“Mining an ironic vein by turning technology against itself, AlienNATION undercuts the sociological ramifications of modern living. It is an astounding compendium of sci-fi images, textbook diagrams, special effects, and studio props, which together build multiple readings of the alien, the mysterious, and the obscure in American culture.
Babeldom is a city so massive and growing at such a speed that soon, it is said, light itself will not escape its gravitational pull. How can two lovers communicate, one from inside the city and one outside? This is an elegy to urban life, against the backdrop of a city of the future, a portrait assembled from film shot in modern cities all around the world and collected from the most recent research in science, technology and architecture.
"It’s a complex architectural vision equal parts awesome and terrifying… This is a film – and city – to get lost in."
Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME's (coronal mass ejections) heading towards Earth.
In part a remake of Hollis Frampton’s Gloria! (1979), in part a repurposing of hacked, 16-bit video game technology, The Well of Representation asks us to reconsider our fear of the liminal. Following the convergent narratives of several voices, ranging from the linearly historical to the cybernetically personal, we come to understand the journey ahead: searching from interface to interface, knowing that whatever home we find will be a collaborative compromise. One where we might live beyond our representations and finally come to say what we mean.
Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to bed.
We have come to this place of meaning together, celebrating our un-remaindered completeness. Yet, in our wake endures a long procession of stowaways: misspoken sounds we unconsciously omit, the limitations of our alphabet, the ignored gaps of an imperfect analog, and most recently, these forgetful bits of the virtual. We celebrate the lineage of our information as we celebrate one another, not realizing that the loudest affirmations might come from these unacknowledged, unavoidable participants. With each generation, they say a little bit more, speaking a little bit louder.
Taiwanese artist Shu Lea Cheang (b. 1954) tackles conceptions of racial assimilation in American culture, examining the political underbelly of everyday situations that affect the relationship between individuals and society.
County Down is a cross-platform, episodic, digital film exploring an epidemic of psychosis among the adults in a gated community that coincides with a teenage girl’s invention of a designer drug. Mirroring rave culture and the unbridled optimism around technology during the 1990s, County Down presents a society so obsessed with novelty and consumerism that it euphorically embraces its own destruction.
Earthglow is a poem written for the character generator and switcher that conveys a writer's internal dialogue through both subtle and dramatic color changes and through movement, size, and placement of words. The ambient soundtrack evokes the confluence of past and present perceptions.
Heliocentric uses timelapse photography and astronomical tracking to plot the sun's trajectory across a series of landscapes. The entire environment seems to pan past the camera whilst the sun stays in the center of each frame, enabling us to gauge the earth's rotation and orbit around the sun. As the sun's light becomes disrupted by passing weather conditions and the environment through which we encounter it, it audibly plays them as if it were a stylus.
In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).
VDB is proud to present Kent LambertVideoworks: Volume 1. Lambert is a Chicago-based musician and media artist. His creative output primarily consists of vocal driven art-pop music and pop-inflected video art made from repurposed industrial and commercial media. This comprehensive collection of his works reflect, critique and ultimately transcend American zeitgeists and Lambert's own consumption within them.
This tape includes footage of one of the first broadcasts of Lanesville TV, as it appears on the television set of Lanesville local, Todd Benjamin, and a television set installed in a public bar. Interwoven with shots recording the program’s reception, are segments recorded for Lanesville TV itself: Bart (playing the part of “Russell”) approaches Parry, dressed as a hillbilly car mechanic “fixing” the VW Van; nearby, Nancy opens the door to a cabin, wearing a bonnet, while Carol and Chuck, crowding behind her, play the part of other Lanesville TV protagonists.