Technicolor Dream

For this work Alÿs purchased a gun in Mexico City then walked through the city streets with the weapon in his hand. After eleven minutes he was arrested by the police. The following day he repeated the action, this time in cooperation with the police. By presenting a record of this dramatic action alongside footage of its reenactment, Alÿs blurs the boundaries between documentation and fiction. Questioning the concept of authenticity, this work demonstrates “how media can distort and dramatize the immediate reality of a moment,” the artist has said. Gallery label from Francis Alÿs: A Story of Deception, May 8–August 1, 2011.

A memorial mourns as time passes

The Karikpo masquerade - a traditional dance of the Ogoni tribe - is transposed onto the remnants of a faded oil industry programme in the Niger delta.

Ezra Thorne faces yet another threat from his checkered past.

A surrealist neo-noir following Jonny, an apathetic man who faces an involuntary evaluation of his life after awakening in a surrealist fever dream.

"I Do Not Know What It Is that I Am Like" juxtaposes images of animals, both wild and domestic, and natural environments with human activity as it takes place in an apartment, and during a fire walking ceremony in Fiji. Documentary-style footage is combined with staged events. Despite the piece's lack of a traditional narrative, it bears some relationship to nature works. The segment features material from "Il Corpo Scuro (The dark body)" - animals and natural environments are seen up close and at a distance.

Best known for his work in video, Richard Fung has made the politics of gender, ethnicity, and sexual orientation his central focus. Chinese Characters (1986) examines the ambiguous relationship of gay Asian men with white gay porn.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

Experimental video art shot in the Wallingford neighborhood of Seattle

Moving through its five parts, the work describes a cycle of birth through to death, depicting both an eternal, universal Mary, and an earthly Mary representing human life on Earth.

If a machine would possess a soul it might be a beach. Every single sand corn symbolizes a data-set of a memory captured in the world wide web saved deep down in the ocean. From there the bytes condense and finally reach the cloud. But how would it feel for a machine to see the glitch waves and feeling the shore stones on its case? What would be the colours of the coastline? Glitching Offshore tries to portrait the soul of an AI and the universe behind it. Glitching offshore, alike drifting away as in a psychogeographical dérive (furthermore, away from the "rive": bank) where human intentional yet chaotic action is substituted by pixels' stirrings of the soul.

Des Carpes et des Éléphants

A porcelain doll’s explorations of a dreamer’s imagination.

Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.

As her marriage to decorated war hero Oliver draws near, well-heeled Diana moves into an apartment within an otherwise unoccupied, sprawling London house where she starts to experience strange and terrifying nightmares. But are these troubling night terrors merely the symptom of an unsettled mind, or the sign of something far more sinister at work? Hounded by a pair of sleazy journalists, Diana soon crosses paths with American tourist Jenny, who appears to have a strange connection to the foreboding house and its dark past.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.

Cette histoire existe

One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.

First single from the album "por favor, me perdoe. as más notícias finalmente chegaram" by Crise, which will be released soon.