In collaboration with Iris McCloughan.

La Trinchera Luminosa del Presidente Gonzalo is a recreation of one day at the Canto Grande prison in Peru, following women guerrillas from the Maoist Shining Path movement, from their morning marches to their bedtime chants.

"In Some Dark Place, filmmaker Cecelia Condit explores the dislocations of identity and memory that aging forces upon us, without losing sight of life's beauty."

— Milwaukee Film Festival, 2016

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling.

A high-pitched melodrama featuring the noise saturated spiritual journey of a vegetarian youth embroiled in big city shenanigans and occult extravaganzas.

Students reclaim a popular gathering spot on the campus of the University of Virginia.

Path combines striking imagery of the earth’s topography from the air, the ground, and beneath the sea.

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

A promotional vehicle with lane-changing tendencies, but both hands kept on the wheel at all times.

A soft-focus close-up of mouth and lips is set to the sounds of lovemaking. A soft-porn video on how easy it is to get porn.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance.

Lambert is a Chicago-based musician and media artist. His creative output primarily consists of vocal driven art-pop music and pop-inflected video art made from repurposed industrial and commercial media.

An example of what Reeves terms “video poetics,” layered images of a deserted village in the Spanish countryside play counterpoint to poetry by Cesar Vallejo and Pablo Neruda.

Segalove re-enacts the trials and travails of her desperate, hormonal, pubescent years with actors dancing their way through what looks like a techni-color version of the Cleaver’s backyard.

The "exquisite corpse" named in the title of this piece refers to a favorite game of the Surrealists, played by passing a folded sheet of paper among a group; each person draws one section of a body on the folded segment without looking at the other sid

Laurie Anderson is perhaps best known as a performance artist who works in both the art and commercial worlds.

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

The season sweeps through in a blur of glitches, gulps and sweetened goo, as chimes wring out the old and ring in the new.

In the fall of 1974 Doug Hall and Jody Procter began to develop a presidential archetype, which they called "the Artist-President." Procter wrote the speeches that Hall delivered "presidentially" in performances.

This European flavored melodrama depicts a fictional country of refined manners and debased desires that explode into chaos, sending its prodigal son into the pit of 20th Century technology.

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.

Originally commissioned by the Harvard Art Museums in response to the life and work of David Wojnarowicz, Survivor’s Remorse looks at how both art and bodies are maintained and the socio-economic influences that create a chasm between the value

A self-help speaker encourages self-reflection. Friends in Chicago hang out.

This Is Not Beirut is a personal project that examines the use and production of images and representations of Lebanon and Beirut, both in the West and in Lebanon itself.

Smith’s gentle, recusant comedy is a critique of masculine domination, focusing on the myth of manifest destiny.

Solstice is a music video illustrating the feelings inspired by this holiday song written by a young man I met in Atlanta, Georgia, Andy Ditzler.

A video documenting Rara Avis, a telepresence artwork in which participants interact with birds in the gallery space – locally and remotely – from the point of view of a telerobotic macaw located in a large aviary.

Androgina is a stand-alone work excerpted from Generic Video Art.

Tortillas are an ancestral and sacred food, our transmuted corn. The circular nourishment that represents the luminous and colorful side of the moon on which our life is nourished.

Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works.

Private photos of an exploitation film matron (Doris Wishman) in action highlight this collection of summer fare that features a wide range of image-makers pursuing their dreams.

This tape includes footage of one of the first broadcasts of Lanesville TV, as it appears on the television set of Lanesville local, Todd Benjamin, and a television set installed in a public bar.

Soliloquy is from Martine Syms’ Kita’s World series. In the series, Kita enacts the performances of everyday life in a hyper-digitized world.

Elizabeth LeCompte is the director of the Wooster Group, an experimental theater company that operates out of its own theater, the Performing Garage, in New York City.

Immaterial Terrain is a film made by Emily Richardson along a seven-mile stretch of the UK coast between Sizewell nuclear power station and the mythic drowned city of Dunwich.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally.

From the Maroon village of Malobi in Suriname, South America, this single-take film offers a strikingly contemporary take on a Jean Rouch classic. It's Halloween at the Equator, Andrei Tarkovsky for the jungle set.

--Ben Russell

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Robert Heineken (1931-2006) used technically sophisticated photographic methods to mingle erotic images with visuals from TV and advertising.

A glittering, Las Vegas-inspired music video for John Sex’s song "Bump and Grind It".  With an outrageous fountain hairdo (by stylist Danilo), Sex sings his catchy pop lyrics, “You gotta put your love behind it/Bump, bump, bump and grind it.” 

The repeatedly distorted, primate behaviour of an (ani)female carrying her baby, reflecting the pain and suffering provoked by the mother/child relationship.

Utilizing a mix of documentary and improvisational styles, the portraits featured in these three videos highlight the often forgotten, the marginal, those on the edge of society.

Spiro traveled for one year on the backroads of the southern United States gathering footage for this mobile video project. Accompanied by her dog Sam and a video camera, she travels from Virginia to Texas and back.

Eiko Otake’s I Invited Myself is a multi-volume installation which features choreography of place, movements of both performer and viewers, along with projections of selected video and film works created by Eiko over the last 40 years

This project on family violence, spanned two years and several sites across the country, and involved wrecked cars in sculptural installations. The cars were reconfigured by women and children who suffered violence at the hands of loved ones.

Sections 31-60 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.

Nine individuals visit the Santa Monica Mall and share their thoughts and feelings about love with Wendy Clarke and her camera. Love Tapes: Santa Monica Mall is part of Clarke's ongoing project, Love Tapes.

Part of the paraconsistent sequence series.

A short animation commissioned for Peter Burr’s touring media project Special Effect connecting Tarkovsky’s Stalker to its original text Roadside Picnic by the Strugatski Brothe

Alfredo Jaar is a politically motivated artist whose work includes installation, photography and film.  Born in Chile and now living in the U.S., Jaar’s socio-critical installations explore global political issues, frequently focusing on the Third