History

1988
Off Limits

Juxtaposing the text of Off Limits, a film made in 1987 about Saigon circa 1968, with the soundtrack and image of the last five minutes of Easy Rider, made in 1968, Tajiri parallel edits these representations to play with the evocation and emptiness of the image. Tajiri blacks out the screen image of Easy Rider while the words of a Vietnamese assassin crawl up the screen, building a structure of selective memory. Tajiri’s Off Limits points to the similarities and contradictions between 1960s hippie iconography and memories of the Vietnam War.

1998
okay bye-bye

In okay bye-bye, so named for what Cambodian children shouted to the U.S. ambassador in 1975 as he took the last helicopter out of Phnom Phenh in advance of the Khmer Rouge, Rebecca Baron explores the relationship of history to memory.

1999
On the Flies of the Market Place

On the Flies of the Market Place deals with the idea of the European space, divided and sacrificed. In a visually surreal world of facts and emotions—using documents from books and magazines—the video suggests a re-reading of the European space, i.e. Eastern and Western Europe. Referencing history, philosophy (Kant), and art, the video elaborates on the idea of Eastern Europe as the indivisible residua of all European atrocities. Eastern Europe is a piece of shit and the bloody symptom of the political, cultural, and epistemological failures of the 20th century.

2012

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

 “Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind.” 

-- Harun Farocki

 


 

2014
Harun Farocki, Parallel III

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

"Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind."

—Harun Farocki

2014
Harun Farocki, Parallel IV

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

"Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind."

—Harun Farocki

1996

Partially Buried explores a web of genealogical traces. In this work the artist probes the notion of sites of memory as well as site-specific work by focusing on the location of Kent, Ohio. Partially Buried references the year 1970 during which the artist Robert Smithson produced his site-specific work, Partially Buried Woodshed at Kent State University. By chance the mother of the child in the video was present also in Kent State in May of that year, studying experimental music. In May of 1970, four students were shot while attending a rally protesting the U.S.

2016

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a reflection upon the work Partially Buried Woodshed by the artist Robert Smithson which was primarily known as a photograph and believed to no longer physically exist; both films provide an overlapping exploration of ways in which we attempt to reinterpret the past as well as our contemporary relations: How are the “returns of what is rep

1988
Peggy and Fred and Pete

Peggy and Fred meet up with Peter the Penguin, to once again make their way through the fragmentary remains of 20th Century American culture. They fashion a tumultuous, arbitrary world that teeters dangerously on the edge of nonsense and oblivion. The makings are familiar: technologies, accoutrements, and stories of our culture, leveled against an endless and disorderly horizon.

1997
Persistence

"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives. Interspersed through these materials are filmic quotations from Rossellini's Germany Year Zero (1946). A meditation on the time just after a great historical event, about what is common to moments such as these—the continuous and discontinuous threads of history—and our attachment to cinematic modes of observation that, by necessity, shape our view of events.

2011
Daniel Eisenberg, POSTWAR: The Films of Daniel Eisenberg

This three-disc DVD box set contains Eisenberg's four thematically connected films - Displaced Person, Cooperation of Parts, Persistence, and Something More Than Night - made between 1981 and 2003, exploring the ongoing implications of the Second World War and the fall of the Berlin Wall, as well as the relationships between the past, present and future, and how the meanings of events transform over time.  The disks are accompanied by a booklet with a contextualizing essay by Scott Durham and an artist interview with Domieta Torlasco, along with titl

2004
Presidents and Elections

The commodification of the American presidency is examined and lampooned in Presidents and Elections, a compilation of work from the Video Data Bank collection. Interweaving humorous, disquieting, and surreal videos with actual presidential campaign ads, the program highlights the evolving role of television as the driving force of electoral politics.

1971
Process Video Revolution

This tape, shot in April 1971, documents the making of a WNET/13 TV show about video collectives and how they use the new video technology.

2008
Putting the Balls Away

Putting the Balls Away is a reenactment of the historic September 21, 1973, tennis match between Billie Jean King and Bobby Riggs, created for broadcast on the 35th anniversary of the original event. The Battle of the Sexes was the most-watched live sporting event at that time, and pitted chauvinist against feminist, when women tennis players demanded equal pay to that of their male counterparts. Both players are performed by Mateik, whose work wages strategic operations to overthrow institutions of compulsory gender. After each game the competitors "switch sides".

2010
Intensive Care, Hatice Güleryüz

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.