Corpo Presente(2024)

Mondo New York(en)

A young woman wanders around New York City and stumbles across a number of strange characters and settings that represent the "underground" areas of the city. She sees stand up comedy in Central Park, a prostitution auction, a voodoo ceremony, an S&M club, and a number of very interesting performance artists. These are just a few of the sights and sounds of New York that she encounters.

Ocupação Mulheres Mirabal(pt)

Mi arma(es)

A young drag queen from Andalusia exposes the difficulties of adding aspects of her homeland culture to her artistic expression.

Feminine Singular(en)

A documentary featuring 30 Argentinian women aged between 4 and 80, sharing their stories of resilience, strength, and unique perspectives on womanhood through performance art.

By Rook Or By Left Hook(en)

In 2003, Dutch artist Iepe Rubingh became the first World Champion of Chessboxing. This brain-busting combination of alternating rounds of chess and boxing was in fact an art performance calling for more balance in a world of extremes, and the audience reaction was so electric that it inspired Rubingh to push it as a real sport. Rubingh’s methodical ability to achieve balance in the ring is put to the test outside of it when impulsive British TV Producer Tim Woolgar takes up the sport and his opposing vision for success creates a rift between them, endangering chessboxing’s future.

O Artista e a Força do Pensamento(pt)

THE ARTIST AND THE FORCE OF THOUGHT, reflects the relationship between balance and imbalance within the partiality of movement of the dancer Marcos Abranches. It oscillates the body to wake up from the emptiness and isolation caused by the imbalance. The movement's lack of aesthetics is felt by abandonment and rejection, understanding that relief is in the support of love. Investigating body movement in a world without anguish, without pain, without despair. Search for life. Find in dance the balance of the body and the beauty of the soul.

Cut Piece(en)

Filmed at New York’s Carnegie Hall, Cut Piece documents one of Yoko Ono’s most powerful conceptual pieces. Performed by the artist herself, Ono sits motionless on the stage after inviting the audience to come up and cut away her clothing in a denouement of the reciprocity between victim and assailant.

Kvinnor, kvinnor, kvinnor(sv)

Documentary examining the way women are shown and described in newsreels from 1930-1960.

As Iracemas(pt)

The Big Wheel(en)

During the 1980 exhibition of Burden's monumental kinetic sculpture The Big Wheel at Ronald Feldman Fine Arts, New York, Burden and Feldman were interviewed by art critic Willoughby Sharp. Burden articulates the process of creating The Big Wheel, a 6,000-pound, spinning cast-iron flywheel that is initially powered by a motorcycle, and discusses its relation to his earlier performance pieces and sculptural works. Addressing his motivations and the meaning of this potentially dangerous mechanical art object, Burden discusses such topics as the role of the artist in the industrial world, "personal insanity and mass insanity," and "man's propensity towards violence."

Seedbed(en)

“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)

Relation in Space(xx)

In the first 58 minute Performance, Relation in Space, which took place in July 1976 at the Biennale in Venice, Abramovic/Ulay, both naked, walk towards each other from opposite ends of a room, touching as they pass each other, and then they repeat the movement while their bodies collide and one of them (Marina) falls over under the impact, until they are both exhausted. A statically mounted video camera simultaneously filmed the touching of the bodies in the middle of the room.

Cirque du Soleil: Without a Net(en)

As Cirque du Soleil reboots its flagship production, O, more than a year after an abrupt shutdown, performers and crew members face uncertainty as they work to return to their world-class standards in time for the (re)opening night in Las Vegas. With unfettered access, filmmaker Dawn Porter captures the dramatic journey of the world's most famous circus act on its way back from the brink.

Meat Joy(en)

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Joseph Beuys - Coyote III(en)

DVD accompanying the book "Coyote III", documenting Joseph Beuys and Nam June Paik performing at the Sôgetsu Hall in Tokyo on the 2nd of June 1984. Nam June Paik sits on one side of the stage playing European classical music, improvisations and Japanese folk music. On the other side, Joseph Beuys acts out experiences from living in an enclosed space with a coyote - a free man who turns back into an animal, into a form of life that he understands as a prerequisite for this freedom

Bright Nights(en)

In an experimentally compiled film review, Danielle Jaeggi, Paule Baillargeon and Claudia von Alemann reflect on their work as filmmakers and life as mothers. Just as the title is based on Michel Leiris' book of poems Bright Nights and Many a Dark Day, the film has its own poetry, which is also evident in shots of everyday activities, such as hands washing dishes. “Just the hair or the relationship of the hands to each other or gestures, and then words come in between and film clips that we talk about, and we were amazed to find that the women we portray in the films always have a lot of trouble with theirs Identity, their search for something, for lost people or lost things. “They are usually looking for something that has been lost, forgotten or gone,” said Claudia von Alemann in the 1992 interview conducted by Renate Fischetti, A Pioneer of Female Film Language. An essay about desire, doubt, contradictions. (fib)

Welcome to my Darkside: Women in Horror(en)

The horror film genre’s most iconic Scream Queens are featured in this documentary about women’s roles and triumphs, both on-camera and off.

Pistolteatern(sv)

Pistolteatern in Stockholm, Sweden, was a leading experimental scene in the mid 1960s, comparable to the Living Theater in New York. In the years 1964-67. Pistolteatern produced theatre plays, exhibitions and happenings at a very high pace. The name, Pistolteatern, comes from two of creators, PI Lind and STaffan OLzon.

In The Pines(id)

This work re-examines the relationship between the elements that make up the quality of space, namely: "subject" and "object", "organic" and "mechanical", "reality" and "representation", "wholeness" and "partiality", " determinacy” and “indeterminacy”, “visibility” and “invisibility”, “natural” and “non-natural”.

Mundurukuyü – The Forest of the Fish Women(pt)

Using the camera as a weapon to defend their ancestral land in Brazil, three women of the Daje Kapap Eypi audiovisual collective lovingly record their Munduruku traditions and their mythology of humans transforming into forest plants and animals.