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Ahwesh's two young actresses, Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A roughly corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.
WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
"One of the nice things about movies was you could keep them at a distance. Movies knew their place. We were dimensional, they were flat, so it was easy to know which was which. But THE SCENIC ROUTE seemingly spills from the screen, threatening demarcation lines everywhere."
Broadcast regularly on Manhattan Cable Television for the better part of a year, Beck undertook each half-hour episode as a conceptual performance, using duration, the context of television, and video technology as expressive tools.
Set against a backdrop of Atlantic City's seedy casinos and dreary off-season hotels, The Star Eaters is a melancholy, non-linear portrait of a woman as she attempts to trace her memories and make sense of her life amidst the faded glamour of the seaside resort. Ahwesh continues to explore a mix of fictive and documentary styles, with the aim of producing work that she has called "narrative-like."
An appropriated film, portraying the arrival of Adam and Eve to an exotic Eden, is intercut with videos of virtual reality demonstrations. Writes Ahwesh, "The tropes of the garden, the originary moment of self knowledge and gendered awareness of the body...is mimicked in the early experiments with virtual reality. The metaphors used in our cutting edge future are restagings of our cultural memory of the garden..."
In July of 1983, seven Americans entered AVCO Systems Division, a manufacturing plant for MX and Pershing II missiles in Wilmington, Massachusetts, and damaged weapon parts in a protest against the build-up of nuclear arms. This work documents the ensuing trial. With minimal commentary, Reilly...
"Set in a taxidermy shop, The Trophy records a single action. A taxidermist flays the head of a deer for its preservation as a memento of the hunt. Framed at the torso, à la Robert Bresson, with his back to the camera, the taxidermist in turn falls prey to a dismemberment, albeit imaginary. I...
Termed “a bicentennial ode” by Jones, The Trouble I’ve Seen is a portrait of black rural Georgia, shot in three communities (Woodstock, Jonesboro and Crawfordville) in the hills around Atlanta. Merging oral and visual history, Jones underscores and contextualizes the political and economic...
The TV Commercials is a recent compilation of Burden's four legendary television interventions, which date from 1973 to 1977. For each of these conceptual projects, Burden purchased commercial time on broadcast television and aired his own subversive "ads." Included are TV Ad: Through the Night Softly; Poem for L.A.; Chris Burden Promo, and Full Financial Disclosure.
Originally projected in the interior of a customized Dodge at the 2001 Armory Show in New York, The Van features Bag as three young female artists riding in the back of a van, en route to the Armory Show. They compete for the attention of their gallerist Leroy, who, dressed as a pimp, promises them major recognition and designer handbags. As Bag derides the wish lists of the art-star hopefuls (the Turner Prize, the cover of ArtForum, Rosalind Krauss' critical attention, "more product endorsement"), she implicates the contemporary art world—herself included—in a bacchanal of greed.
