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Commissioned for the Goldsmiths Centre for Contemporary Art on the occasion of If UR Reading This It’s 2 Late: Vol. 1, Cokes’ first UK solo exhibition, The Morrissey Problem addresses the problematics of the titular frontman of The Smiths, adapting in full an essay by Joshua Surtees condemning...
The Nomadics takes a sweeping overview of peoples from across the world and develops an intuitive and aesthetic sense of history which can posit a global identity amongst people of color.
Antin employs the structure of a popular movie genre as an armature for her continuing theater of ideas in this feature-length, narrative videotape. Using hand-painted dolls, who display more than a coincidental resemblance to figures in the art world, Antin recounts the hijacking of "Nurse Eleanor's" plane on the way to St. Tropez
The Passing hauntingly travels the terrains of the conscious, the subconscious, and the desert landscapes of the Southwest, melding sleep, dreams and the drama of waking life into a stunning masterpiece. Viola, placed at the center of this personal exploration of altered time and space,...
The Re'Search is a tween-aged microcosm of Any Ever. The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait?s vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls.
Ahwesh's two young actresses, Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A roughly corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.
WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
"One of the nice things about movies was you could keep them at a distance. Movies knew their place. We were dimensional, they were flat, so it was easy to know which was which. But THE SCENIC ROUTE seemingly spills from the screen, threatening demarcation lines everywhere."
Broadcast regularly on Manhattan Cable Television for the better part of a year, Beck undertook each half-hour episode as a conceptual performance, using duration, the context of television, and video technology as expressive tools.
