In 2012, eteam visits Mars and Moon Townships in Pennsylvania. Using a documentary approach, they position themselves as cultural anthropologists who view the towns as if they were simulated environments on Earth, training grounds for eventual living on the planet Mars and Earth's satellite, the Moon.
eteam's book-form reinterpretation, Buzz Cut,will be included with every institutional purchase at no additional charge.
A familiar landscape comprised of big box stores and parking lots proves a rich site for longing, intimacy, and radical change. Celebrities are observed in this environment and are reduced to ordinary beings in the process. An enigmatic protagonist reveals little moments of subjectivity that escape into the piece like a contaminant, rupturing the view and evidencing the paradox of connection and belonging within systems that simultaneously contain us and comprise us.
Home Movies Gaza introduces us to the Gaza Strip as a mircrocosm for the failure of civilization. In an attempt to describe the everyday of a place that struggles for the most basic of human rights, this video claims a perspective from within the domestic spaces of a territory that is complicated, derelict, and altogether impossible to separate from its political identity.
"...Basma Alsharif’s Home Movies Gaza, a film that captures the impossibly politicized domestic sphere of the Gaza Strip, under the constant hum and buzz of overhead drones."
“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”
-- Graham Harvey, Animism
Trance dance and water implosion, a kino-line drawn between secular freak-outs and religious phenomena. Filmed in a single take at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist's everyday are revealed as time itself is undone. Rites are the new Trypps -- embodiment is our eternal everything.
“Trypps #7 (Badlands) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park, before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell's unique investigation into the possibilities of cinema as a site for transcendence.”
-- Michael Green, Museum of Contemporary Art, Chicago
C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski. Edited in succinct rainbow-hued sections, each sequence features robbinschilds in monochromastic gear, acting in psychedelic contrast and communion with their surroundings.
Hirsch’s most ambitious film to date and the pinnacle of his trilogy, Nothing New depicts the epic rescue mission of a man whose parachute is caught on electricity power lines. Involving hundreds of participants in a desolate field facing the Jordanian border in the Jordan Valley of Israel, this communal cinematic endeavor aims to re-unite, if only for a brief moment, the collective spirit of the socialist Kibbutz movement in Israel, a movement that has undergone significant ideological modifications.
Tochka depicts a journey made by anonymous group through a rough landscape. After many hardships, they arrive at a shallow ravine where they decide to build a rickety wooden bridge so that they can cross to the other side. Utilizing low-tech handmade machinery and a cumbersome logic, the film questions collective ideology and the process of making art as a community.
In 50 Blue a young man (the artist’s brother) pushes an elderly disabled man (the artist’s father) in a wheel chair through a muddy landscape. It is a long and exhausting trip to an unknown destination only discovered at the end. After an arduous struggle the two arrive at the edge of a grey lake where a 10-meter high guard tower stands. The young man ties the wheel chair to a rope and hoists the old man up on the tower platform with the help of eight men, all dressed in yellow plastic raincoats.
In a broken near future, a band of listless vagabonds ambles across a war-torn coastal territory, supervised and sorted by a group of idle soldiers. Rummaging, stuttering, and smashing through the leftovers of Western culture, these ragged souls conjure an unstable magic, fueled by their own apathy and the poisonous histories imbedded in their unearthed junk. Suspicion, boredom, garbage, and glamour conspire in the languid pageantry of ruin. Feel the breeze in your hair, and the world crumbling through your fingers.
A woman recounts her story of the mass exodus of Palestinians from Jerusalem. Beginning with the arrival and ending with the departure, the tale moves backwards in time and through various landscapes. The events are neither undone nor is the story untold; instead, Farther than the eye can see traces a decaying experience to a place that no longer exists.
Ken Kobland has been working in various aspects of film and video since 1971, creating productions in collaboration with performing artists such as Philip Glass, the Wooster Group, Elizabeth LeCompte, and Spalding Gray. His work explores a variety of themes and issues, often embracing a photographic aesthetic within the context of video. Beautifully edited, his work merges diaristic and documentary categories, presenting an art of video that approximates photo-journalism.
This 7-DVD box set contains the following titles from the artist:
An abandoned rural house, the Ravel Quartet in F major and then rain, wind, snow and fog are the elements of which this video is composed. In an impossible procession, one take presents four atmospheric agents to strike against the house. The musical instruments which follow the quartet each become an audio track which corresponds to each one of the atmospheric agents. So the sound of the first violin drips like the rain, that one of the second violin is muffled like the snow, the sound of the viola moves like the wind and that one of the cello vibrates like the fog.
A man with two dogs crosses a landscape. A person walks along a ridge and stops to look at the skyline. Other people run while nature shrinks back to its enigmaticness. In this video landscape doesn’t evolve according to simple time curves, but according to the particular mode of crossing of a weather element: fog.
Sequences of landscapes shot in an area of 60 km make up mosaics of places and reference axes constantly changing that do not exist in our surroundings. In this video bodies are not near or far. They are large or small. The horizons change and no space is independent from the viewer. Incorporating only memory, the landscape is seen in a variety of speeds and movements that apply a bodily logic to the vision.