NEW VIDEO AT EAI: A ONE DAY EXHIBITION
NEW VIDEO AT EAI: A ONE DAY EXHIBITION
535 W. 22nd Street, New York City
NEW VIDEO AT EAI: A ONE DAY EXHIBITION
535 W. 22nd Street, New York City
NEW VIDEO AT EAI: A ONE DAY EXHIBITION
535 W. 22nd Street, New York City
Works
In this dizzying portrayal of futile searches through cluttered handbags and standing files, Baldino continues her provocation of the principles of narrative structure, letting us spy on the anonymous victims of failing manmade systems and the detritus of modern life.
This is the first in Cokes' non-consecutively produced series of "promotional tapes" for his conceptual band SWIPE. 3#, subtitled Manifesto A Track #1, introduces Cokes' concern with the ideological apparatus that undergirds the music industry. The video takes up a song by Seth Price, which is itself the systematic recreation of an early electronic pop song by Kraftwerk.
In 67/97, Cho employs the technology of scanning to meditate upon the process of information gathering and the construction of meaning. The result is a lyrical and witty investigation of data systems, surveillance and information overload.
Drawing from Paik's earliest experiments with video synthesizers, Analogue Assemblage employs current technology to create a multilayered montage that references both the old and the new. An eerie electronic score from 1969 floats over ghostly processed images; the result is a paean to the way the future was.
Thornton's continuing fascination with technology finds an unlikely expression in these digitally manipulated film sequences, in which a chimpanzee's pratfalls come to stand in for the human experience of media.
In Cinderella 2001, Hodel pushes her usual performance-to-camera work with a more developed dramatic structure. The result is a vibrant performance tape with an unnerving, compulsive narrative that explores issues of image and obsession.
Involuntary Reception is a multilayered piece that explores the alienation and exile of the self in a media-saturated world. Lucas performs as a young woman with an enormous electro-magnetic pulse field. Her Web project of the same name, which incorporates streaming video, performance and text, can be seen at www.eai.org/involuntary.
In Lieder, Donegan sets up a series of charged relationships -- between artist and model, art object and artistic "gesture," performer and viewer. Donegan is rendered anonymous in an absurdist mask, her head wrapped in plastic bottles and duct-tape, her pregnant body swathed in a black garbage bag.
Mirage 2, which Jonas edited at EAI in 2000 for simultaneous projection with her 1976 film Mirage, is a montage composed of video dating from the era of the original film and performance. A kaleidoscopic and hypnotic piece, it revisits footage recorded in the 1970s: fragments of off-air...
A portrait of threatened spirituality in an age of big guns and fast food, Numbering Numbers packs the torment of temporality into nine minutes. With Steve Reich's minimalist score set against a richly layered video collage, images of both the eternal and the incidental flicker and dim, creating...
Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing, using simulation to interrogate representation. Relating a long-circulated rumor that the landing was actually faked in a NASA film studio, Santos negotiates the increasingly blurry line between fact and fiction. As he notes in his on-screen text, the Internet makes any purported fact "easy to say, hard to prove."
Superman Recites Selections from 'The Bell Jar' and Other Works by Sylvia Plath
Mike Kelley
1999, 7:19 min, color, sound
Kelley writes: "In a dark no-place evocative of Superman's own psychic 'Fortress of Solitude' the alienated Man of Steel recites those sections of Plath's writings that utilize the image of the bell jar. Superman directs these lines to Kandor, the bell jar city that represents his own traumatic past, for he is the only surviving member of a planet that has been destroyed."
Two Women combines intimacy and distance to foreground the problematic of desire and mass media. Pearlstein juxtaposes a live performer with the photograph of a human figure cut from a magazine and dangled in front of the video camera. Tension is generated by the interaction between the static...
