HEMISPHERE

"Regina José Galindo’s Tierra (2013) explores connections between the exploitation of labor, resources, and human life in Guatemala. Presented at a larger-than-life scale, Galindo stands naked on a parcel of land that is excavated by an encroaching bulldozer. Conjuring imagery of machine-dug mass graves, the work draws attention to the massacre of hundreds of thousands of Indigenous people, mostly Maya Ixil, during the Guatemalan Civil War (1960–96). As the excavator digs around her, the artist stands fixed and unrelenting." - MoMA PS1

A short film essay on Blue Velvet (1986) and The Man Who Fell to Earth (1976). The fact that Blue Velvet was almost shot in black and white is explored in comparison with the original scenes, as the choices of different directors (within a ten-year interval) when choosing Roy Orbison's music for their films.

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 ...

In this video work Bruce Nauman explores violence, gender and behaviour. Set around a simple middle class dining table, the scene quickly escalates into a slapstick fight between a man and a woman. Their actions become increasingly more erratic and aggressive yet also ridiculous and cartoon-like as the video progresses. Nauman explores the ways in which anger can be provoked by others and questions the way we can react to them. Much like many of his other artworks, he employs the use of humour and exaggeration to explore serious and even dangerous topics - he produced this work as a result of his frustration with futile acts of violence in ordinary life. He explains, “The viewer is presented with a hypnotic repetition of pointlessly cruel and destructive violence which is both seductive and alienating.”

"Three Women, is an ambitious work designed to be shown on multiple screens in a movie theater. Moving a step forward from the use of multiple screens as an expansion of cinema as exemplified by Abel Gance’s Napoléon (1927), it presents what is literally a conceptual expansion of cinema in the form of a filmic work experienced in a theater in which the 15-channel, surround-sound audio constructed by Araki Masamitsu and Ito’s visuals organically intertwine."

Skin Shade Night Day explores the daily routine and rituals practised by the artist’s Cambodian-Australian family, which are reperformed and documented through a process of embodied empathy. Acts of service, such as gardening and cooking, play out as echoes from the past across a sound and image installation displayed in a shadehouse. Spectres, shadows and aural textures conjure up impressions of a place that remembers how its inhabitants once lived.

Videoinstallation with methacrylate / no sound / 2018. Underwater Images recorded in Baja California Sur (México)

The title may evoke images of gleeful, destructive anarchism, but "smashing" here signals a relationship between people and official city statues that is friendly, jovial, even a little melancholic.

In the midst of the frenzy night a man finds himself lost in the crevasse of time. It was not the grotesque beings nor the monsters, but it was he who “was here, but wasn't here”. He was the phantom. Buried under memories full of inhibition and promises that never kept – words washed up on the shore – time keeps him at a distance from the “place”. And he hears poems coming on the waves from the other side rhyming and lapping against the shore. A 360° scope video Installation commissioned by Nagano Art Museum.

The Other Side is a double-screen video installation commissioned as part of Breakwell’s residency at the De La Warr Pavilion in Bexhill-on-Sea, East Sussex during the summer and autumn of 2000. The film was shot on the Pavilion’s upper landing, the camera positioned looking out through the curved windows of the stairwell across the exterior balcony to a view of the sea and the horizon. It comprises two alternating sequences projected onto either side of a free standing wall. Footage of elderly couples ballroom dancing on the balcony outside has been slowed down to the rhythm of the accompanying soundtrack, an extract from Franz Schubert’s Nocturne in E-flat Major (Op.148) overlaid by the sounds of breaking waves and seagulls. In the alternating scene, played to the same sound, panoramic vistas of the view out of the building towards the sea and horizon beyond are empty of human presence.

2 Small Channel Video Installation, featuring a monologue excerpted from an untitled novel by Alissa Bennett

The chasm through which light bleeds , bleeds out of proportion with bright spectral flickers flaming the trees abrading out the tissues with excruciating vigour gaining momentum

An experimental media installation of three windows exploring fragments of liminality. Three unique re-constructions of experiential instances volumising the cataclysms of thresholds. Experience the absence of definition, the absence of boundaries set and the absence of rationale. A myth is not to be understood, a myth is passed on, like a game of Chinese whispers, it takes its course and ages with time, suiting the demography and tale, it warps and distorts

In Familiar Slip (2019) Seraj revisits places of significance that have shaped her experience as an Iranian livingabroad. Seraj physically projects her extensive archive of videos from her life in Iran onto the domestic spaces of her current life in Canada and the US. Some of these places from her past, such as her grandmother’s home in Tehran or childhood school in Dehkadeh, no longer exist. Seraj re-stages the fragments of her memories through the process of folding time and collapsing space in an effort to carve out new neurological pathways, making use of the present to recreate the past, while recognizing the impermanence of all things. Familiar Slip is an attempt to fix these recollections into a more lasting medium: a requiem for faded memories.

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.

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.

In "Mitzukos Dream" you watch sleeping people, each filmed for one night with a willdlife camera that reacts to movement. So only the active parts of sleep were captured on film - the moments when we dream?

These 131 video monitors stacked in a grid present simultaneous, continuous footage of the German artist during the last year of his life. In this filmed diary-project that Dieter Roth executed while convalescing in Reykjavik and Basel, we see him not only working in his studio but also while he sleeps, bathes, and uses the bathroom. It is nearly impossible to pay attention to only one video without becoming distracted by an unexpected sound or movement coming from one of the many other screens. Each monitor broadcasts a different point in the artist's daily routine, while the gridlike arrangement of monitors reinforces a sense of order and chronology.

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.