This title documents the participation of artist Aldo Tambellini at the opening of the 1970 exhibition Vision and Televison.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

"I asked the inmates in my Art Group on the HIV/AIDS unit - Del Norte to talk about their experiences from the womb to the present moment. Here are their stories."

–Wendy Clarke

A daughter leads her mother on a rope while they take a walk, looking for a place where the mother can bid her final farewell. Before she leaves, they have a picnic, she sings a song, and they chat about the family. An absurd domestic drama played out against the background of a summer’s day by the seaside.

The projection and screens in this installation are access points meant to connect the present to an ancestral past.

Loss Prevention combines documentary and fiction to tell the story of Irene, arrested at the age of 79 for stealing a bottle of aspirin from a Miami Wal-Mart and sentenced to ten weeks of Senior Citizen Shoplifting Prevention School.

Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.

Offering was co-commissioned by Dancing in the Streets (New York), the Walker Art Center (Minneapolis, where the proscenium version premiered January 9, 2003) and the University of Arizona (Tucson).

Created with Caleb Craig.

The Videofreex conducted this interview with Fred Hampton, the Deputy Chairman of the Illinois chapter of the Black Panther Party, in October 1969, just over a month before he was killed by the Chicago police.

"It was as if I was living by the Nike slogan Just Do It."
— George Barber

In Dry Blood (Sagre Seca), various historical moments of political activism in Mexico are superimposed and corroded on the emulsion of expired film.

Here, amid tall, swaying trees, you'll inhale the toxic breeze of desire...

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s.

Painter, Susan Rothenberg (b.1945) is known for her poetic, atmospheric images.

Sister City channels moments of paradoxical experience — of being a superhero or being for sale — into reverberant conduits, articulating a nature divided by panes of glass or suspended in watery solitudes.

This film uses the ‘old fashioned’ conventions of documentary film practice to stand history on its head.

“Levy's work is both ramified and momentous, addressing environments of many kinds, and filled with stories in which human behavior has played a decisive role.”

Incorporating appropriated television footage as artistic experimentation and social critique, Chilean artist Magaly Ponce retells a history of violence and repression from her point of view.

Black Sea Files is a territorial research on the Caspian oil geography: the world's oldest oil extraction zone. A giant new subterranean pipeline traversing the Caucasus will soon pump Caspian crude to the West.

Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011.

This is the apparition, the ghostly flight over our present time of the infamous conqueror Pánfilo de Narváez. The exterminating angel of our times. Part of the Hauntology and Post-Covid series.

Cameras aim and click in this breezy short that blows hot and cold kisses to the "Big Apple" below and the maple leaf above and beyond the northern border of this great nation.

In Stitch, computer graphics are altered with image processing effects. Beeps and electronic music provide a soundtrack as abstract structures and evolving shapes and patterns rotate in space.

Set in Charlottesville during the early 1990s, an aspiring writer finalizes stories for the latest issue of Pride, a student-run newspaper at the University of Virginia.

A young moviemaker discusses the horror film he hopes to open commercially. In the process he opens his lavish apartment to the hungry eyes and tummy of he who rots in the sidelights.

In this interview, American filmmaker, teacher, and video artist Peggy Ahwesh (b.1954) delves into the key figures and primary texts that have inspired her work in Super-8 and video since the 1970s.  She discusses her early influences as a member of the underground art scenes in Pittsburgh in the late 70s and Soho’s Kitchen in the 80s. Ahwesh’s experimental hand-processing and controversial subject matter can be traced to feminist theory, and her exposure to underground experimental films, including works by Werner Herzog, George Amaro, Kenneth Anger, Jack Smith and her teacher at Antioch College, Tony Conrad.

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world t

In his signature photographic style, Donigan Cumming eulogizes a dying friend through his exploration of “culture” in all its manifestations: 1. culture: a particular civilization at a particular stage 2.

A dark wave of incest and magic burns across the tropics, forging a knotted trail into the black hole. Taking its title from the V.C. Andrews novel (a sequel to Flowers In The Attic), and weaving together texts from Shirley Jackson, William S.

VDB TV: Decades
1980s: Problematizing Pleasure / Punk Theory

This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary.

In Spank an eight-second film clip has been re-edited, frame by frame, into a 7 1/2-minute video, tranforming discreet gestures into suggestive, pulsating sequences.

Taking its title from the four consonants of the ancient Hebrew name for God, Tetragramaton contemplates the relationship between man, technology, and ecological systems.

"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera."

— Sky Hopinka

Comalli is the ancestral tool to cook our sacred food, our corn and tortillas. The circular tool that represents the dark side of the moon on which our earthly food burns. The cosmic dance of food and fire that nourishes our bodies.

Los Angeles-based, Kaucyila Brooke (b.1952) makes what she describes as, "wall size photographic sequences in comic-strip format that consider lesbian relationships within American popular culture." Produced over the past five years, Brooke’s large-scal

Culture Capture: Crimes Against Reality extends NRO’s Culture Capture series towards examining desires for monumentality and its dissolution, pursuing fantasies of removal by morphing monuments into metastasizing flesh via ritualized photogramm

In this tape made shortly after fiber and sculpture artist Claire Zeisler’s death, art critic Dennis Adrian discusses her influence and aesthetic strategies.

This video captures the playfulness of the Videofreex as they frolic in the first snow of 1971.

"Ursula Biemann’s Writing Desire is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world.

Su Friedrich (b. 1954) is an American experimental filmmaker whose career has spanned over four decades.

The third compilation in this series of progressive, creative public service announcements for under-reported issues.

Performed by my graduate students at the San Francisco Art Institute, this one act play that I had written gets the best production values that $500 can afford.

Primavera is a frenetic experimental animation that documents the pandemic and the Black Lives Matter protests as they intersect in springtime Brooklyn.

A compilation of two videos that wittily explore counter-cultural identity through lesbian portrayals of iconic stars: in this case, the Beatles and British playwright Joe Orton.

Made from silent black and white tube camera footage of the artist taken by her father in the early 70s, this series of loops—through the examination of particular moments and gestures— is evocative for what it reveals and conceals about their relations

Untitled for Technically Sweet was originally inspired by the Antonioni script of the same title for an exhibition curated by Yvette Brackman and Maria Finn and shown at Participant Inc.