Street Trash(2012)

Moby Dick(he)

Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.

you don't know JACK like I did.(en)

An experimental re-edit of Jack Frost, starring Michael Keaton.

Cetacean(en)

A quiet mediation on the sea (and what might lie beneath the surface?) from the late 70s.

The Infinite Mercy Film(en)

A portrait of Alan Vega as painter, drawer and sculptor of light

Aquarelles(en)

Computer imagery dances before a techno soundtrack.

La solitudine(it)

Candle(en)

Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.

The Was(en)

A collaboration between Soda_Jerk and The Avalanches.

All Star Video(ja)

A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.

Redoubt(en)

The goddess Diana and her two attendants traverse the rugged terrain of Idaho’s Sawtooth Mountains in pursuit of the elusive wolf. An Engraver (Matthew Barney) furtively documents their actions in copper engravings and provokes a series of confrontations. The characters communicate through dance, letting movement replace language as they pursue each other and their prey.

Commercial Entertainment Product(en)

The video debut of experimental musicians and culture jamming artists Emergency Broadcast Network.

#11, Marey ↔ Moiré(en)

#11 (Marey Moiré) is a film in which all images were generated by intermittently recording the movement of a line. It is a film about the discontinuity that lies at the heart of the film medium.

Tale Enclosure(en)

Returning to the primal source of language, Hill explores the physical and subconscious origins of speech. In a continuous shot of a rhythmic, linguistically inspired chant-performance by George Quasha and George Stein, the camera wanders from mouth to face to hands to figure in an open-ended visual search. The performers use the body as an acoustic instrument of sound and abstract utterances.

Videograms(en)

1980-81, 13:27 min, b&w, sound Videograms is an ongoing series of text/image constructs or syntaxes using the Rutt/Etra Scan Processor, a device that enables Hill to sculpt electronic forms on the screen. Each "videogram" relates literally or conceptually to Hill's accompanying spoken text, which is visually translated into abstract shapes. Hill writes, "The vocabulary and precision of this tool allowed me to expand the notion of an 'electronic linguistic' through textual narrative blocks created specifically for the electronic vocabulary inherent in the Rutt/Etra device."

Between Science and Garbage(en)

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.

I Do Not Know What It Is I Am Like(en)

"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.

REYNIVELLIR(es)

Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.

Electronic Masks(en)

Short experimental video art by Barbara Sykes.

Cumulonimbus(en)

A 1970 projection of what may come when pollution over powers nature.

The Devonsville Train: Establishing Shots 1(en)

A series of shots from six 1970s and 1980s horror films are slowed down to near-still moving images. First feature-length piece in the video art series "The Devonsville Train."