yet, grim as things get, as our crimes and failures then and now commingle, the movie proceeds with a cubist/abstract-expressionist zest."
ReactionWear is an audiovisual performance in which LoVid experiments with tactile technologies, sculptural instruments, participatory experiences, and immersive environments. The video performance addresses questions of surface and depth, the organic and inorganic, and control and subjectivity.
In Ready, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a "career" in favor of a "job," the execution of which Trecartin calls a "work performance." A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment.
This newly edited historical video documents Acconci's 1973 performance Reception Room, which was presented at the Modern Art Agency in Naples, Italy. Acconci lies naked on a gurney-like table, rocking back and forth as a tape-loop of his voice describes his anxieties about exposing his body and his artwork. Writes the artist: "My voice functions as a scenario that keeps me confined to the bed: once I've exposed my fears and shames publicly, then I might be able to face them in private."
Recording Studio From Air Time is a personal confessional in which video is both a mirror and a mediating device. A documentation of a 1973 performance at Sonnabend Gallery, this is one of Acconci's most psychologically intense exercises in the inversion of the public and the private.
