still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St.

Anhedonia doesn't play to the back of the church. It shoots directly to the point with poetry and images that evoke controversy in one mind set and passion in another. Depression and suicide are met head on with Cuthand's honesty.

With sampled image and sound sequences referring to one another in a precisely calculated rhythmic alternation on four projection surfaces, Călin Dan draws a portrait of the city of Bucharest.

Based on live testimony, historical documents from my Egyptian Jewish family’s archives, and fragments from the renowned Cairo Geniza discovered in the 19th century in the Ben Ezra synagogue in Cairo, which includes documents from the 9th-19th cen

Taking its title from a poem by Paul Celan (translated as “sleeping den”), this montage is the result of a script that reconfigures over two hundred lines of English subtitles, lifted from films ranging from Battleship Potemkin and Persona

Leafless is a poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

Neither a Sierra snowfield nor a tunnel proves to be the perfect studio space for the improvement of one’s craft. Only practice counts.

Juxtaposing the text of Off Limits, a film made in 1987 about Saigon circa 1968, with the soundtrack and image of the last five minutes of Easy Rider, made in 1968, Tajiri parallel edits these representations to play with the evocation

Spell Reel is an archive of film and audio material from Bissau, Guinea-Bissau.

Benjamin Buchloh is an influential art critic and historian; he has written extensively on contemporary art for journals and exhibition catalogs, as well as his essay collection Neo-Avantgarde and Culture Industry (2002).

BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war.

“Trypps #7 (Badlands) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park, before descending into a psychedelic, formal abstraction of the expansive desert landscape.

Deaf Dogs Can Hear is an autobiographical work that traces the tragic yet humourous episodes of the artist as a young girl, and her pet chihuahua.

Is Miley more or less happy than June Cleaver?

A series of unnatural deaths and departures (almost all, of men) disrupts the lives of nine families sharing an apartment building in Jerusalem.

"Look at a landscape and imagine a different one there. Touch the body and let it slip from memory. Imagine a desert when what you see is winter.

Mr. Thomas is in the back garden, performing his new moves in the glorious sunlight, making things happen. Somewhere between ritual, a white suburban war dance and 1970's "keep fit" exercise to lovely music, Mr.

An ailing, elderly man listens to a private performance in his room. The singing is a halting mix cross-cultural-Inuktitut and Country & Western. Transgressive and mesmerizing, Karaoke distorts the landscapes of sound and body.

"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject.

An unorthodox essay film on the renowned but controversial painter, Philip Guston. Ballad interweaves Guston’s biography, influences, and philosophical approach to art with Cohen’s deeply personal engagement with the man and his work.

A Japanese student is taken by his teacher to the land down under from Frisco (LA) and gets to meet the mighty that fuel our lust for entertainment and art with gregarious gusto.

Volume 2 includes the pixelvision works made in 1992: A Place Called Lovely, It Wasn't Love, and Girlpower.

An examination of venture capital, Nothing Ventured documents the tough negotiations that take place when entrepreneurs and bankers meet.

Relying on the magic echo found in an old power Station in Norway, the artist whistles and marches to the Internationale, a May Day workers’ song.

RECKONING 4 is the second in a series of investigations into (among other things)

This is the common audiovisual system that interconnects the body of the workers and the industrial machinery of the actual system.

Part of the Hauntology Film Archives series.

This video is staged as a reading of the great Soviet poet Vladimir Mayakovsky's famous poem A Cloud in Trousers, written 1914-15.

Five prayers are sent skyward, and five curses get directed inward by those living in the purgatory of "modern life"... Attend this moody Mass in the church of "thoughts and feelings"... It will uplift you.

Employing footage from an obscure 8mm film trailer for Battle for the Planet of the Apes to highlight the unstable relationship between the real, historical past and the distant, imaginary future, this project revolves around a central question

Mom and Dad highlights causal conservations between Phil and his parents around family life, road trips, and camping in an interview-like setting, where his parents sit against a plain brick wall facing the cameras.

Julie Ault is an artist, curator, and founding member of the artist collective Group Material, which has organized exhibitions on themes such as the U.S.’s involvement in Central America, AIDS, education, and mass consumerism.

Equal Rights for Unborn Drag Queens is a satirical short video in which Brenda and Glennda critique anti-abortion politics, homophobia, and religious fanaticism in the media.

A trans performers enacts an improvised strip-tease in silence, adhering to directions of positioning and movement. 

In 1988 the World Financial Center in lower Manhattan asked artists and architects to produce installations that centered on “the rapid development of the modern city and its enormous impact on how people live and work” for the New Urban Landscapes

M+ Museum presented A Body in Hong Kong in two locations as part of Mobile M+: Live Art, 2015.

In Bataille, fragments from the Akira Kurosawa’s film Rashomon are subject to a mirror effect. A scene in which two samurai fight each other becomes a cosmic field of monsters where horror and pain evoke beauty and joy.

"Image states / sound states.

Burns and Discenza continue to battle invisible forces with the use of various children’s toys, cars and a mechanical digger, a paddling pool, rubber rings and ladders. Eventually they escape the scene of their distress in a hatchback car.

Documentary of the New York experimental theater company The Wooster Group on tour in Glasgow, Scotland, 2000, installing their production of HOUSE/LIGHTS.

Documentary about a sensation by the author. A sensation that the author can only describe with the documentary itself, a nighttime thunderstorm that produces the most beautiful image of the combined action of rhythm and time.

A domestic portrait rendered at miniature scale, Dust Studies brushes along the edge of what can be seen.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

Following the Israeli withdrawal from Ain el Mir in 1985, the village became the frontline. The Dagher family was displaced from their home, which was occupied by a radical resistance group for seven years.

The rivers are in flood stage during a scenic tour of Tulsa; while in El Reno, Oklahoma, it's as dry as a two-week old peach cobbler.

1! is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

Sara Magenheimer earned her MFA at Bard in 2013 and has since shown her work internationally in Canada, Iceland, the Czech Republic, and Denmark.

The magic life of the objects reanimate the ancestrality of the aesthetic of dream.