Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant

alexia is an experimental video about word-blindness and metaphor.

"The content of the rogue computer animation Boy/Analysis is perfectly illustrated by the integral title, namely, a drastic abbreviation of Melanie Klein's 1961 key study on child psychology.

An audiovisual being who has the power to shape shift. Part of shamanic materialism. 

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

Shot in December 1969, this video documents a live performance by the Incredible String Band at the Fillmore East, NYC.

This social satire on total, faceless authority begins with Smith bewildered by forces he doesn’t understand.

Circles, holes, cats, ribbons, ducks, flat furniture and moth. Experimental and domestic, no story but much glee.

Walking Off Court is the story of the nervous breakdown of a tennis fan and his rising inability to find tennis partners.

Coral is part of the harmonic and hyperkinetic colors film series. In this part the transcendental experience of his harmony leads us to an aesthetical suspension of content. Part of the Harmonic and Hyperkinetic Color Film Series.

In this 2006 interview, filmmaker Jem Cohen discusses his early interest in art, his family’s welcome antipathy towards commercialization, and his unconventional, anti-mainstream film practice. In particular, Cohen discusses his film This is a History of New York, and how this piece exemplifies his interest in the “territory of sensation” rather than simple visual descriptiveness. Cohen concludes by discussing the role of archiving in his practice, and how compulsive documentation of the quotidian and unexceptional can result in the empowerment of the everyday.

In this short video, the Videofreex sit in on, and record part of, a lecture given by Jesse Ritter to undergraduate students at Princeton University in 1969.

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

Ensconced in my urban Los Angeles bed, I recount growing up "safe" on suburban Long Island. A cameraman from KCET filmed and lit the piece. This is the only film I ever made that was not filmed by a colleague, friend, or myself.

This film is a recording of a live signal analog video/audio synthesizer performance with a voiced narration made in collaboration with an AI program. A speculative machine guided psychedelic broadcast of an astral floral projection.

The title implies a relationship between the two persons in the frame of the image. The woman in the foreground appears somewhat sad, the man in the background concerned.

Covid Messages is a video in six parts, based around broadcasts of Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to el

One of my weather diary series out in Oklahoma. The tone is wistful, the surroundings wispy (with some puffs of pungency). The TV is on and the porcelain is smeared with some residue atrocity from a previous passion.

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.

Throughout the video, Benglis asks "Now?" and "Do you wish to direct me?" and repeats commands like "Start the camera" and "I said start recording." As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point s

Video Data Bank is proud to present a compilation of celebrated titles by the artist Elisabeth Subrin, featuring four award-winning video works: Swallow (1995), Shulie (1997), The Fancy (2000), and Well, Well, We

Filled to capacity, each car of a 157 car train sounds a percussive note in this homage to John Coltrane. And not one coal train, but two.

A collaboration with DonChristian Jones.
Filmed during the Rauschenberg Foundation Residency November 2017.

Chief Waiwai recounts for his village the story of a trip he and a small entourage made to meet the Zo’é, a recently contacted group whom the Waiãpi “know” through video.

Told through the voices of three elderly South Carolinian's who reside in the homes in which they were born, Steven Go Get Me A Switch is an oral history mapping dichotomies of gender, familial mythologie

A cinematic firestorm of found footage and pilfered Hollywood images, Mike Hoolboom’s hallucinatory Tom – described by the filmmaker as, "Cinema as déjà vu, or déjà voodoo" – pays mesmerizing experimental tribute to the life and work of friend

Part of the paraconsistent sequence series.

Part bio, part memoir, Mom’s Move is an intergenerational film about mothers and daughters, women and photography, remembering and forgetting, and the tension between women’s private and public selves.

Doubling Forbidden Planet is a feature length reedit of the 1956 science fiction film Forbidden Planet.

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment.

Gregg Bordowitz is a writer, AIDS activist, and film and videomaker.

South Circular first shows us two women, in the shadow of nondescript ruins over the Tagus river in Lisbon.

The unusual combination of a sound like a singing saw accompanies sweet images of frolicking lambs in the meadow, galloping horses, and a strange boy, is eerily beautiful and pure.

George is in Tampa, Florida to do a one-day video workshop, so they make a fast-moving trailer for a non-existent UFO abduction movie.

Nebula is a hallucinogenically immersive spectacle: a complex, long-form audio-visual composition, which pays playful homage to science fiction fantasies.

A post-apocalyptic computer animated vision of humanity lost in an industrial wasteland, Maxwell's Demon was animated on a low-cost, consumer computer model - an IBM PC.

Each year, crowds of Turkish, Australian and New Zealander tourists travel to Gallipoli, Turkey for a modern day pilgrimage.

A man learns his daughter has been brutally murdered by her husband.

“When I moved to Hudson Valley, NY state in 1984 after being tied to Tehching Hsieh in his ART/Life: One Year Performance, I began meeting remarkable elders over 80, and sometimes 90, years old.

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

This extensive interview with California artist Doug Hall (b. 1944) provides unique insight into the culture and politics of experimental artistic production during the 1970s. Discussing the founding of the performance group TR Uthco, Hall offers context for his contribution to the field of video art, and shares stories of his collaborations with Ant Farm, Videofreex, and others. Ranging from his early years as an art student, to his romance with artist Diane Andrews Hall, to reflections on technology in art, this interview importantly extends the discourse surrounding topics of archive, performativity, and autobiography—subjects that have come to define the contours of video art today. 

An absurdist demonstration of how the alphabet works.

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

Do walls have ‘tales’ to tell?

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco.

People enjoy my company connects the privatisation of telecommunications with techno-optimism, euphoria and online communication in the lead-up to the millennium.

In Music on Triggering Surfaces, Bode constructs an interface between audio and video systems.

The fear of bridges.

The Situated Cinema Commission Project for WNDX - Winnipeg’s Festival of Film and Video art

Director of photography: Eric Cinq-Mars

Consultant: Daniel Watchorn

Music: Frères Lumières

This turgid potboiler was made with my class at the San Francisco Art Institute. It steam-rolls a series of overheated episodes to a colorful climax of redemption and moral rectitude.

An intimate interview with filmmaker, videomaker, film critic, poet, lecturer, and curator Jonas Mekas.