Uncle Jalil's Garage

A short video adaptation of the poem "River: Morning" by Yuyutsu Ram Dass Sharma. Part of the Visible Poetry Project.

A video adaptation of Shannon Sankey's poem Infusions. Readings of the poem are combined with old commercials and home video-styled clips depicting consumer culture. Part of the Visible Poetry Project.

A short film adaptation of the titular poem by Melissa Lozada-Oliva.

Inspired by the “psychic and physical toxicity of life in late capitalism,” Evan Caminiti’s Toxic City Music utilizes sounds sourced from daily life in NYC. These found sounds are heavily processed and woven into instrumentation ranging from electronically treated guitar to modular synthesizers. Toxic City Music evolved over the course of several years, resulting in a wealth of material which will be re-processed and uniquely presented in an improvisatory manner in live performance. The Wire describes the new work as "The sound of things falling apart with unbearable slowness…[with Caminiti] reporting his observations with acuity, integrity, and artfulness."

Xanadu is a 4-channel video installation by Robert Boyd that represents a history of apocalyptic thought as a series of MTV-style music videos.

A spectral first-person journey through Los Angeles layers the city across itself as our guide disassociates, giving way to an abstracted daytime ghost story following a woman's splitting of self and perception. ANGEL PROJECT continues.

A nervous portrait of a Zagreb train station filmed from the tracks. The imminent impact leads to seeing stars. Super 8mm film with music by Barn Owl.

Autoportrait

Screensong

A snub to technological hegemony in the arts, particularly in the world of contemporary music. In the most trivial representation of the computer tool, up to 16,384 "mouse players" (performers playing plastic mice) play like virtuosos in the style of the children's game Simon.

A young boy decides to take a nap under the shadow of trees. when he wakes up his shoes have been stolen. so, he goes back barefoot but suddenly in the village, he sees a suspicious man.

Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.

A young anonymous office worker in the heart of an unnamed North American megacity takes us through a few fleeting days in her life.

Shows a couple (Adam and Eve) and various objects, simultaneously, in time, space and movement.

For this video, Palisades in Palisades, 2014, Rose wanted to expand both her conceptual concerns and her cinematographic repertoire. “I was learning how to make a shot in relation to the content,” she explains, “and how the shots were metaphors for pure sensual material.” The artist accomplished this by using a remote-control camera that could zoom from 200 feet away all the way up to the pores in an individual’s skin. She chose to shoot in New Jersey’s Palisades Interstate Park, a onetime Revolutionary War battleground turned landscaped circuit park that sits atop an ancient cliff.

"Plasforms" is above all a visual composition, the relevance of the camera's absence, continuing in its time the plastic tradition of seeing. It is the exposure of the digital medium itself, a choreography of ghost images mechanically imitating the artificiality of a process.

Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.

Cóndor

Minotavr II

"This film is a collaborative installation project with Orleans + Winder (Detroit). It examines Nathaniel Dorsky’s writings on Self-Symbols in film as applied to the exhibition and personalization of clothing. Dorsky writes: If you have ever looked at your hand and seen it freshly without concept, realized the simultaneity of its beauty, its efficiency, its detail, you are awed into appreciation. The total genius of your hand is more profound than anything you could have calculated with your intellect. One’s hand is a devotional object."