Brazilian short film, directed by Julia Murat.
Social & External
Portrait of Andy Goldsworthy, an artist whose specialty is ephemeral sculptures made from elements of nature.
This three-channel video installation by James Benning shows three scenes from David Wark Griffith’s The Birth of a Nation (1915). The two-minute-long screen arrangement of imperceptibly moving images alludes to the beginning of racism. The three screens each show a solider in the American Civil War, black slaves picking cotton in the field, and imposing KKK.
An exploration of how the U.S. military employs video game technology to train troops for war. Filmed at the United States Marine Corps Air Ground Combat Center, Watson is Down pairs footage of soldiers at computers engaging in combat-simulation training with scenes from the video games.
An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.
Video installation by UMMMI.
An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.
An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.
Ilya Kabakov is considered one of the most important contemporary artists worldwide. Born and raised in the Ukraine in the period between Stalin and Gorbatschow he left the country in the 80s. In his Installations and his numerous paintings Kabakov creates a world of its own, which leaves the heaviness of socialist and post-socialist life far behind. The film links Ilya Kabakovs artistic spaces with insights into Russian everyday life, which itself sometimes appears like an installation by the artist.
The decision to move to Holland doesn't sound like a wise idea. Why move to a country that could be flooded at any moment? For the last 25 years, the political climate has shifted. The public debate on migration has become harsher, more heated, and polarized. What would have been considered right-wing xenophobia back then, is now considered mainstream. Populists simplify complex realities into good and evil, victims and perpetrators: ‘us’ versus ‘them’. Their rhetoric often consists of dehumanizing words and metaphors. One of these is ‘water’. In reality, water is not an immediate threat to the average Dutch person; but it is a huge threat to the thousands trying to reach the Netherlands. People trying to survive the Mediterranean Sea in rubber boats. Trying to survive winter on the Aegean coast in primitive tents. To them, water really is deadly.
Past and present life in the anarchistic "free city" of Christiania, in Copenhagen, Denmark. In Sandra of the Tuliphouse or How to Live in Free State, Christiania is approached at face-value, as a self-described laboratory of freedom, an environment that provides an almost unparalleled opportunity to unravel a very particular history of markedly contrasting power relations and vivid social forces. Borrowing from the usually disparate practices of cultural geography and fictional narrative, the project is constructed as a visual, spatial, and aural investigation of the site. The situation at Christiania in 2001 is compared with its distant past as a military base, its more recent utopian regeneration, and its possible future.
Three-channel video (black and white and color, three-channel sound) commissioned by the Museum of Modern Art, New York, for the entrance to exhibition "Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980".
Wang’s work investigates the ways in which sound and listening can play pivotal roles in shaping social space. For Music While We Work, Wang assembled a group of retired workers from a Taiwanese sugar refinery in the small industrial town of her childhood. She and her collaborator, the political activist and composer Chen Bo-Wei (Taiwanese, born 1971), led a series of recording workshops for the retirees and their spouses. They then returned to the factory, where Wang asked them to “paint a world composed by their listening.”
Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.
Based on an installation by Alberto vev
By becoming aware of an idea that is new to us, we talk about it all the time. And beyond that, all the subjects that we approach, we approach them through this new prism. We are going as far as proselytism - essentially to convince ourselves. We repeat the same words, slightly reformulated, until we are convinced. It is a way of swallowing our conditioning to this idea, while hinting that we are already sure. In politics or in love. We repeat ourselves. We repeat ourselves. We repeat ourselves.
REkOGNIZE is a three-channel video installation and a meditation on photography, memory, and movement. Artist and Academy Award-nominated cinematographer Bradford Young (Selma, Arrival) finds inspiration in Pittsburgh’s Hill District neighborhood, a site of the early 20th-century Great Migration. During this time, millions of African Americans moved from the rural southern United States to cities in the north and west. The Hill District saw a flourishing of culture during these years and was a site of artistic development for luminaries such as August Wilson, Charles “Teenie” Harris, Errol Garner, and many others. REkOGNIZE takes its visual cues from the Pittsburgh landscape, especially the city’s tunnels, which serve not only as literal entry points into the city, but also as metaphors for this movement of people and culture.
CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...
Each pixel is separated like an exploded screen, set in a chaotic way into the space. The video has a whole movement in the room, as one three dimensional image. The experience resembles the brain, working with electromagnetic waves and low voltage information.
Bass takes over the upstairs Kanter-McCormick Gallery at the Art Center, expanding the territory of her gothic world in a new work The Latest Sun is Sinking Fast, an immersive, multi-channel installation incorporating 16mm film/video, sound, architecture, and featuring performances by Sarah Stambaugh, Bryan Saner, and Matthew Goulish. The solo exhibition features a spatial narrative installation that delves, through movement, texture, sound, and gesture, into the psychology of a recurring figure in Bass' previous films; while also introducing two new characters, blending the past into the present. Bass has designed the installation by altering the gallery, leading the viewer through a evocative memory of place, embedding us in a timeless society of lost souls in a haunted landscape. -Allison Peters Quinn, Exhibition Director, Hyde Park Art Center
Following in the great tradition of his classic "How To" animated shorts of the 1940's, Goofy makes his return to the big screen in "How to Hook Up Your Home Theater". When Goofy is desperate to watch the Big Game, he heads to his local electronics store to tackle every consumer's nightmare - selecting the perfect home theater system and worse, trying to hook it all up.
