"Here is Everything presents itself as a message from The Future, as narrated by a cat and a rabbit, spirit guides who explain that they've decided to speak to us via a contemporary art video because they undesrtand this to be our highest form of communication. Their cheeky introduction, however, belies the complex set of ideas that fill the remainder of the film.
"This is the first of a set of pieces that involve combining a series of electronic video process recordings, musics, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigger expanding electronic narratives. The trajectories and drags of multiple narratives color the electronics and visa a versa.
"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones. The buffer had only one frame of memory but it was real time. It had the capability of displaying the image memory space, either as live or frozen.
A Day for Cake and Accidents features a cast of animal characters -- each of a different, though often indeterminate, species -- who struggle with impending astrological despair and engage in absurdist dialogs, confessing various melancholic desires and transgressive secrets in poetic cartoon abjection..
A Day for Cake and Accidents is the third in a series of short collaborative animations.
In her overt challenge to conventional modes of femininity and sexuality, Hester Scheurwater confronts the viewer with her own body. The distorted, doll-like characters she plays in her video performances balance between fantasy and reality shifting between being vulnerable, violent, inviting and threatening. Scheurwater's characters are portrayed as isolated, confused and damaged—physically and emotionally—and unable to connect to their surroundings. Scheurwater’s provocative and unsettling works address relationships, notions of decorum, and the portrayal of women in the media.
The work of Dani Leventhal explores the complicated space that exists between decay and renewal, intimacy and disconnection and the sacred and mundane. The six pieces that comprise Dani Leventhal Videoworks: Volume 1 each examine these ambiguous emotional and psychic spaces through a use of montage that is at once both unstructured and dispassionate and lyrically sentimental.
Nest-Cams features footage from cameras placed in and around nests. Animals showcased include: black-capped chickadee, red squirrel, house wren, horned lark, red-breasted nuthatch, black tern, brook trout, and song sparrow.
Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.). Animals showcased include: burrowing owl, black-footed ferret, porcupine, badger, prairie vole, swift fox, deer mouse, and black tailed prairie dog.
Naked shows a colony of naked mole rats living in a laboratory. This rare and highly socialized species demonstrates modes of behavior that in uncanny ways seem human-like. The mole rats are the most inbred species on the planet, and have the longest life span of any laboratory animal. The film zeroes in on aspects of their existence (overcrowded conditions, violence, tenderness) that have parallels in the life of human society.
The Videofreex tape a group of young people working on a farm run by Chris Locke and his wife in Shandaken, NY. After learning how to take care of the chickens, they are taught how to kill and pluck one. Later they sit down for a communal dinner, and one of the group exclaims "Mmmmm, tastes good!"
Lesser Apes tells the story of a love affair between a primatologist, Farrah, and a female bonobo ape, Meema. Bonobos are the species with which humans share the most DNA, but unlike our species, they are matriarchal, live without conflict, and are unabashedly sexual. A paean to perversion, the film combines animation, live action and song to challenge attitudes about sex, language and our relationship to nature.
Filmed primarily in Alaska, The Aquarium contrasts the openness of the primeval Arctic landscape with the entrapment of captured sea mammals in aquariums. It speaks of the progressive destruction of these animals’ habitat, seeing beyond the alluring spectacle.
A close-range look at pigs living on a farm in Las Vegas, Nevada. The pigs, individually and as a group, become a metaphor for humanity as they go from leisurely wallowing in the mud to the wildness of a feeding frenzy. In a key shot, a pig confronts the viewer with a prolonged, enigmatic stare, as if questioning the very nature of human/animal relationship.
“Marvelously abstract and perfectly concrete.”
-- The Jury of the 2011 Hong Kong International Film Festival
Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He’s had ten days off in twelve years and loves what he does. The film is a little homage to his variously coy, imperious, curious, stubborn and comic raptor menagerie.
The Wake was filmed at the Invertebrate Zoology department of the Carnegie Natural History Museum in Pittsburgh. In this department there are old cabinets full of categorized butterfly specimens, neatly ordered in drawers. I released into this space 100 live butterflies that flew among the dead specimens. The result is as if these dead specimens have now come to life.