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.
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.
2004-02-13
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Documentation of Lygia Pape’s 1968 performance Divisor - reactivated in the city of Villeurbanne (France) in October 2014. Commissioned by Institut d'Art Contemporain de Villeurbanne / Rhône-Alpes.
A young man in a tram is asking a bit too much from a stranger.
An elderly lady pushes the limits of customer service at an up-market department store by continuously requesting announcements for interesting-looking men.
The absurd logic of the ‘real character’ and the extreme rules of Disneyland become apparent when a real fan of Snow White is banned from entering the theme park dressed as Snow White.
Broad Sense is based on an three day long intervention in the European Parliament in Brussels. The video reveals the diversity of security responses to the artist’s visits.
"What we were trying to do was the ultimate form of architecture, which was predicting how society would use space, land and time." Curtis Schreier, ANT FARM Space, Land and Time: Underground Adventures with Ant Farm is the first film to consider the work of the renegade 1970s art/architecture collective Ant Farm, best known for its iconic land-art piece Cadillac Ranch. Radical architects, video pioneers, and mordantly funny cultural commentators, the Ant Farmers created a body of deeply subversive multidisciplinary work that questioned the boundaries of architecture and everything else in the process. Incorporating breathtaking archival video, new footage shot over ten years and animation based on zany period sketches, this film is about the joy of creation in a time when there were no limits. —Beth Federici
Featuring dozens of performances from the living rooms, backyards, and unconventional venues throughout Athens, GA, the first Athens Rising film takes a deep look at music, dance, food, stand-up comedy, strange theater, visual art, and the origins of AthFest.
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.
Taking us through Bangarra Dance Theatre’s spectacular growth, we follow the story of how three young Aboriginal brothers — Stephen, David and Russell Page — turned the newly born dance group into a First Nations cultural powerhouse.
Bas Jan Ader's first fall film shows him seated on a chair, tumbling from the roof of his two-storey house in the Inland Empire.
This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.
One of a series of ‘falls’ by Bas Jan Ader that he recorded on film, this work was filmed in West Kapelle, Holland in 1970.
Bas Jan Ader hangs from the branch of a tall tree, until he loses his grip and falls into a river below.
Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.
The duo made up of musician and actress Julia de Castro and double bass player Miguel Rodrigáñez thus premieres their latest show, Exhalación: vida y muerte de De La Puríssima. With it, they intend to put an end to the ten-year revolution of EL CUPLÉ this scenic musical genre, which the singular tandem has merged with jazz, cumbia and electronics on stages around the world. Show nominated for the Premios Valle Inclán. As the duo explains, De La Puríssima was born in 2009 “as a transit project, in which music was the most direct and ritualistic medium from which to raise core issues such as sex, bullfighting, folklore or religion”. Now, a decade later, it is time to remove the peineta and celebrate the end of a stage in which the provocative lyrics by Julia de Castro have traveled through numerous audiences to bring up to date a genre that was in the forgetfulness of national folklore, the cuplé.
Go behind the scenes of StarKid Homecoming: the biggest reunion of StarKids ever! Over the course of three wild days, almost everyone who's even been in a StarKid show came to Los Angeles to celebrate a decade of A Very Potter Musical and StarKid shows. This featurette (unlocked as part of the 10niversary Kickstarter) takes you backstage and into rehearsals as the whole show came together.
The definitive documentary that reviews the enormous career of Esther Ferrer, one of the great Spanish creators in the performance genre. A "hybrid" between the documentary and the discipline of performance itself, between recording and creation, which uses elements and techniques typical of the cinematographic genre on which animation and self-created elements are superimposed.
Through the voice of its founder Marinella Senatore, the video focuses on a few key themes of The School of Narrative Dance project. The artist describes how the nomadic school, founded in 2013, centers on the concept of "assembly" and collective creation which promotes an educational system based on emancipation, inclusion and self-cultivation. A school which continues to travel and has, until now, worked in more than 15 countries in the world and involved some 5 million persons including activists, both amateur and professional workers, dancers, choreographers, actors and poets in an atmosphere of shared knowledge. As the artist speaks, scrolling across the screen are images from the itinerant performance held in Naples in September of 2019.
In 2012 two members of anarchistic female band Pussy Riot were sentenced to two years in a Mordovian labor camp for "hooliganism motivated by religious hatred". Russian film collective Gogol’s Wives follow each step of the feminist punk band’s battle against Putin including their first disruptive performances on a trolley bus, shooting a video about transparent elections, a controversial performance in a Red Square cathedral, and footage shot in a jail cell. Support comes from many corners including Madonna who painted the words "Pussy Riot" on her back and wore a balaclava during her Moscow show. The documentary portrays the grim state of present-day Russia, a country starkly divided between conservatism and anarchy. Pussy Riot believes that art has to be free and they're willing to take it to extremes. "Pussycat made a mess in the house," they say, and the house is Russia. The filmmakers do not seek to moralize, they simply edit events and leave viewers to draw their own conclusions.