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Sounding Board documents Acconci's performance/installation of the same name, which was presented at A Space in Toronto in July 1971. The artist lies naked, face down on two upward-turned speakers, through which plays a Frank Zappa song as interpreted by Jean-Luc Ponty. The second performer is a musician who "plays" the song on Acconci's body.
This marathon performance soiree was organized by multimedia artist Jean Dupuy at the Kitchen in 1974. Dupuy invited over 30 downtown artists, musicians, and filmmakers to each give a two-minute performance. The audience was served a home-made dinner of soup, apple tarts and wine, followed by the performance "menu." Performers included Charles Atlas, Joan Jonas, Hannah Wilke, Gordon Matta-Clark, Richard Serra, Philip Glass and Yvonne Rainer. This rare time capsule captures the SoHo art and music scene of the early 1970s.
Sous-Sols de Paris (Paris Underground)
Gordon Matta-Clark
1977-2005, 25:20 min, b&w, sound, Super 8mm film on HD video
In this film Matta-Clark explores underground Paris. The artist shows the complexity of underground spaces with scenes of architectural ruins, car parks, tunnels, ossuaries, cellars, crypts and basements in the Opera district.
"Souvenir of Lebanon follows a long video pan through destroyed Palestinian and Lebanese villages. In 1982-83, Israeli ceaseless bombardments destroyed bridges, farms, roads, hospitals, schools, libraries, apartments, and historic sites and towns dating back 2000 years. The live color footage was received unexpectedly from an anonymous news photographer. It is intercut with black and white disaster stills I re-shot from daily newspapers, edited in juxtaposition with color slides of bucolic Lebanon given to me on the day the Lebanese tourist bureau in New York city closed."
The Yonemotos collaborated with performance artist Spalding Gray and actors Mary Woronov and Marshall Efron on this satire of the mythology of Los Angeles, juxtaposing a parodic fictional narrative with Gray's autobiographical monologues. The ironic re-enactment of the New York artist's encounter...
Spiral Jetty is a "portrait" of Smithson's monumental earthwork of the same name at Rozel Point in the Great Salt Lake, Utah. Completed in April 1970, Spiral Jetty is an iconic earthwork and Smithson's most renowned piece. The film documents the making of this earthwork, which has attained near-mythic status as it has disappeared and then re-emerged from the lake over the past decades. A voiceover by Smithson illuminates the ideas and processes that informed the evolution of the work. The film includes stunning aerial footage of Smithson running along the length of the glowing spriral in what seems like an ecstatic ritual.
This film documents the major building cut made by Matta-Clark in a house on Humphrey Street in Englewood, New Jersey.
This historical videotape, produced in 1973 by Art/Tapes/22 in Florence, Italy, is being made available for the first time in decades through EAI's Video Preservation Program. Acconci writes: "Black screen—a spotlight, circle of light on the floor, just part of it off-screen, in front of the screen, in the viewer's space. I'm off-screen, singing: the tone is vague still, indefinable. Then I come into the spotlight, partly, so that my face is barely visible: 'I'd be dancing for you—I'd know you were watching—I'd be at my peak.' Off-screen, grand song; then I'm back: 'I'd know you were watching—but I'd be nervous, I wouldn't know whose side you were on.'"
Stand in the Stream is an ambient digital film shot on multiple camera formats over the course of six years. Following the arc of an activist/worker’s deterioration and death amidst shifting political and digital landscapes, the film moves through the home, the wild, online chat rooms and the streets with Vertovian intensity. Using no found footage but only that shot by Kahn or screen-recorded by Kahn in real time, Stand in the Stream brings live witness to our screen-saturated perspectives, begging accountability, acknowledging participation. The film’s core conceptual framework—that resistance and resilience bloom despite the inextricable flows of socio-political power and capitalism’s acculturation in our very personhood—structures Kahn’s massive collection of footage, edited with high speed precision and driven by a dense and visceral sound-score.
"Almost 50 years in the making — filming began in 1956 — Ken Jacobs's 440-minute avant-garde epic was named the best film of 2004 by J. Hoberman of The Village Voice. A history of 20th-century politics and culture communicated through a crazy quilt of found film, including a dancelike performance...
