From the crashing waves of a wintry Pacific to the haunted vestibules of a Bay Area mansion, allow entry to this motley crew of ravished revelers who bring their choppers down on an assortment of improvised bon-bons.

Encounters I May Or May Not Have Had With Peter Berlin deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body.

Acconci literally feels the music in this tape as he lays down on speakers playing jazz. The sound pulses through his body while a collaborator massages his nude back in time with the music, occasionally striking Acconci like a rhythm instrument.

A Tale I Know Nothing About features themes of resurrection, entertainment and death.

An attempt to explore the metamorphic drama of expanding entomological entities. Sparkles of the screen-membrane in erosion.

The fleeting memories of a melting infant – live action, animation and re-photography (through ice).

During my residency in New York I was designing a computer virus, which would contaminate computers through a screensaver that read “there is so much love in this world”.

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force.

A young man of the "Modern Age" ponders sits alo

Ned the dog eats, growls and passes gas as we, the viewers, pass the time with him and his keepers as they share the stolen hours with us all. It’s all here: the pizza, the memories, the good times and the bad.

Showcasing a solo organ recital, Victor Solo features seven sets of organ works. A narrator, possibly the organ player, announces work titles before each set.

Re-Animation 3,4, & 2 are short animations created by looping images of dead insects taken from the artist’s own amateur entomological collections.

In 1971, graduate student Gloria Orenstein receives a call from surrealist artist Leonora Carrington that sparks a lifelong journey into art, ecofeminism, and shamanism.

RECKONING 3 is the first in a series of investigations into:

1. Terror and wonder in big-budget virtual worlds

Eiko's first piece without a human.

LYNDALE is a story of shifting family dynamics, told through the relationship of two brothers.

The time is now!  The present can be replaced in real time. Not quite yet by the future, but very easily by the past? eteam's video Track One is a replay of such time disjuncture. As they keep following the memory of a yellow cab that keeps driving through the now deserted streets of Taipei, their pastime augments itself with a mesmerizing sense of reality.

Naked is a "living" environmental installation created for and commissioned by the Walker Art Center in Minneapolis, where EIko & Koma were "on view" all the hours the museum was open for the month of November 2010.

On the narrow stairway that exits Paul Kos’s Tunnel\Chapel, where his 27-channel Chartres Bleu installation is housed, Kos writes with both hands on opposite walls, recording the narrative of Noah’s Ark.

Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.

Crosswinds  is part of the fieldtrip series. By definition a crosswind is any wind that has a perpendicular component to the line or direction of travel.

"Interested in the hidden corners of exoticism and a reinterpretation of history as an aesthetic challenge, Colombian resident in France, Laura Huertas Millán (Bogotá, 1983), presents in Aequador—in her own words—'a parallel present modified by

It stands as a mecca to 16mm film, and weathers the withering breath of a shifting climate. Bundled-up in opulence and optimism, the film festival goes onward and upward while I succumb to a glacial deposit that proves unflushable.

These films were made from The New York Times newspaper articles. The semi - automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

A woman confronts symbols of eternity while walking alone in the woods.

Based on a painting depicting St. Bernard receiving milk from a statue of the Virgin Mary.

Words: Donald Kuspit

Performer: Heidi Bartlett

Sound/Camera: Hans Breder

Post-production: Adam Burke

Slogans is a visual deconstruction of advertising slogans, a literal and metaphorical illustration of the disintegration and loss of meaning in the contemporary media landscape.

Luis Cruz Azaceta (b.1942) creates paintings and mixed media works which use the recurring theme of the displaced individual. Marked by his own exile from Cuba—he emigrated to the U.S.

Video Data Bank is proud to present the wonderful work of artist Laura Parnes.

"It is only shallow people who do not judge by appearances" wrote Oscar Wilde.

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.

The Diaspora Suite

I Wanted You shows a woman who is crawling over the floor. She is wearing only tights and a pair of red shoes with high heels.

"This is a videotape about Television. It is a fragmented, personal view. It is only one of many ways to explore television. This is a videotape about the cosmetics and packaging of television. It is about editing..."

--Antonio Muntadas

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

Animal Charm's Ashley seems to develop a conventional story about a modern mother and wife with typically modern desires. But the insertion of incongruous soap opera scenes soon ensures that the seductive images take on an absurd and oppressive charge. “The antiseptic cleanliness of the imagery has a superficial appeal, but begins to feel claustrophobic — or toxic — after prolonged exposure.”

A synaesthetic S16mm portrait made between French Polynesia and the French province of Bretagne, Color-Blind recruits the restless ghost of Paul Gauguin as an uneasy spirit guide in excavating the colonial legacy

From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council

In Deux Pieds, video is used to create dance illusions, effects impossible to achieve in dance except via video technology.

Guerilla Girls are artist activists who have dedicated themselves to informing the public of the gender and racial inequalities that persists in the art world.

From the fall colors of the Bronx, we travel up the Hudson River to Bard College and chew the fat with some notable faculty in the film department, who live in the shadow of the Catskill Moutains.

Futures for Failures is a double narrative of failure: architectural and social. Archival footage from a demolition of the Pruitt-Igoe building in St. Louis manifests as the materialization of modernity’s failure.

With various trips to the seashore, this summer travelette becomes an inner journey through mythical realms populated by rubberized horrors.

In 1959, Jean Seberg stares into Raoul Coutard’s 35mm camera lens and then turns – the closing frame of Godard’s Breathless is the back of her head. For the film it is a closing. For her character it is less clear. Is it a refusal? A denial?

In this interview, Basma Alsharif (b.1983) examines th

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details.

Roger Brown's (1941-1997) quirky, stylized paintings were influenced by such disparate sources as comic strips, hypnotic wallpaper patterns, medieval panel paintings, and early works of Magritte. His work is epitomized by a series of claustrophobic urban scenes with their drop-curtain-like gray clouds and cardboard-box apartment buildings, suggesting an amalgamation of boyish enthusiasm for model making and adult despondency. In 1996 he donated his apartment, complete with all of his belongings, artworks, writings, and automobile to the School of the Art Institute in Chicago, where it is on public display.

Curated by Lebanese video artist Akram Zaatari, and originally presented by the Internationale Kurzfilmtage Oberhausen, Radical Closure features works produced in response to situations of physical or ideological closu

This video is a 7-minute single channel piece consisting of two monologues: the first is a speech prepared for Richard Nixon in the event of a moon landing disaster in 1969, the second is the final words of the computer HAL from the film 2001.

In collaboration with Iris McCloughan.