Politics

“A documentary about the Arkestra, but it's one whose presentation reflects the multilevel approach Sun Ra had to music and life in general. Jump cuts and split screens dot the visual stream with home movie footage from the Arkestra in Egypt during the 1970s to the Arkestra of today led by Marshall Allen. Director Ephraim Asili wisely divides the 40 minutes into distinct chapters, illustrating each with band interviews, live footage, visuals of planets and NASA launches, and his voice quoting writings from Ra.

This installation is based on the re-enactment of Franz Kafka’s allegory "Before the Law", interpreted live over a telephone line by Katharine Gun. Gun was a translator (specializing in Chinese to English translations), working with the British secret service, who chose to leak information compromising the U.S. and U.K. governments in their push for a U.N. resolution for the invasion of Iraq.

Tour Without End is an experimental hybrid feature-length video work that casts real-life musicians, artists, and actors as fictional bands on tour; the piece evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of four years between 2014-18 at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule — made more apparent by the shuttering of many of its locations due to NYC’s rapid gentrification.

The work’s multitude of characters are legendary performers in the downtown NYC arts scene, including: The Wooster Group founder Kate Valk, Jim Fletcher (New York City Players), Lizzi Bougatsos (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae), and Neon Music (Youth Quake).

In this video, Brenda Sexual, Glennda Orgasm, and friends act out a drag queen murder mystery that takes place on their talk show. Later, they attend the Queer Fashion Army Invasion, a sit in of openly queer public fashion performance outside the Fashion Institute of Technology in Manhattan. Then, the pair arrives at a video store to discuss queer undertones of Hollywood films, like Grease, Rocky II, and Yentil.

“The syntactic structure and lateral movement of Arcade match its fairground equivalent. The work includes a series of images recycled from television and film, interspersed with location footage of Chicago El stations and punctuated with paintings created by Paschke on a computerized paint box. Flashing insights and lights, the ready-made imagery presents a sideshow of current concerns playing on the slippage between the televised and the real.”

Scenes from an Endless War is an experimental documentary on militarism, globalization, and the "war against terrorism." Part meditation, part commentary, Scenes employs recontextualized commercial images, rewritten news crawls, and original footage and interviews to question received wisdom and common sense assumptions about current American policies.

It's not my memory of it is a documentary about secrecy, memory, and documents. Mobilizing specific historical records as memories which flash up in moments of danger, the video addresses the expansion and intensification of secrecy practices in the current climate of heightened security. A former CIA source recounts his disappearance through shredded classified documents that were painstakingly reassembled by radical fundamentalist students in Iran in 1979.

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

Part of paraconsistent sequence series.

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.

A wide-screen video diptych of scenes shot during two different periods in Moscow––old footage from 1990 and newer from 2009. There's no linear narrative as the "story" is told principally in the juxtaposition of the two images of the city with this almost 20yr gap. It runs 31 minutes as a single screening, but it is meant to be seen as an installation since its visual theme, from an American perspective, is the recurring cycle of Russian upheaval. It is also principally a "fractal" piece, meaning that its story is replicated in every scene.

–– Ken Kobland

Sections 31-60 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.

This video proposes an ironic metaphor to grasp the follies of U.S. government action and inaction in Central America. The process of learning U.S. policy is similar to the process of a young child acquiring the principles of language. These dual senses of literacy operate on several levels, situating a child’s consciousness within the contradictions of history comments on the illusory innocence of childhood, and the unexamined, but real, guilt of the U.S. government, its supporters and clients.

Rosler calls Domination and the Everyday, with its fragmented sounds, images, and crawling text, an artist-mother's This Is Your Life. Throughout this work, we hear—but do not see—a mother and small child at dinner and bedtime while a radio airs an interview with a gallerist about Californian art of the 1960s. The soundtrack moves into overdrive with feedback, a passing train, barking dogs, and a bedtime story. The visuals, all still images, are drawn from television, movies, advertising, and the family album.

“The Riot Tapes is a video biography of Segalove’s political involvement in college, of her boyfriend (who became anorexic while dieting to evade the draft), and of her discovery that art could give her a voice and a forum for her political views. It is her first real political work. Segalove says, ‘I’m trying to comment on the state of things. A lot of my peers spend a lot of time in a state of disbelief, but I’m tired of disengaging myself from the world by doing that.’”

—Gloria Ohland, “Segalove’s Latest Is a Riot,” L.A. Weekly 6:22 (27 April 1984)

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.

The Videofreex had several experiences with the Black Panther Party, including interviewing Illinois Chapter Deputy Chairman Fred Hampton and New Haven Minister of Information Cappy Pinderhughes. In this tape, recorded on March 5th 1971, the Videofreex one-person camera crew Bart Friedman is walking the hallways of CBS, trying to find out where a video statement by Black Panther Eldridge Cleaver is located. The shots are mostly close up on people’s torsos and there is some image loss, but the sound is intact. The tape has an eerie espionage feel.

In this piece Dani Leventhal recounts to camera her experiences of living and working in Israel, the fabled land of milk and honey of childhood lessons. With time spent in a metal factory and a battery farm for chickens, her harrowing tale includes stories of sexual harassment and sick birds. Against this background, there are idyllic images of bees and flowers, cows and calves, intimate caresses, dead birds. Every thing is worthy of Dani's gaze, and is transformed by the encounter, becoming more human or sacred, and we are closer to the pain and beauty of being alive. 

A desktop video in five parts that modestly propose ways of existing with or against history and politics.

We Were Hardly More Than Children tells an epic tale of an illegal abortion, as lived by two women on a perilous journey through a world that has little concern for their survival.

Paintings by Diane Messinger.

Music by Renato Umali.

Lena and friend: Flora Coker and Cecelia Condit.

This is an audiovisual manifesto in support of people in resistance against a military coup.

On September 21, 2014 Ligorano Reese installed a 3,500 pound ice sculpture of the words The Future at the intersection of Fifth Avenue and 23 Street in New York during the People's Climate March. This video compresses the 11 hour event into 4 minutes.

“A century's carelessness is now melting away the world's storehouses of ice, a melting whose momentum may be nearing the irreversible. It's as if we were stripping the spectrum of a color or eradicating one note from every octave.” 
–Bill McKibben, January 2006

"The Flag is the second part of a video series about the state-controlled national day ceremonies of the Turkish Republic. Shot during the April 23rd Children’s Day celebrations, which mark the establishment of the new Turkish Parliament, and hence the official demise of the Ottoman Empire back in 1920, this split screen film documents a pompous patriotic performance devised by elders to be performed by children.

A historical analysis of the on-going war in the Western Sahara. Liza Bear interviews Abdullah Majdid, the Polisario Front's United Nations representative. The tape addresses Morocco's U.S.-backed military effort to subjugate the indigenous Sahrawi population and annex one of the world's largest phosphate deposits, as well as the Sahrawis' conditions for a referendum.

In the wake of Lord of the Universe, TVTV planned to cover the impeachment of Richard Nixon, but, unfortunately, Nixon resigned. The group made a ninety-degree turn to covering the “first hundred days” of the Gerald Ford administration, a cavalcade of photo ops and campaign appearances. In Part One of the four-part series, entitled WIN (referring to the Ford slogan, “Whip Inflation Now”), TVTV goes on a whirlwind across-country trek with Ford, stopping in Sioux City, Iowa, Salt Lake City, and Portland. The show is more about Ford’s public than Ford.