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Evil.8 presents a word-for-word transcription of a 2004 New York Times editorial discussing the notorious Abu Ghraib prison images, and the actions and tactics of the Bush administration before and after these images were made public. This animated text, rendered in "patriotic" colors, is set to a pop song decrying the Defense Department's image control policies.
Evil.9 combines an Internet-circulated hip-hop music video by the Canadian-German artist Mocky with an Associated Press text outlining the effect of the U.S.A. Patriot Act on the basic rights of U.S. citizens. Cokes writes: "Our unwillingness to confront the implications of our acts and the consequences of our history represent failures to take responsibility."
Cantor reimagines Kenneth Anger’s Invocation of My Demon Brother (1969) as if it were a paean to Hindu goddess of destruction Kali instead of Lucifer. In Cantor's take, Anger's hypermasculine imagination of the occult is replaced by that of an ironic depiction of female "hysterics."
Writes Zoe Beloff: "The philosopher Walter Benjamin and his friend playwright Bertolt Brecht spent time together in exile from Nazi Germany. Exile imagines that they are still in exile in New York, 2017. In the intervening years they have changed—in the contemporary world, refugees and victims of racism look different. Brecht is Iranian. Benjamin is African American. The down-at-heel comic duo are vagabonds in the tradition of Laurel and Hardy or Vladimir and Estragon; they are still doing what they always did, showing us how society works with whatever they have to hand—words, images, and suggestions on how to tell the truth in a world full of lies. Unfixed, oscillating between their time and ours, Brecht and Benjamin reveal what has been buried in our own history, making connections between fascism in New York in the 1930s and its manifestation in the Trump era."
Extracurricular Activity Projective Reconstruction #1 (Domestic Scene)
Mike Kelley
2000, 29:44 min, b&w, sound
Kelley has constructed a half-hour drama inspired by a photo found in a high school yearbook. The original, a still from a school play, depicts two young men in a shabby apartment. From this image Kelley has re-staged a 'Domestic Scene': the protagonists' unnerving, at times histrionic, relationship.
Acconci's face becomes a metaphorical theater for a narrative drama of the mythic American landscape. With language as a catalyst, the artist conducts a riveting examination of his own identity through American cultural mythologies.
In this exercise in nonverbal communication, Acconci explores facial expressions, and their psychological resonance, as a mode of performance narrative.
Face-Off is an ironic collusion of private and public, of exposure and masking, a tense ritual wherein Acconci divulges and then censors his self-revelations. Acconci turns on a reel-to-reel audiotape recorder and bends down to the speaker to listen to it, his face barely visible in the frame....
In FADE TO BLACK, Cokes and Trammel assemble a chronology of stereotyped cinematic representatives of African-Americans and a series of subjective narratives of racism in everyday social exchanges, constructing what he terms the "details of an ideology," both on and off the screen.
