In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.
Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players. It still uses an open form, but the characters are more developed; they have "names," and some of the scenes were truly dangerous for them to produce. As in the other films (with the exception of Done To) there is a nucleus of three characters—two women (Boris and Jamiee), and one man (Steentje, a tranvestite/hermaphrodite). The music, composed expressly for the piece, is harmonious with its developments.
Possibly In Michigan is an operatic fairytale about cannibalism in Middle America. A masked man stalks a woman through a shopping mall and follows her home. In the end, their roles are reversed when the heroine deposits a mysterious Hefty bag at the curb. Like Condit's other video narratives, Possibly In Michigan shows bizarre events disrupting mundane lives. Combining the commonplace with the macabre, humor with the absurd, she constructs a world of divided reality.
Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound. In Six Vibrations, the camera is riveted to a close-up of the four upper frets of Landry’s guitar, maintaining an image of the sound easily identified with the gridded field paintings of Agnes Martin. In Hebe’s Grande Bois, Landry improvises on a bamboo flute as the camera frames his mouth, again in extreme close-up, in the center of the screen. There is something sensual, almost obscene, about Landry’s lips.
A small Italian town on a seemingly distant hill appears like an architectural model illuminated by interior lighting. Suddenly, sounds seem to cancel the distance, suggesting nearness. Places and actions appear in miniature, animated by the light that is switched on and off. The whistling of the wind and the sounds coming from the town increase. A voiceless aria reverberates through the landscape in the absence of light.
This program presents different approaches to looking at war, and to using images of war. My Friend Imad and the Taxi is an unfinished work from two amateur filmmakers, both passionate about film, who lived in Beirut in the eighties when the city looked like the set from a war film. Samir’s work looks at the intersection between (H)istory and (h)is story as lived at home.
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.
“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.
Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco. The video is playful and opulent, presenting a night at the disco as a mind-expanding trip to an alternate universe.
Until his untimely death from AIDS in 1992, Tom Rubnitz produced short, humourous videotapes featuring some of New York’s most outrageously talented musicians, artists and drag queens. Influenced by mass media entertainment, Rubnitz crafted hilarious videos which simultaneously celebrated and parodied pop culture’s bountiful energy and inventiveness. As Tom said, “I wanted to make things beautiful, funny and positive—escapes that you could just get into and laugh through. That was really important to me.
"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."
In the video Satellite, Nelson Henricks combines found footage and techno beats to question western society's ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.
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. Impressive and distinctive."
Sing, O Barren Woman, part documentary part music video, satirizes and celebrates a taboo subject--voluntary childlessness. Susan Mogul gives voice to ten women who are childless by choice (or default) as they come out as non-mothers speaking and "singing" about the stereotypes of the "barren" woman. "Never mentioned in public or given a voice, we’re invisible women who made a provocative choice." These various refrains crescendo to Susan’s humorous song of sexual innuendo "Baby, I Still Can Conceive." This is the first U.S. film or video on voluntary childlessness.
Bob Snyder is a Chicago-based composer, video artist, and author who has been experimenting with sound and video synthesis since the 1960s. As a musician, his interest has always been in the relationship between music and visual imagery. In Snyder’s work, music is the central generative source of meaning, although he also creates a dialogue between the sound and images of nature and architecture.