Body

Mutiny

Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin. The syntax of the film reflects the possibilities and limitations of speech, while “politically, physically, and realistically” flirting with the language of opposition.

Music Works

This compilation features 11 of Jem Cohen's collaborations with musicians. Made on 16mm, Super 8 and Video, the works include the music of R.E.M., Gil Shaham and the Orpheus Chamber Orchestra, Void, Elliot Smith, Jonathan Richman, Miracle Legion and Olivier Messiaen.

Nightswimming

Monitor

Cyclops / "monitor" / minotaur.

Note: A 20 second video loop self-portrait.

Mercy

Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrumentÑplacing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. Vocals performed by Shelley Hirsch.

 

Merce by Merce by Paik

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp. The first section, “Blue Studio: Five Segments,” is an innovative work of video-dance produced by Merce Cunningham and videomaker Charles Atlas. Cunningham choreographed the dance specifically for the two-dimensional video monitor screen. Atlas uses a variety of video imaging effects, including chromakey, to electronically transport Cunningham’s studio performance into a series of outdoor landscapes. The audio track includes the voices of John Cage and Jasper Johns.

Mayhem

Through a catalogue of looks, movements, and gestures, Mayhem presents a social order run amok in a libidinous retracing of film noir conventions. Sexuality flows in an atmosphere of sexual tension, danger, violence, and glamour; antagonism between the sexes is symbolized in the costuming of women in polka dots and men in stripes. Censored in Tokyo for its use of Japanese lesbian erotica, this tape creates an image bank of what signifies the sexual and the seductive in the history of imagemaking, pointing to the way we learn about our bodies, and how to use them from images.

Marx: The Video

Kipnis describes this tape as "an appropriation of the aesthetics of both late capitalism and early Soviet cinema—MTV meets Eisenstein—reconstructing Karl Marx for the video age.” She presents a postmodern lecture delivered by a chorus of drag queens on the unexpected corelations between Marx’s theories and the carbuncles that plagued the body of the rotund thinker for over thirty years. Marx’s erupting, diseased body is juxtaposed with the “body politic", and posited as a symbol of contemporary society proceeding the failed revolutions of the late 1960s.

Martina's Playhouse

“In Martina’s Playhouse everything is up for grabs. The little girl of the title oscillates from narrator to reader to performer and from the role of baby to that of mother. While the roles she adopts may be learned, they are not set, and she moves easily between them. Similarly, in filmmaker Peggy Ahwesh’s playhouse of encounters with friends, objects aren’t merely objects but shift between layers of meaning. Men are conspicuously absent, a ‘lack’ reversing the Lacanian/Freudian constructions of women as Ahwesh plays with other possibilities."

Majnounak (Crazy of You)

Set in the industrial suburbs of Beirut, Majnounak (Crazy of You) explores male sexuality through interviews with three men who are asked to recount very openly the beginning, middle, and end of a sexual relationship they have experienced. The video explores the image they wanted to project of themselves, hence the image of the "male" they identify with. Their stories are alike, starting with seduction and ending after sex.

SHARONY!

This is the story of two young girls who dig up a tiny woman from the back garden. They incubate her in their mouths, in their bed, they lock her in a dolls house wallpapered with pornography to make her grow up faster, feeding her through a tube in the door. When she is life-sized and ready to play they take her to the disco. A dark, comic, experimental fantasy on the implications of Little Girls Toys - with the existential melancholy of Frankenstein's monster. "A compelling exploration of a child's inner life and logic.

Selected Works: Reel 1

In Reel 1, newly re-mastered in 2005, a series of vignettes and jokes to camera take place, some starring Wegman’s droll and obliging canine partner Man Ray. Both the human body and props are employed to amusing effect: lamps talk, a microphone is dragged around, stomachs sing. At one point, Wegman dribbles milk on to the floor, to be lapped up by a thirsty dog.

Contents:

Microphone, 0:47

Pocketbook Man, 1:19

Anet and Abtu, 0:47

The Ring, 1:11

Randy’s Sick, 0:16

Selected Works: Reel 2

Re-mastered in 2005, Reel 2 features a series of demonstrations and durational tests: how to protect oneself from germs; how to turn a roll call into a role play; and an excruciating exercise in desire, as Man Ray attempts to get his just rewards. While entertaining, these humorous pieces also parody television culture and work to highlight issues of consumerism.

Contents:

Sanforized, 0:47

Coin Toss, 2:11

Monkey Business, 1:06

Same Shirt, 0:32

Selected Works: Reel 7

Originally made during 1976-77 and re-mastered in March 2005, this selection contains a mix of visual jokes, conceptual humor and performance. Wegman "dialogs" with himself, close-ups of his mouth and teeth taking on different characteristics and voices; remakes of earlier black and white performances; and man and dog in focus, including a failed attempt to induce Man Ray to smoke.

Alarm Clock, 0:30

Doctor Patient, 2:20

Bad Movies, 2:00

Drop, 0:43

Fruit, 0:25

Smoking, 1:55

Horseshoes, 1:10

Fast, 0:15

Concerto, 1:20

River Sky

Three people are taken for a short ride on the River Thames hanging upside down on the back of a speedboat. The journey is both a test of endurance and a simple way of forcing people to see differently. Upon reflection, the participants talk about their childhood and the places where they used to like to play and hang out. The very nature of the event leads the participants to remember and think about themselves and the ways they have changed.

Revolving Upside Down

The inverted camera catches Nauman standing at the end of the room, slowly spinning around on one foot, first head down in one direction, then head up in the other direction. The tape seems to be as much a trial of Nauman’s endurance as an exercise in becoming a human machine, some type of cog or mechanized weather vane.