Video Product

2003
Joan Jonas, Waltz

Jonas's performance piece, an homage to 18th century French outdoor theater, incorporates mythology as well as spontaneously occurring events into the narrative.

This title is only available on Point of View: An Anthology of the Moving Image.

1980
Wanda Wega Waters

A rural sunset at the edge of the water in Wanda Wega Waters. The natural rhythmic movement of the water’s surface becomes a highly colored abstraction in motion, a meditation on the intersection of nature and technology.

1999
Wapté Mnhõnõ: The Initiation of a Young Xavante

A documentary about the initiation ritual for young Xavante Indians, created during a training workshop for the Video in the Villages project. Invited by Divino from the Sangradouro village, one Suyú and four Xavantes Indians film together for the first time. While filming the ritual, various members of the village explain the significance of the complex ceremony’s elements.

Directed and photographed by Bartolomeu Patira, Caimi Waiassé, Divino Tserewahú, Jorge Protodi, Whinti Suyá; edited by Tutu Nunes.

In Xavante with English subtitles.

2003
War at a Distance

Since the Gulf War in 1991, warfare and reporting it have become hyper-technological affairs, in which real and computer-generated images cannot be distinguished any more. With the aid of new and also unique archive material, Farocki sketches a picture of the relationship between military strategy and industrial production and shows how war technology finds its way into everyday use.

-- International Film Festival catalogue, Rotterdam (2004)

1971
Warlock(ing)

In this early black and white, reel-to-reel video, small game traps are set to catch the rain.

This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.

1990
The Warming of the Hell House

A trip across the bay to Concord yields a harvest of non-fruit-like beings who celebrate a housewarming that simmers with macho machinations and family discord. The mood is upbeat while the company is lowbrow, and coming out of the bushes rather than the woodwork.

1999
The Waste Land

A personal interpretation of the poetry and letters of T.S. Eliot that explores the ambiguities of language and space in a scenario built around an anagram. "A brilliant, absurd staging of Eliot’s The Waste Land in the local pub by the master of irony himself, John Smith. Smith’s use of the subjective camera tradition of independent film takes the viewer on a shaky journey from bar to bog and back again."

—UK/Canadian Video Exchange (touring program, 2000)

1996
Watch Out for Invisible Ghosts

This mock-virtual environment is a playground for the imagination. Equipped with helmet, goggles, and a basic understanding of early video game strategies, the artist morphs into an adventureland training camp where she meets with media icons on common ground. She fearlessly changes her intensity and velocity in unison with, and at times under the command of, rival action heroes and network sponsors. The title implies that there are bugs in the program, undetected viruses in the system.

1981
Watching the Press, Reading the Media

“Reading various popular magazines through the camera, the dominance of advertising over content becomes apparent as the same cigarette ads are consistently legible, while the various articles become a blur. A quick scan with no pause for reflection is the only reading possible of the rapidly turning pages. Muntadas asks whether magazines might be manufactured to be read as passively as television, questioning the consequences of active, or critical, viewing.”

— Mark Mendel, Muntadas: Media Landscapes (Andover, MA: Addison Gallery of American Art, 1982)

1972
Water Glasses

An experiment in "video cubism." Two rows of three cylindrical water glasses are lined up to fit the frame of the monitor. The glasses disappear, then reappear; the action of placing them on the table is never seen. The glasses are filled with water with the image parallel to the picture plane; then again, with two cameras—one above and one straight on. Water Glasses investigates the psychology of perception—especially in relation to female identity—the video image, and the role of spectator.

2007
Water Sports

A trip to the Marin headlands at the Golden Gate of San Francisco Bay headlines this video diary. The viewer gets to eves and eye drop on various verbal and real time activities that are of a wet nature now and then. There’re boats and bodies and some spoken unspeakables amid the splendor of natural and unnatural expressions befitting the rim of a pacific paradise at low tide.

1971
Waterways: 4 Saliva Studies

Acconci explodes the notion of an artist’s creation, his creative act being the build-up and discharge of saliva, an activity more properly belonging to the realm of necessary and autonomic bodily functions than art. Positioning himself as a hyper self-conscious artistic subject, Acconci fuses the terrains of body art and process art, formulating the body as process, and art as a natural function of the body.

This title was in the original Castelli-Sonnabend video art collection.

2003
Ben Coonley, Wavelength 3D

A 3D video cover version of Michael Snow's seminal structural film Wavelength (1967). Reflecting on Snow's work from a digital vantage point, Wavelength 3D loosely adopts the story and basic formal structures of the original while forging an entirely new path across three-dimensional space and time.

 


This work should be presented through ANGLYPH 3D PROJECTION. No special 3D projector is needed, but Red-Cyan anaglyph 3D glasses are required for exhibition. May be projected, and can also be presented on a flat, 4:3 monitor in a dark space.

2014

Wawa peeks at the anxieties and difficulties of communication through the interactions between speakers of an endangered Indigenous language, each from differing cultural backgrounds and generations. By transforming the chronology of the language, it weaves the past and present into a single entity and confronts various modes of conversation, translation, identity, and history. 

1988
The Way to My Father's Village

In the fall of 1986, Richard Fung made his first visit to his father’s birthplace, a village in southern Guangdong, China. This experimental documentary examines the way children of immigrants relate to the land of their parents, and focuses on the ongoing subjective construction of history and memory. The Way to My Father's Village juxtaposes the son’s search for his own historical roots, and his father’s avoidance of his cultural heritage.