Miller & Shellabarger, their breath made visible by the cold of a refrigerated room, exchange breath with each other.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colorful heat stirs the new fire of their cosmic dance. Part of the Film Tonalli.

This interview with a Mexican squatter in Oaxaca, Mexico is an example of the genre that Breder conceptualized as “aesthetic ethnography.” This term refers to processes and form which attempt to illuminate people and cultures in specific historical mome

E42 is a cinematic exploration of the area in Rome knows as the EUR, a modernist landscape that was originally designated by Mussolini as the the site of the World Fair of 1942 and as a celebration of the 20 year anniversary of Fascism.

The seventh in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–visual anthropologist Wendi Starr-Brown, Hapa video and performance artist Kip Fulbeck, Japanese-American artist Dorothy Imagire, Chicana mix

The HalfLifers exhume cinema’s favorite incarnation of mindless, decaying mortality, the Zombie, in the hopes of breathing new life into this misunderstood figure.

Originally recorded during 1975-76 and re-mastered in March 2005, this selection of 11 skits mostly focuses on Man Ray.

Hurricane Katrina and the ensuing aftermath destroyed Noel's community and home. He is rebuilding, and as he rebuilds, he evokes the past through the enlistment of his personal archives.

An extremely rare documentation of a private performance of John Cage, one of the leading avant-garde composers of the 20th century, who created "Writing for the Fifth Time through Finnegan's Wake" using I-Ching chance operation: Chinese fortune telling

How I Love You is an exploration of sexuality among gay men in Lebanon.

Eerily drifting through soft fades, superimposed images, close-ups, and visual feedback, this tape follows less a narrative structure and more a stringing together of seemingly random activities, set against two very different soundtracks.

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

Shot in video-8 at the 1988 Chicago Auto Show, this work examines the artist's personal history with automobiles against the back-drop of an auto plant closing in Kenosha, Wisconsin.

The magic life of the objects reanimate the ancestrality of the aesthetic of dream.

McGuire constructs a murky black and white soap-opera world of endless, timeless, and placeless limbo, where the characters talk to each other entirely in clichés, bad poetry, and other contrite forms of speech — a short TV show in which nothing is reso

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.

Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears as a guest editorial in Newsweek magazine in 1982.

In conversation with curator and educator Mary Jane Jacob, visual artist Ann Hamilton (b.

Storms threaten to tarnish the Golden State as I wander through the rooms of my apartment, seeking a high in the lowering barometric pressure.

Satoshi Uchiumi, Japanese abstract painter, believes that the beauty of painting lies within paint itself. He has pursued beauty by painting thousands of colored dots.

A magnetic "dancing" ballerina toy, found by Bob, inspired this video of a real ballerina (Laurie McDonald) spinning as if the magnetic coils in an old black and white mid-century Setchell Carlson television monitor were controlling her movements.

Created from 2014 footage shot at Ethan Cohen Fine Arts Gallery with a mirrored curtain, the performer here meets a ghost of herself.

Performer: Elisa Osborne

Camera: Liliana Gao

Editor: Adam Burke

Surrounded by the scribblings of the undecipherable, the denizens of the dark and the cheap reach out for light and for the pearls of wisdom that lie enmeshed in a maze of grooved and spray-painted enigmas.

Benglis uses the video format as a metaphor for other types of limiting conditions or limited realities.

Applying the same economy used in César's other films — one shot which uses the duration of an entire 16mm film reel — Porto 1975 is a tracking shot that unfolds at the social housing complex Cooperativa das Águas 

In this video diptych, Snyder uses image and music to depict opposing forces in semi-abstract terms.

Under the spell of Toloache, the hypnotic images come up.

Shifting Positions is a semi-autobiographical/fictional trilogy exploring becoming queer later in life, my father's dementia, and our mid- and end-of-life crises.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco.

A historical interview originally recorded in 1983.

Interview by Joan Livingstone.

A self-described “collage piece” of “stolen images,” Shanghaied Text starts with quiet Montana landscapes, among which are views of a powerful dam.

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

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp.

An elegy to the popular demands against ominous social and political events in the recent Mexico.

This tape documents a cultural exchange between the Parakatêjê (Gavião) of Pará and their “relatives,” the Krahô of Tocantins.

It’s summer time in New York City and the relatives are coming out of the woodwork. Cats live and die amid the high humidity and more exotic species of God’s goodness parade distressingly on the hot asphalt of a shopping mall.

Fifty Wonderful Years provides a behind-the-scenes look at the 1973 Miss California Pageant. In the early '70s beauty pageants across the country came under fire from feminists who targeted them as spectacles that exploited women.

Matt Wolf returns to Joe Brainard's iconic poem I Remember (1970) in this videowork. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory.

"I’ve been raised with stories of the medicine men in my family. A bundle that was used successfully to heal people. Stories of bear spirits that took care of us.

“Where the robots can eat food, they eat chemicals instead—as one would expect. Where they can live and act, they sit in dark rooms and watch others do it for them. Where they can have faith, they mistrust the honest.

This found-footage video looks at the demagogic aspirations of Huey Long, Father Charles Coughlin, Joseph McCarthy, and George Wallace, concluding with Donald Trump. American history is filled with such characters.

In this interview, political and social theorist, Terry Eagleton (b.

Chief Pedro Mãmãindê (who directed the proceedings and the shoot itself) describes the necessity of strengthening the girls of his village by secluding them after their first menses.

Angel appears to Weirdo and forces a distasteful issue.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

A Body in Fukushima is a film created by dance artist Eiko Otake consisting of still photographs, inter-titles, and an original score.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

In Ontogenesis, Tanaka interweaves electronically altered images of American patriotism–the Statue of Liberty, Uncle Sam, waving flags–with footage of the Vietnam war, bombs dropping, and 1960s political figures (L.B.J.

Ground Effect is an investigation of the constantly shifting, 80km long line in Israel, where rainfall amounts to less than 200mm a year on average.

1! is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.