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Yonemoto uses the potato ("papa" in Quechua), which is indigenous to Andean Peru, as the starting point for his inquiry. Restaging Van Gogh's famous painting The Potato Eaters with a modern Andean Quechua family in place of the original's Dutch peasants, Yonemoto parodies conventional documentary "objectivity" and its discourses surrounding third-world agricultural misery. Footage of rural poverty from Bunuel's 1932 surrealist documentary Land Without Bread—itself a landmark parody of the documentary form—serves as an ironic counterpoint to the "real" family tableau.
Conceived as a visual and sound poem in seven scenes, this animation of a two- thousand-year-old textile in the collection of the Brooklyn Museum invites entrance into a different visual and sonic space: the universe of the pre-Columbian weavers who created the portrait of a ritual procession...
This lyrical meditation on the cultures of the African diaspora is a richly visualized collage of sounds and images derived from African cosmology, tracing the long historical struggle to define a trans-cultural African race.
In PARIS (Metro), d'Agostino uses the Metro's closed-circuit surveillance cameras to record the movement of passengers in and out of the subway. The monitored images allude to a found text on the confusing etymological origins of "metro" and "poly" and their metaphoric connection to the subway as a vehicle of communication, while simulating the disassociation experienced by passengers in the system.
Writes Antek Walczak: "A detective-mystery movie adapted from Edgar Allan Poe's 'Purloined Letter' that purposely forgets the central premise of the story: the invisibility of hiding something obviously in plain sight. The Dupin twins, Augustine and Nicolas, confront another baffling case in...
"A silent film that investigates the nature of spectator perception by tourists and travelers. What do people see when they travel and isn’t it as much about moving forward as moving back? The Bateau Mouche tourist boats circle the Seine in Paris literally becoming the emblem of the voyager who cannot see." — Barbara Hammer
Participation represents the Vasulka's experience of the New York downtown scene in the late 1960s and early '70s. In this fascinating portrait of wildly creative people, places and times, the artists use the early Portapak video system to document, among others, Don Cherry performing in Washington Square, Warhol Superstars on stage, and Jimi Hendrix in concert. This pioneering video document is a free-form time capsule of an era.
"Passage to the North revolves around a reverse Ibsen dialogue (Ibsen's people would have longed for the south) about the necessity of the various characters-including two hard-faced young women in black leather coats and a soft man-going to the north. Domestic scenes of inquisition and conflict are intercut with black and white photographs and movies of a fire being put out on the blackened remains of a ship..." — Ann-Sargeant Wooster
Against the backdrop of a total solar eclipse, this film follows a motley crew of spectators, entertainers, and vendors gathered in St. Joseph, MO—the artist’s hometown—capturing the anxiety, cosmic wonder, and commercial opportunities inspired by the brief moment of darkness at one of the prime locations within the so-called “path of totality.”
Using an historical lantern-communication system based on light and sound signals, the film addresses fundamental problems and questions of nonverbal information exchange. Working with Joan Jonas, Serra discusses the phrase “One, if by land, and two, if by sea,” the secret signal used by the...
