2@ is part of the Pop Manifestos series, a five-video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.
3# is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.
"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture. These projection surfaces in turn alternate with images of a rock band whose music continuously frames the whole. As regards form and content, the video looks like a commercial, an advertising spot for SWIPE country. The fast changing images, the continual music, and the starting and ending credits refer to it. The viewer is greeted with the words: welcome to SWIPE country... enjoy the sound... make contact...
"Combining the comical with the absurd, I created six funny faces to animate the images of Japanese vowels while differentiating between 'image', 'letter', and 'voice'."
"iimura deconstructs our coherence as he shifts between the English roman alphabet and Japanese characters, interjects spoken Japanese, and manipulates the computer images of his features. The images often take on geometrical shapes, others recall the classical images from Japanese woodcuts of Samurai warrior grimace."
--Robert West, Curator, Mint Museum of Art, Charlotte, NC
alexia is an experimental video about word-blindness and metaphor. Word-blindness is a condition that usually afflicts people who have suffered a stroke, causing them to lose the visual recognition of individual letters but perceive the entire word, or vice versa. Metaphor is here discussed in its function to reveal and obscure perception. Divided into five short sections, the video draws a pattern with the motif of the finger and the moon to ruminate on language and blindness.
In this interview, Basma Alsharif (b.1983) examines the multiple ways in which her work engages with the notion of nomadism. Beginning with a discussion of how she initially came to video through photography, Alsharif describes how this transformation of her practice required a translation of artistic sensibilities. The artist feels this displacement between media gave her the tools to critically engage with the displacement she felt as a Palestinian-American.
"I'm not going to go to the Anne Frank House—I don't think I could take it—being a tourist is bad enough—though I'm not really a tourist—I'm here working—my camera's the one on vacation—taking holiday sounds and images—it's having a nice change of pace—for me it's still the same old thing—talking and talking.
"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!" —New York Video Festival (2002)
Images from magazines and color supplements accompany a spoken text taken from Herbert H. Clark’s “Word Associations and Linguistic Theory” (in New Horizons in Linguistics, ed. John Lyons,1970). By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together and against each other to destroy and create meaning.
As an ominous voice guides us through Best Is Man’s Breath Quality, we are confronted by dense and complex images and sounds that appear and disappear before us. From primates engaging with their reflected selves to glowing jellyfish drifting through deep and dark oceans, our visual perception of the human figure is decentered, leaving only the grain of analog and digital voices recognizable to our senses.
"John Smith uses humour to repeatedly subvert and frustrate potentially threatening content in an economically constructed tale of the narrator’s descent into paranoia and, ultimately, oblivion, as he is pursued, haunted, and finally destroyed by a mysterious peripatetic black tower. Throughout, both verbal and visual imagery are low key to the point of banality; shots of familiar inner city landscapes—terraces, tower-blocks and scruffy wastelands—are set against a narrative that is laconic and bathetic in the best traditions of English suburban comedy.
This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary. Language and image are being formed and revealed as they are organized.