Memory

2018
Arbitrary Fragments, Barbara Aronofsky Latham

The emergence of video art tools in the late 1960s and early 1970s paved the way for an extraordinary number of outstanding art works by women. Captivated by the relative accessibility, portability and immediacy of Sony’s Video Portapak recording system, a significant number of female artists began to experiment with the video format. Often taking a direct-to-camera approach, many of the resulting works reflect the burgeoning feminist movement in the U.S. at the time.

2001
Lost Sound

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative, and musical connections between images and sounds, linked by the random discoveries of the tape samples.

2014
Ephraim Asili "Many Thousands Gone"

The Diaspora Suite

Filmed on location in Salvador, Brazil (the last city in the Western Hemisphere to outlaw slavery) and Harlem, NY ( an international stronghold of the African Diaspora), Many Thousands Gone draws parallels between a summer afternoon on the streets of the two cities. A silent version of the film was given to jazz multi-instrumentalist Joe McPhee to use an interpretive score. The final film is the combination of the images and McPhee’s real time “sight reading” of the score.

2015
Memory Palace

Memory Palace is a short video grounded in the personal history of the artist. A discovery of a photo album activates memories of physical spaces, which in turn open doors to reminiscences of past family life. Inspired by the classical method of loci, the film presents a woman — singer/songwriter Alice Smith — at work in Los Angeles.

2019
Michael Robinson Videoworks: Volume 1

Michael Robinson's video artworks evade easy categorization — defying genre, the works create their own set of rules. Using found footage, on-screen text, and various video formats, Robinson sparks vibrating frequencies between seemingly disparate parts. Michael Robinson: Videoworks Volume 1 surveys video works made between 2006-2010, exploring an abstracted landscape of media consciousness, bouncing between television, pop music, and personal experiences.

1997
Morayngava

Morayngava: the “design of things.” Yngiru: the box of the spirits, the films, just like xaman dreams. This is how the Asurini define video, which has just arrived in their village. After discovering that it is possible to store their images, the old men lament that they never stored images of their ancestors and decided to register the initiation of a xaman, a tradition threatened by new times.

Directed by Virginia Valadão and Regina Müller.

In Assurini with English subtitles.

2012
Morel's Yellow Pages, Filipa César

Morel's Yellow Pages focuses on secretive and destructive actions and image making. Her title references The Invention of Morel (1940), Adolfo Bioy Casares’s science fiction novel which informs the work. The artist brings together her research into the use of Baltra Island as an air base for the US army during World War II, and aerial surveillance photographs of the islands using film footage, documents, and factual information collected during her trip to the Galápagos. Morel's Yellow Pages interweaves fact and fiction, covert and imagined activities.

1991
NOMADS at the 25 DOOR

NOMADS at the 25 DOOR is presented in three chapters and based around a series of interviews between Finley and Mickey Yates, a 22-year-old woman serving a double life sentence in the Nevada Women’s Correctional Institution for the murder of her mother. Interweaving interview excerpts with footage of the upheaval in Eastern Europe, the tape explores the memory’s construction of an ephemeral homeland when a concrete one is lost, stolen or left behind.

2014

O, Persecuted turns the act of restoring Kassem Hawal’s 1974 Palestinian Militant film Our Small Houses into a performance possible only through film. One that involves speed, bodies, and the movement of the past into a future that collides ideology with escapism.

1995
Obsessive Becoming

This surreal, free-form autobiography is concerned with childhood and adult rituals, and the longing for meaning and connection during the often wildly absurd events of early life. Obsessive Becoming returns to Reeves’s early exploration of personal narrative forms, poetry, and his interest in creating a more spontaneous and direct fusion between language and video. Words and images of the expectations and disappointments of coming of age break down the boundaries of both mediums.

2017
Anne McGuire "Oh Hi Anne"

Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011. McGuire floats their voices along a river of digital scribbles and her own voice in singer/songwriter mode. The beauty of the piece lies partly in how the voicemails, used as-is and chronologically, contain an entire narrative about love and loss in a DIY style reminiscent of the Kuchars.

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.

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

2011
A Party Record Packed with Sex and Sadness

A high and low fidelity record of obsessions past and 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.