Artist Rabih Mroué looks back at old audio recordings, which were made by him and his parents to be sent as audio letters to his brother while he studied abroad.

Fifeville is a film about a neighborhood in Charlottesville, Virginia. It focuses on the details, gestures, and material life of the citizens of Fifeville as they communicate their understandings of the neighborhood’s changing landscape.

A simulation of safety and risk writ for both sides of the screen.

Over 6,000 gold prospectors invade the reserve of the Nambiquara of Sararé, and loggers raid the mahogany-rich forests, which are threatened by extinction.

This is the second part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

Circles cycle and shift in scale in this video about, through, into and out of Carol Bove’s monumental sculptures starring the exquisitely talented dancer Katie Gaydos.

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.

Go-Rilla Means War is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant, Brooklyn.

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

Skating softly, but carrying a big stick, performer Kristin Elliott engages in an interlocking series of skits involving simple, slapstick activities performed by a pristine outdoor pool and in a venetian blind windowed corner of a room.  Bodies of

Bitter with a Shy Taste of Sweetness contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present.

Transexual Menace takes its title from the name of "the most exciting political action group in the USA"—transgendered people who are defining themselves, demanding their legal rights, and fighting for medical care and against job discriminatio

Set in the industrial suburbs of Beirut, Majnounak (Crazy of You) explores male sexuality through interviews with three men who are asked to recount very openly the beginning, middle, and end of a sexual relationship they have experienced.

Eiko's grandfather Chikuha Otake (1878–1936) was a praised figure in traditional Japanese painting. But his anti-mainstream sentiments were shunned by the field authorities.

On December 1^st 1990, watched by the world's media, construction worker Graham Fagg of Dover climbed through a hole in a chalk wall 40 metres below the seabed of the English Channel, shook the hand of Philippe Cozette of Calais, and shouted "

Spanning 500 years of colonial destruction, Nosferasta tells the story of Oba, a Rastafarian vampire, and Christopher Columbus, Oba’s original biter, as they spread the colonial infection throughout the “new world.” Formally a vampire film and

Performing artist Neil Bartlett plays a gay lecturer whose attempt to go back into the closet is betrayed by the contents of his briefcase.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

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.

Found-footage video that addresses American racism and the violence that it spawns. 

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

We asked 12 people to walk 4 identical routes through the course of a day and a night, always attempting to repeat the manner of the first time.

Chance observations of New York's Chinatown, commissioned by the Museum of Chinese in the Americas. 

"A sleepwalker's circumnavigation of one of the less homogenized parts of the city."

--Jem Cohen

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

The likeness of a relative of the filmmaker surfaces as a tattoo on the arm of a Ukrainian soldier. A U.S. Army post in Oklahoma, built to fight Kiowa and Apache, is rededicated to aid in the fight against Putin’s own Western expansion.

These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. Our communal Selfie. So is the rest of the Capitalocene civilization.

Nine Hamlet RGB engages a simple algorithm to destabilize the timing of the red, green and blue frame sequential display system while incorporating fragmented, appropriated “to be or not to be” excerpts from nine Hamlet films.

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.

Which celebrity do you most resemble? For artist Kip Fulbeck, this question starts a rollicking ride that is part autobiography, part family portrait, part pop-culture survey, and all Disney* all the time.

The performers are seated around a pink octagonal table on pink, violet, and silver cinder blocks. One performer (Robert Stearns) stands up, recites the credits for the piece, and then says, “Do you believe in water?

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. 

I live in the Hudson Valley near the Hudson River. Historically, Muhheakunnuk, a river that runs both ways was a waterway for the colonization of North America.

This real-time video-meets-digital-animation trilogy of shorts features the highly excited and mildly delusional Joe Gibbons. Against a background of live action and animation, the caddy’s golf club turns into a guitar as he reminisces about playing golf with Iggy Pop: “Hell of a guy, hell of a golfer." 

On Subjectivity examines how information is disseminated, how people read, screen, and interpret images; how mechanisms function and articulate information.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska — or the Indian Pipe Plant — used by the Ho-Chunk to revive those who have fainted.

Give it Back: Stage Theory’s point of departure is the détournement of Panorama of the Monumental Grandeur of the Mississippi Valley (1850), a 9 foot tall, 348 foot long proto-cinematic moving panorama commissioned by and based on the contempor

Re-mastered in 2005, Reel 2 features a series of demonstrations and durational tests: how to protect oneself from germs; how to turn a roll call into a role play; and an excruciating exercise in desire, as Man Ray attempts to get his just rewar

The Dream of the Darkest Hour takes the intrigue and mystery of Bobe's other works but exacerbates it in such a way that it is overpowered by aesthetics and experimental tonality.

An absurdist demonstration of how the alphabet works.

This film is an appropriation from the 1955 movie Oklahoma.

A portrait of the artist as a not-so-young man. The filmmaker attempts to enter the digital age by making a new video version of one of his old films.

The performer interprets a video demonstration of a series of poses with mirrors, not unlike Breder's Bod/Sculpture photo series, but this time in a studio. This performance was later staged several times with Breder directing from off-camera.

Dad’s Stick features three objects that my father showed me shortly before he died. Two of these were so well-used that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely.

"Despite the didactic promise of its title, Carl Elsaesser’s new film will not teach you how to complete this obscure action.

Focusing on early media reportage of the AIDS epidemic and the struggle for gay rights, some aspect of a shared lifestyle begins with the outraged response of the gay community to the 1982 Supreme Court ruling upholding a sodomy law in the Stat

This compilation features several of Cohen’s pieces from the late 1980s and early 1990s: a paean to both the physical and mental aspects of the New York City landscape, an exploration of cinematic genres from narrative to music video, a sensual and roma

In Chicken on Foot, Sobell bounces a chicken carcass as one would a child, periodically crushing eggs (fetal chickens) on her knee.

Using footage from the legendary Bruce Lee’s last, unfinished, film, Fulbeck turns the subtitled martial arts movie on itself—levelling criticism and commentary with the genre's own tools, and examining the various representative functions of the late a