Grand Entrance to the World of the Dead

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Rather pointless, rather stilted, fetid; not what we want us going after.

Onward, upward, greener [redder] grasstures.

I really hope this is well-received. I really hope there's some sort of reprieve.

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

Hiding inside&out, writhing about, taken out&in.

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.

Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.

A psychedelic montage of home movie footage gives way to a silent western story.

Beyond all human restraint lies one's lugubrious layers of paint.

A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.

1 minute experimental film.

As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.

Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

Calangros: Um faroeste sobre o terceiro mundo

Produced by the Museum of Contemporary Art Toronto; Arts at CERN, the arts program of the European Laboratory of Particle Physics, Geneva, with the support of the Permanent Mission of the United States to the United Nations, Geneva; Sprengel Museum, Hannover, with the support of Niedersächsische Sparkassenstiftung; and New Museum, New York

Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly political work, for many viewers it raises sensitive issues about race, homoeroticism and violence. It depicts two naked men – one of whom is the artist – tussling and teasing one another in an encounter which shifts between tenderness and aggression. The film is silent but a series of stares, glances and winks between the protagonists creates an optical language of flirtation and threat.