Politics

The planting of the "cempasuchil" for the celebrations of the "Day of Death" is one of the last jobs that the Ayotzianapa normal students did before they were brutally disappeared, with small Lomokino 35mm cameras, which we had to compose-hit several times since they are manufactured to be disposable, we record the harvest of the season, with the purpose of impregnating in the fragility of the chemical canvas: the earth, no longer that of the common graves but that other earth that gives light to the work of our fellow Normalistas.

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

"In the late 1980s, as violence continues in the north of Ireland, censorship is increasingly being enforced on British and Irish television. In response, broadcasters have entered into a blackout strike, occupying several stations and transmitting a programme bringing censored voices back onto the airwaves."

Fences Make Senses re-stages and interrogates international barriers and borders using the bodies of non-refugees. Through a series of rehearsals, Barber aims to have privileged bodies experience the themes, situations, and ideas that refugees frequently face. This video was produced in response to the great number of documentaries the artist witnessed that interviewed the unfortunate in their impoverished conditions. Kept in limbo and squalor for years, these refugees are casually disliked by their "host" country.

The 2008 iteration Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2008 campaigns, and highlights the development of the political strategy and marketing techniques of the TV campaign process.

In the words of activist Dhoruba Bin Wahad, “Historical and social events are subject to almost instant censorship by those who have better access and control over the medium of communication. It is important that there exist people skilled in the use of the technological instruments of communication who will seek out the real truth behind the headlines and tell it for all to see, know, and hear.”

An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room. The interview was taped during the last year of the Israeli occupation, one year after her release from captivity in El-Khiam torture and interrogation center (South Lebanon) where she had been detained for 10 years—six in isolation. Revising notions of resistance, survival, and will, the overexposed image of the survivor speaks quietly and directly to the camera—not speaking of the torture, but of separation amd loss; of what is left behind and what remains.

During a conference in the late 1970s, Carol Leigh (also known as the Scarlot Harlot) coined the term “sex worker.” Now, it is a fundamental part of the lexicon regarding all worker’s rights and this is owed in large part to Leigh’s artistic and activist career. Working primarily through the medium of performance and video – her work attempts to educate and broaden audiences’ understanding of sex work and the fundamental rights sex workers deserve. This interview is a distillation of those aims.

In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning. In doing so, Glennda and Fonda navigate a range of perspectives on feminism, punk, and underground activism. Furthermore, they engage with questions of drag’s relationship with feminism, and how one would reconcile the problems of punk with Riot Grrrl’s desire for women’s liberation. 

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street. In an environment overloaded with information, the signs run riot as the confused and restless software does its best to fulfill its task.

In the Queen City is a series of three videos shot in Buffalo, New York that were produced following an invitation from Hallwalls Contemporary Art Center as part of their Ways In Being Gay festival.

An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm. Production Support Provided by Hallwalls Contemporary Art Center.

In 1939, Westinghouse made a film about a small-town family visiting the New York World's Fair. Trapped inside that film was a completely different film that shows a mysterious alternate universe, revealed by Bryan Boyce’s own patented brand of narrative deconstruction and evisceration.The outcome is an absurd and chilling drama of a family transfixed by the technological wonders that would soon transform consumer society.

Stasi is an audiovisual recall of the political and social substrates that sustain an actual system of images. Stasi is a recall of a system of images that, even now, dominates the global gaze of the world.

The story of the anti-Vietnam War movement from the perspective of James R. Roebuck, the first African American president of University of Virginia’s Student Council. Over a ten-day period of unprecedented student upheaval in 1970, Roebuck confronted a series of political challenges and existential dilemmas. This budding activist and future U.S. representative was the quintessential militant insider whose cool temperament and ideological flexibility proved quite useful as UVA appeared on the verge of imploding from within.

In Glennda and Bruce Do Times Square, Glennda is taken on a night tour of Times Square by author Bruce Benderson. They observe the dynamic between forms of culture that would typically be identified as “underclass” in “suburbanite” culture within the economic and spatial landscape of New York City. Glennda and Bruce visit the apartment of performer Consuela Cosmetic, who was prolific within New York’s ball scene. She maps out the ways in which she believes gender can be expressed, and discusses the implications of ‘passing’.

Executive produced by Sara Diamond at the Banff Art Centre, co-produced by Michelle Baughn and Suzanne Lacy, directed by Tom Weinberg and Dick Carter, and edited by Holen Kahn.

In this episode of The Glennda and Brenda Show, Glennda and Brenda take over a public bus to protest discrimination and violence against queer people who are "out and outrageous". They pick up many other out and proud friends to stage this queer sit-in.

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. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.

This video takes its departure from the BBC's coverage of the killing of three IRA volunteers by British Security Forces in Strabane, a small town on the border between Northern Ireland and the Irish Republic. Interrogating television discourse, the video examines what is referred to as the British “shoot to kill” policy of planned assassination in the North.

"In The Very Very End, Barber points to his medium's plastic possibility by somehow traveling into the future and the past, nodding to Neville Shute's apocalyptic 1957 novel On The Beach, while setting an end-of-days story in a 21st Century holiday resort.

In conversation with curator and educator Mary Jane Jacob, visual artist Ann Hamilton (b. 1956) talks about care, interactivity, and social relations — key concepts that preoccupy her practice — and why she feels compelled to revisit these issues under the Trump administration. Hamilton was trained in textile design and sculpture, and she received her MFA from Yale University School of Art in 1985.

Book Report explores themes of sexual assault, the weaponization of language, and the futility of escape. It combines short sequences of Mad Men's Don Draper with relevant facts about the 2016 presidential campaign — including a history of the hashtag #trumpbookreport and notes on a payment to the mysteriously named “Draper Sterling” ad agency. A choral voice-over, drawn from the infamous Access Hollywood transcript, revises the misogynist “locker room talk,” turning it against the original speaker.

Security Anthem’s requisite components came together relatively slowly. I’d known for years that I wanted to make something out of the Oto speakers’ most sinister, suggestive sentences. I’d taught myself to program music on a Game Boy using a cartridge I’d bought from a Swedish programmer, and I composed a sequence of ominous music that seemed well-matched to the speakers. I’d recorded John Ashcroft singing his self-penned song “Let the Eagle Soar” through a media player window, and I knew that it somehow belonged with the speakers and the 8-bit music.

In this video, Glennda Orgasm and social critic Camille Paglia walk the streets of downtown Manhattan and discuss the status of mainstream feminism in the early 1990s. They visit the Stonewall Inn, Washington Square Park, and a gay bookstore, and confront a group of anti-pornography protesters. 

An episode of Glennda and Friends, hosted by Glennda Orgasm and Camille Paglia. Featuring The Centaurians, Brian Roach, and Rennard Snowden.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.