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Recounting an unnerving encounter involving a building from the Manhattan Project, a suspicious bird, and a Shamrock Shake, a caller consults with a customer service representative from a bank regarding his apparently corrupted memory and the ethical imperatives of one’s vocation.
Produced in close collaboration with the engineering research center MIRTHE (Mid-InfraRed Technologies for Health and the Environment), Warm Objects is a portrait of the world in uncertain and paranoid times. Utilizing MIRTHE's imaging technology and infrared photography, Ahwesh transforms scenes of everyday incidents into glimpses of our world through an alien lens.
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In Washington (METRO), originally designed as a video installation for L'Enfant Plaza station, d'Agostino contrasts surveillance footage from the closed-circuit cameras that monitor the system with the original Pierre L'Enfant utopian plan for the city, while a bland travelogue is heard on the soundtrack.
Shot in Burkina Faso, Wassa is a transcultural music video that unfolds with lush imagery and the evocative music of Houstapha Thiohbiano. Jones creates a dreamlike vision, capturing the vibrancy and sensuality of the everyday. This rhythmically textured work is part of his exploration of African...
Acconci's face is seen in close-up. His eyes trace, in real time, the movement of the hands of an off-screen clock.
Writes Lawrence Weiner: "SITUATED WITHIN A LANDSCAPE OF HUMAN INTERACTION THOSE ACTIVITIES THAT LEAD TO THE CONSTRUCTION OF STRUCTURES NECESSARY TO DEAL WITH OR CO-EXIST WITH THE FORCES OF NATURE, WATER IN MILK EXISTS ATTEMPTS TO PRESENT VARIOUS CHARACTERS AT A POINT OF DISJUNCTIVE BUT SIMULTANEOUS REALITIES.... THE ACTIVITIES OF THE PLAYERS FIT WITHIN THE GENRE OF ADULT FILMS. IN FACT, THE PLAYERS ARE ADULTS."
The duration of this early black-and-white performance work follows Ramos eating the entirety of a watermelon, slice by slice. The artist sits outdoors at a small dining table with a white table cloth, positioned directly in front of the camera as he makes his way through the fruit and a full bottle of wine. In the background, a radio surfs through Christian programming celebrating Easter Sunday. Ramos prods at and riffs on the racist, anti-Black tropes around watermelon, magnifying the gluttony of his consumption against the fervor of Easter day radio messaging.
Waterways comprises four minimalist exercises in which Acconci explores the formal, visual and dynamic properties of a body fluid in a controlled performance situation. Using extreme close-ups and amplified sound to force the viewer into the space of his body, he experiments with his mouth as a container for saliva, holding it in as long as possible, trying to catch it in his hands. By using a bodily fluid as art-making material, Acconci pushes the anti-aesthetic of body art to its radical extreme.
We Are Alive
Yau Ching
2010, 101:05 min, color, sound, Cantonese and Japanese with English subtitles
We Are Alive documents an experimental process of conducting media workshops in juvenile detention centers in Hong Kong, Macau, and Sapporo, Japan. A kind of collaborative project between Ching and the incarcerated teens, the subjects of the film use amateur video and sound-recording equipment to...
