Home Exercises is a short dancefilm and hybrid documentary investigating the gestural habits and choreographies of aging individuals in their homes.

An up-close compilation of interviews and discussions with people living with HIV in the early 1990s. 

Paris, as in other metropolitan European cities, is rejuvenated by the influx of border crossing urbanites.

Laurel Klick and I were members of the feminist art program at CalArts and became close lifelong friends.

In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites — gestures, hesitations, stares, off-the-cuff remarks, jokes — details of an ideo

“It Did It explores my fictional character's story before and after I took Prozac. I used the scientific method to self-evaluate whether or not I needed anti-depressants while demonstrating how it affected my storytelling.”

"It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess.

The video hovers tentatively between therapy, documentary, poetics and mystic traipsery and ends, like all good things, in surrender to song.

Conversations is a live Slow-Scan Television (SSTV) work realized at the Centro Cultural Três Rios [Três Rios Cultural Center], in São Paulo, on November 17th, 1987.

A newsletter that turned into a film about hands (fast forwarding through slow times).

...a "mordantly nostalgic" sojourn across America. A landscape of mute streets, empty rooms and serene fields; the remains of a civilization which has momentarily disappeared.

–– Ken Kobland

Dó is an audio/visual synthesis between a dual screen video installation and a sound installation which was developed in collaboration with the Portuguese-Cape Verdean rapper/music composer Chullage.

This short is a romp through the life and times of transvestite jazz musician Billy Tipton, who was discovered at his death to actually be a woman.

A tribute to people everywhere who spread their glorious visions on canvases both large and small, beaded or lenticular, glossy or matt finished.

A response to the inability of his local General Motors dealer to fix Morton's 1974 Chevy van to his satisfaction, this tape blends experimental image-processing techniques with documentation of the faulty vehicle.

On June 23rd, 2016 Britain voted to leave the European Union. Who Are We? is a re-working of material from a BBC television debate transmitted a few weeks earlier.

Against images of an inventor-chemist juggling brightly colored molecules, psychedelic arms passing out pesticides, and nightmarish landscapes that include trapped live subjects, Oursler presents Hopewell, Virginia—a turn-of-the-century boomtown gone bu

An examination of venture capital, Nothing Ventured documents the tough negotiations that take place when entrepreneurs and bankers meet.

In this tape the Videofreex document an impromptu experimental art gathering in 1971, hosted by New York artist, Tosun Bayrak.

A brief dialogue between Marianne Renoir and Pierrot and a short description-reading from ‘Pierrot le fou’ about Diego Velázquez – these intersect with a visual moment to constitute the outline of a perception and the occurrence of the idea of ‘el puebl

Cherokee-American artist Jimmie Durham has worked in performance since the mid-’60s. In the ‘70s, he immersed himself in activism, working for Native American rights as part of the American Indian Movement.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point.

Addressing the tear that Lucio Fontana cut in the canvases of his Spatial Concepts, the performer, Russ Nordman, rejoins and repairs the split screen.

There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick.

Reeves explores his personal journey to seek the center of existence through the teachings of Eastern religions. India is the source of images for his message about the eternal wheel of existence—life and its continuous process of change.

On September 22, 2018 artists Ligorano Reese installed a 2500 pound sculpture of the word Truth carved in ice on the National Mall in front of the U.S. Capitol.

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.

This feature-length video follows several inflicted characters and recounts the ways in which they find resolve.

Mary Miss (b.1944) is an American environmental artist who works with concepts of illusion, distance, and perception. Her site-specific work frequently uses both ancient and modern architecture as references. Miss's 1977 installation Perimeters/Pavilions/Decoys at the Nassau County Museum of Art, served as one of Rosalind Krauss's inspirations when she defined postmodern sculpture in her article, "Sculpture in the Expanded Field." 

The sixth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–gay activist and self portrait artist Lyle Ashton Harris, Chicano photographer and tourist Robert Buitron, Cherokee writer, curator, and video

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

“Fouteen-year-old bone collector Maxine Rose is looking for validation from her heroes, amongst them the primatologist Jane Goodall, Archbishop Desmond Tutu and the New Zealand teen pop star Lorde.

Sphinxes Without Secrets is an energetic and transgressive acount of outstanding female performance artists, and an invaluable document of feminist avant-garde work of the 70s and 80s.

BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war.

SPRING is a four minutes and fifty-six seconds experiment with psycho-optics and psychoacoustics to produce a field of moving images and sounds starring Ho Chi Minh, Occupy Wall Street actions and Crocus.

"Noted critic Judith Williamson ventures from her English home to a shopping mall in Southern California to proffer some opinions on the working of American culture under capitalism.

The death that happens to others, the death that is in you already, the life that is in this death.

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom."

—Ximena Cuevas

Representing the complex lives of transgender and gender variant musicians in the US and Canada, Riot Acts offers a first-hand perspective of the intersections between gender performance and stage performance.

Prime Time is a video collage of violent imagery appropriated from American commercial network television. The work features rapid-fire editing (i.e., for analog 3/4" video technology) often used by network pro

Newton Harrison, born 1932, is one of the earliest and best known social practice and environmental artists.

The crowded streets of New York City turn into fictive, cinematographic scenery.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

This is a later reworking of original video documenting the goings-on of the village, Tlocalula, Mexico in 1973. Uses footage from Oaxaca 2004 in the background.

A volcano self-destructs ages ago, leaving in its wake a great emptiness which is filled with all that is cold and blue.

Matthew Coolidge is a founder and director of The Center for Land Use Interpretation (CLUI), an organization dedicated to raising awareness about how land is apportioned, used and perceived by its inhabitants. Through exhibitions, publications, and guided tours, Coolidge and the CLUI seek to foster and encourage a heightened sense of awareness of natural surroundings. In this interview, Coolidge defines a ‘land art spillover effect,’ in which the perceived significance of the landscape seems to increase the closer people get to a piece of environmental art.

Acconci sits with a man and a woman before a microphone. The man and the woman read from two different texts (novels by Mickey Spillane and Raymond Chandler), and Acconci repeats everything the man says.

In this 2014 interview, South African artist Kendell Geers (b. 1968) discusses the function of magic, myth, and memory in his work. Beginning at childhood, Geers charts the path he has taken in his understanding of his own biography as a site of resistance. This interest in the use of personal biography culminated in 1993 with his decision to change his date of birth to May 1968 as a way to reference both the May 1968 student protests, and the fact that 1993 was the first year that South Africa had participated in the Venice Biennale since 1968.

The filmmaker accepts the challenge of the philosopher and changes not only a table but also chairs, shoes, jugs, teapots and almost everything else lying around his house.

It was 1990 and, although the iron curtain was falling, Soviet official control was still iron-fisted.