Revolution N. 9

Black Hole Radio is an installation that consists of taped confessions of callers of the New York City Phone Confession Line and video images. The Phone Confession Line is based on anonymous callers ringing to confess on things they had done or thought like adultery, theft, murder or regrets. Thereafter anybody could call and listen to the confessions. Although making a confession was free, listening to a confession costs money. After Cohen got his hands on the confessions, he used them as an audio heartbeat to accompany video-images of every day life in New York City he had taken over the years. This installation is a portrait of the city with its dark secrets, hushed voices and nocturnal images. In this way Cohen tries to bring across an experience to the viewer that relies on absence, waiting and the effort to hear something in the dark.

Trance dances and out of body projection. In front of the camera, Parvaneh Navaï becomes a mediator who enters in contact with and immerses into the energies of Nature, while her own energy radiates and echos in the forest ("selva"). The camera amplifies and expands her presence, transforming the forest into an imaginary space. The camera becomes a painter's brush.

In "Falling. Desert. Syn" there is the body of repetition—not of tautology but of smooth resurrection; a body dying and being resurrected in a dance without suffering. A body of the desert, which is not deserted, but instead possessed by a force of attraction towards the sky, a force as strong as the one towards the earth. A body for the stars, the same one which plunges into the underworlds.

Outrage kiss-in at Bow Street police station in London, with a demonstration against homophobic government bills clause 25/28.

13 minute video art piece by Phil Morton.

A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

A collaborative performance, Image of Seeing--Seeing investigates the meaning of television watching. This work was created for television broadcast on the Nippon Broadcasting Corporation's program "Hyōgo no jikan" (Hyōgo Time).

Writes Kobayashi, "In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person's video recording, and so on. Within the repetition of recording and action, the original gesture is transformed by the participants' misunderstanding, interpretation, and memory."

The Second Electronic Visualization Event took place at The University of Illinois Chicago Circle Campus in 1976. This documentation features Bob Snyder on EMU Synthesizer, Phil Morton on the Sandin Image Processor by Dan Sandin and Guenther Tetz on the GRASS (GRaphics Symbiosis System) by Tom DeFanti. In Morton's words these artists perform live realtime audio and video synthesis "using both analog and digital computers as 'visual instruments'..." Other artists credited with participation in the Electronic Visualization Events between 1975 and 1978 include Drew Browning, Larry Cuba, Barbara Latham, John Manning, Faramarz Rahbar, Ed Rankus, Michael Sterling, Barbara Sykes and Jane Veeder.

Openland is an art film guided by issues surrounding micro states and its derivative definitions. Through intertwining interviews, meta-narratives, and digital landscapes, Openland unfurls a dialogue between consciousness, individuality and collectivity.

In this tape, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.

In Idemitsu's seminal women's liberationist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, What a Woman Made is a candid critique of the treatment of women in Japanese society.

Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.

Yamaguchi writes, "In April 1969, Image Modulator was shown at the Sony Building exhibition Electromagica '69, using three Trinitron color TV monitors behind a glass that created an optical effect. The glass acted as a literal filter, adding a mosaic effect to the video images."

A video installation using three monitors and mirrors, Ooi and Environs depicts the Tokyo cityscape with electronically modified footage of the city. Aiming to create an interactive environment, images reflected on the mirror shift as audience members move.

Among the millions of victims of the Nazi madness during the Second World War, Pierre Seel was charged with homosexuality and imprisoned in the Schirmeck concentration camp. He survived this terrifying experience of torture and humiliation, and after the war he married, had three children, and tried to live a normal life. In 1982, however, he came to terms with his past and his true nature and decided to publicly reveal what he and thousands of other homosexuals branded with the Pink Triangle had undergone during the Nazi regime. Il Rosa Nudo (Naked Rose), inspired by the true story of Pierre Seel, depicts in a theatrical and evocative way the Homocaust, focusing on the scientific theories of SS Physician Carl Peter Værnet for the treatment of homosexuality, which paved the way for the Nazi persecution of gay men.

The ruins of paganism and the birth of Christianity portrayed by immobile people along with music.

The story means to develop through an uncovering of layers - strata. As writer Krumbachova stated: "With nature as a prison, an impassable barrier ... where every action is physically and psychically limited by the environment ... people are reduced to fragments of basic instinct and intelligence." Promoted as a psychological thriller, Strata provides little tension nor any real climax. The characters are ideas - not believably real.

A dark and magical visit to the fabled Parisian address Rue Fontaine 42. This was the residence of André Breton, the mastermind of surrealism, who surrounded himself with an impressive collection of modern, Western art and ethnographic objects from Oceania and North America. The collection was sold and divided up in 2003 at a controversial auction. 'The Trick Brain' is a delirious montage and a trip back in time to Breton's private art collection, where Atkins has been scouring the archives and come up with a possessing interior film of the place that once was, complete with surrealistic paintings, scores of Indian figures and hundreds of other displayed rarities. The film's soundtrack is provided by an observant narrator, who reveals to us that the objects shown are not necessarily what they claim to be - but instead are catalysts for some kind of wonderful linguistic virus which reveals the real identity of things.