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.
Barry Doupé is known for using crude computer-animation indicative of early video games to create unnatural environments populated by strange abstracted characters. The spaces and the characters within them are never stable, always in a liminal state of being uncannily familiar yet completely foreign. For Doupé, these liminal spaces are meant to evoke the unsteady psychic terrain of the subconscious. This awareness of the subconscious as an unstable space of remembering is a major theme in all of the works in Barry Doupé Videoworks: Volume 1.
Ruth Jarman and Joe Gerhardt, who comprise the UK artist duo Semiconductor, make moving image works that explore the material nature of our world and question our place in the physical universe. This collection of works shows Semiconductor’s adoption of scientific tools, processes and philosophies that encourage artefacts, errors and interference as a way to reflect on the presence of the human as observer.
Walt Disney's re-imagineering of Martin Scorsese's classic film "Taxi Driver" follows Mickey Mouse-obsessed Travis Bickle as he looks for love in a rapidly transforming New York City. A 'fair use' parody by Bryan Boyce.
The Colors that Combine to Make White are Important explores the power structure within a failing Japanese glass factory. Two parallel story lines involving the investigation of a suspected employee and that of a stolen painting converge to reveal an exposition on gender and desire.
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.
A high & low fidelity record of obsessions past & present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig. Belinda (Heaven on Earth), Madonna (Live to Tell), and headphones (worn naked). An airport terminal. Home. The Montgomery Ward catalog circa 1980. That orange bedspread, that red flowered couch.
Named after Hatice Güleryüz’s haunting short film, with its disturbing yet iconic images, this program presents unsettling situations narrated with both considerable emotional investment and critical distance. In her work Intensive Care, Güleryüz films a boy’s circumcision, then tilt’s up to the boy’s silent, angelic face. In another work, The First Ones, she films a group of school children singing the national anthem; a take on nationalism made with so much love.
To the background of village celebrations a father questions his daughter about a suspected lover. She cleverly deflects him with her answers but the passions rise, the villagers take sides and what began as harmless banter becomes bitter and angry. Inarticulate with rage the father mounts his horse and the male villagers set out to begin a cycle of violence seemingly without end. In this traditional Nordic song a pattern of developing and irrevocable anger emerges which we are familiar with both in domestic violence and international conflict.
A ship sets sail on an epic voyage through malignant natural and supernatural elements from which one man alone survives. An adaptation of Samuel Taylor Coleridge's The Rime of the Ancient Mariner illustrated by19th Century wood engravings which are animated by scratching directly into the surface of color filmstock.
A radical reworking of an etching by Italian artist Giorgio Morandi, brought to life by engraving fame by frame into the photographic emulsion of color filmstock. The viewer is taken on a journey through the etching, accompanied by the sounds that the artist might have heard from his window as he worked.
The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries. All action takes place around NASA's Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries. Actual VLF audio recordings control the evolution of the fields as they delve into our inaudible surroundings, revealing recurrent 'whistlers' produced by fleeting electrons. Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world?