Body

1987
Ana Mendieta: Fuego De Tierra

Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass. The consciousness of her politics and the poetics of her expression fill her work with an emotionally charged vision that is powerfully conveyed in this posthumous video profile. Drawing upon the raw spiritual power of Afro-Cuban religion, Mendieta used her art as a ritualistic and symbolic activity to celebrate the forces of life and the continuum of change.

1978
Merce by Merce by Paik

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp. The first section, “Blue Studio: Five Segments,” is an innovative work of video-dance produced by Merce Cunningham and videomaker Charles Atlas. Cunningham choreographed the dance specifically for the two-dimensional video monitor screen. Atlas uses a variety of video imaging effects, including chromakey, to electronically transport Cunningham’s studio performance into a series of outdoor landscapes. The audio track includes the voices of John Cage and Jasper Johns.

1989
Mercy

Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrument — placing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. Vocals performed by Shelley Hirsch.

 

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.

2011
Midnight Carnival

Revelers at a masquerade ball enter an UnderWorld of guilt, vice, pain, chaos and redemption.

-- Mike Kuchar

2015

"Every object in the room will outlive him. The aspirin bottle is two hundred miles away and his robe is in another time zone."

—Mike Kuchar

1999
Monitor

Cyclops / "monitor" / minotaur.

Note: A 20-second video loop self-portrait.

2016
Mike Kuchar, Moods for Moderns

He came into the work world clad in skin, awash in all his yesterdays—now those shadows follow him!

2017
Mike Kuchar "Moon Lit Vows"

A rose scented breeze enters a young man's, winding it's cool arms around him... Together they will roam the darkness of his life.

2015
Museum of Damaged Art

"...His love of Heaven's virtues could not prevent a hunger for God's enticing creatures."

— Mike Kuchar

2005
Music Works

This compilation features 11 of Jem Cohen's collaborations with musicians. Made on 16mm, Super 8 and Video, the works include the music of R.E.M., Gil Shaham and the Orpheus Chamber Orchestra, Void, Elliot Smith, Jonathan Richman, Miracle Legion and Olivier Messiaen.

Nightswimming

1982
Mutiny

Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin. The syntax of the film reflects the possibilities and limitations of speech, while “politically, physically, and realistically” flirting with the language of opposition.

2007

In this interview, American writer, artist, performer Eileen Myles (b.1949) discusses the various philosophies that motivate her work, including the language of film, embodied performance, and the alienation evoked by bodily vulgarity. Myles links her wide range of artistic and literary practice with notions of abstraction, improvisation, and the mythology of gender, which she explores in relation to her own identity as a working, middle-class lesbian woman. She reflects on the significance of geographical locations, both New York City and San Diego, on her art, and shares how her past struggles with addiction have shaped her life and practice.

1983
Naked Doom

Rankus’s elegant black and white video takes us into an intensely dark inner world. The visual elements remind us of clues in a mystery story: dark corridors, half-revealed bodies, a man with a gun, a throw of the dice. But Rankus complicates the mystery by adding scientific symbols: a flickering brain, see-through bodies, diagrams of the head, a skeletal hand. Rankus uses quirky props, lights, actors, and computer imaging to create a labyrinthine space reminiscent of di Chirico’s paintings—one that reads as an open metaphor for the subterraneous desires of the human mind.

2013
Paweł Wojtasik, Nascentes Morimur

Nascentes Morimur grew out of a series of works on autopsy — an earlier video and a number of still images — that were exhibited together as Like a Shipwreck We Die Going Into Ourselves. In an interview on that body of work Wojtasik said: “In the end, doubt has been raised. One starts to look around the room at the living and the dead and question how real one’s own and others’ identities are. At the same time, one may be filled with simultaneous wonder and dread at the sheer fact of being alive in the body.”

-- Kustendorf Film and Music Festival