Time

1976
Peer Bode, 100 Sec. Lumination

"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning. Digitalization of luminosity, strange notion, wonderful light and early digital embodiment. Image/signal in digitized state/space, noise field. I always thought of this to be 100 seconds of very beautiful digital light noise." 

– Peer Bode

2008
Air's Rock

A huge isolated rock in the midst of the desert in Australia: Ayers Rock.  I produced two contrasting films around this rock: Moments at the Rock was shot with an amateur video camera, amazing color changes, and time-lapsed compressed sequences; A Rock in the Light, edited with the music of Haruyuki Suzuki, is more visually structured, following the passing of time from the sunrise to the sunset.

--Takahiko iimura

"Takahiko iimura's Air's Rock is an ultimate landscape film."

--Katsuhiro Yamagucki, artist and author

 

2015

Big_Sleep™ explores problems in our archival urges. Via a single-channel desktop screencast, informatic elements ebb and flow—creating and relating interface absences. These gaps suggest that no amount of hard drive space can defy mortality.

2016

By assembling these three films, the Endless Dreams compilation provides a unique opportunity to explore the vast array of cinematic modes employed by Green’s filmic oeuvre, and how these are articulated in her layered spatial and extrasensory installations; in this case, a major project commissioned by the National Maritime Museum, Greenwich, U.K., Endless Dreams and Water Between (2009).

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

1997
Persistence

"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives. Interspersed through these materials are filmic quotations from Rossellini's Germany Year Zero (1946). A meditation on the time just after a great historical event, about what is common to moments such as these—the continuous and discontinuous threads of history—and our attachment to cinematic modes of observation that, by necessity, shape our view of events.

2012
Ben Russell & Jim Drain, PONCE DE LEÓN

“I could do wonders if I didn't have a body. But the body grabs me, it slows me, it enslaves me.”

-- Ponce de Léon

2007
Space Ghost

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved-ones.

2012
Tehching Hsieh: An Interview

At the age of twenty-four, Taiwanese artist Tehching Hsieh (b.1950), moved to New York, where he has created and documented time-specific, conceptual art performances since the 1970s. In this interview, Hsieh discusses his formative years and philosophical moorings. This dialogue includes description of the artist’s early period of painting, his military service in Taiwan, and the cultural atmosphere of a country then undergoing massive political change. Much of the discussion focuses specifically on Hsieh’s understanding of the relationship of art and life, his investment in “free thinking,” and the politics of documentation. For Hsieh, the ability to think freely is art’s bottom line—he believes the essence of his work lies in human communication. To this end, Hsieh insists that his work, though incredibly personal, is not autobiographical, but philosophical.

2013
Very Very End

"In The Very Very End, Barber points to his medium's plastic possibility by somehow traveling into the future and the past, nodding to Neville Shute's apocalyptic 1957 novel On The Beach, while setting an end-of-days story in a 21st Century holiday resort.

2007
The Theory of Time Here

It is TIME at a street corner in London... A collaboration between filmmaker Roderick Coover and writer Deb Unferth, this short marks the textual disintegration of the speaking clock in an unnerving portrait of technology, power, and the urban environment.

2010

An intense conversation between two people one evening leads to a pictorial love story about loss and longing. An homage to Eric Rohmer and the attention he paid to the tiny details of everyday life. An eternal story of love and separation.

2013
TOUCH

A man returns, after fifty years, to Chinatown to care for his dying mother. He is a librarian, a re-cataloguer, a gay man, a watcher, an impersonator. He passes his time collecting images that he puts before us – his witnesses and collaborators. Sitting in the dark, we share his cloak of invisibility, both a benefit and a curse.