Invalid data: dreaming through the gaps
Curated by Abina Manning and Eugenia Marketou | 1997—2012 | TRT 01:18:48

Lossless #3
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Rebecca Baron, Douglas Goodwin | 2008 | 10:00 | United States |

Removing key frames from a digital version of John Ford's The Searchers, Baron and Goodwin attack the film's temporal structuring to render a kinetic "painted desert" of the West.

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Lossless #3
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Rebecca Baron, Douglas Goodwin | 2008 | 10:00 | United States |

Removing key frames from a digital version of John Ford's The Searchers, Baron and Goodwin attack the film's temporal structuring to render a kinetic "painted desert" of the West.

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Track One
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eteam | 2011 | 01:45 | Taiwan/United States | Color | 16:9

The time is now! The present can be replaced in real time. Not quite yet by the future, but very easily by the past?

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Ceibas: Epilogue - The Well of...
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Evan Meaney | 2011 | 07:33 | United States | English | Color | 4:3

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.

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Natural Instincts
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Ximena Cuevas | 1999 | 03:00 | Mexico/United States | Spanish | Color | 4:3

This is a video of musical terror where I superficially—this is the beginning of a larger project—look at one of the Mexican phenomena that horrifies me the most: internalized racism, being ashamed of one's own roots. The fantasy of waking up white.

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Suspension
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Anthony Discenza | 1997 | 08:40 | United States | English | Color | 4:3

Constructed from a destroyed rescan of fashion magazine ads and a video self-portrait, Suspension is a meditation on the implicitly narcissistic nature of desire within a commodified context.

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Traders Leaving the Exchange, A Guard...
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Les LeVeque | 2011 | 15:00 | United States | Color | 4:3

Traders Leaving the Exchange, A Guard and the Street V.1 is a 15-minute unstable remix of a video I shot in 2000, and edited in 2011, of the "members" door of the New York Stock Exchange as the traders were leaving at the end of their workday.

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The Hunch that Caused the Winning...
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Stephanie Barber | 2010 | 02:05 | United States | English | Color | 4:3

The interior was delusional like any visual psyche. The couches and plants, rugs and paintings were all in cahoots and up in arms over the cahootery. The explorers were under-qualified and cowardly.

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The Invisible World
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Jesse McLean | 2012 | 20:15 | United States | English | Color | 16:9

A deceased hoarder, reconstituted through technology, recounts a difficult childhood as inhabitants of a virtual world struggle to reconcile materialistic tendencies. A scientist leads an effort to understand the passage of time, but the data is unreliable. The question remains, what happens to our things after we are gone?

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Actions in Action
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1997 | 00:11:21 | United States | English | Color | Mono | 4:3

"For ten minutes, the HalfLifers’ attempt to “rescue” one another  by applying yogurt, junk food, syrup, processed cheese and baloney slices to each other’s bodies. The scenes are panicked and hilarious: at one pivotal moment, the classic pie-in-the-face is applied as a superior “home-made” remedy."

—Nelson Henricks

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About this Program:

Greek curator, activist and interdisciplinary artist Eugenia Marketou was invited to organize the Media Lounge for the 2014 College Art Association Conference, which took place in Chicago. Occupying a site of its own within the conference, and open to the public, the Media Lounge functioned primarily to foster a dynamic civic and artistic engagement with Chicago’s cultural community and institutions, including the Video Data Bank.

Marketou and VDB Director Abina Manning collaborated to curate two screening programs from the VDB collection, featuring both historical and contemporary video art. The screenings ran for three days during the conference, and were an integral thread of Uncommon/Commons, an incubator for skills and knowledge-sharing that responded to the themes of the commons and 'commoning.'  Framed as an attempt to break out of the expert/audience model prevalent at such conferences, Uncommon/Commons consisted of workshops for the exchange of skills and knowledge, the two rotating screening programs, and a drop-in space for contemplation and discussion, and culminated at the end of the conference with a discussion between the two curators and other participants.

VDB TV presents one of these programs, Invalid data – dreaming through the gaps, which features a number of video works that are concerned with media and mediation, technology and collaboration… and all things in between.  To quote Eugenia Marketou: 

Since we realize that mediation is everywhere, and involves both the physical – sea, air, earth, humans – and new media or electronic forms, how have the endless streams of pixilated films and videos changed the way we experience our hypervisual world? 

This compilation of artists’ video appropriates material from social media platforms such as YouTube, cell phones, surveillance cameras, video games and found footage to address the issues surrounding the politics and proliferation of what Hito Steyerl calls the “poor image.” 

Featured titles

Lossless #3

Removing keyframes from a digital version of John Ford's The Searchers, Baron and Goodwin attack the film's temporal structuring to render a kinetic “painted desert” of the West. The dust kicked up by the movement in the film is pure pixel, unanchored from the photographic realism that used to constrain it.

eteam, Track One

The time is now!  The present can be replaced in real time. Not quite yet by the future, but very easily by the past? eteam's video Track One is a replay of such time disjuncture. As they keep following the memory of a yellow cab that keeps driving through the now deserted streets of Taipei, their pastime augments itself with a mesmerizing sense of reality.

Ceibas: Epilogue - The Well of Representation

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.

— Evan Meaney

Natural Instincts

This is a video of musical terror where I superficially — this is the beginning of a larger project —l look at one of the Mexican phenomena that horrifies me the most: internalized racism, being ashamed of one's own roots. The fantasy of waking up white.

— Ximena Cuevas

This title is also available on Ximena Cuevas: Dormimundo Vol. 1 (Sleepworld Vol. 1), Ximena Cuevas: El Mundo del Silencio (The Silent World), and Half-Lies: The Videoworks of Ximena Cuevas.

Suspension

Constructed from a destroyed rescan of fashion magazine ads and a video self-portrait, Suspension is a meditation on the implicitly narcissistic nature of desire within a commodified context.

Les LeVeque, Traders Leaving the Exchange

Traders Leaving the Exchange, A Guard and the Street V.1 is a 15-minute unstable remix of a video I shot in 2000, and edited in 2011, of the "members" door of the New York Stock Exchange as the traders were leaving at the end of their workday. A security guard is positioned in front of the "members" door. The shot is a close up of the door and the guard taken from across the street, busy with traffic and pedestrians.
  Les LeVeque 

Stephanie Barber, Hunch that Caused the Winning Streak and Fought the Doldrums M

The interior was delusional like any visual psyche. The couches and plants, rugs and paintings were all in cahoots and up in arms over the cahootery. The explorers were under-qualified and cowardly.

Jesse McLean, The Invisible World

A deceased hoarder, reconstituted through technology, recounts a difficult childhood as inhabitants of a virtual world struggle to reconcile materialistic tendencies. A scientist leads an effort to understand the passage of time, but the data is unreliable. The question remains, what happens to our things after we are gone?

Actions in Action

This first work in the HalfLifers' Action Series plunges into a world of frantic heroes trapped in a continual crisis of dissolution and reification. An ordinary domestic setting is recast as a psychoactive landscape in which the concept of function becomes situational and fluid. Only through the strategic application of organic and inorganic “devices” can this zone be successfully navigated and the mission be saved.

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Program Notes

CAA