Video Art

The Otolith Group – Otolith II (2009)

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In 2006 The Otolith were commissioned by the Dutch curatorial platform If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, Kunsten Festival Des Arts and Argos in Brussels, and Casco Projects in Utrecht to develop the next episode in the Otolith Trilogy. The work was developed over one year with a series of events that explored our research and methodology. The Video was filmed in Dharavi in Mumbai, in the state of Maharashtra, in Chandigargh in the state of Punjab and in London. Read More »

Pierre Huyghe – A Journey That Wasn’t (2006)

On February 9th, 2005, seven artists and ten crewmembers set sail from the Port of Ushuaia in Tierra del Fuego, the southeast point of Argentina. Their journey centered on a search for an unknown island and an encounter with a unique solitary creature that was rumored to live only on the shores of an unnamed island somewhere at the height of the Polar Antarctic Circle.

This adventure was the first part of a film. The second part, the representation of the adventure, will take place in New York. Read More »

Cecelia Condit – Possibly In Michigan (1983)

Possibly in Michigan is an operatic fairy tale of cannibalism, desire and dread in Middle America, a densely collaged narrative in which Beauty meets the Beast in the surreal landscape of shopping-mall suburbia. Two women with a penchant for “violence and perfume” take revenge on their animal-masked male persecutor. In this contemporary rendering of gothic enchantment, victim becomes aggressor and the familiar becomes the fantastic. Condit reworks popular narrative conventions using black humor, sing-song dialogue, and ironically gruesome images. Constructing a comically grim fairy tale of dreamlike pursuit and sexual violence, she inverts traditional Freudian metaphors to impart a subversive voice to her transgressive heroines: “I bite at the hand that feeds me.” Possibly in Michigan is a classic tale of psychosexual horror, retold as an irreverent fantasy of the other. Read More »

Bill Viola – I Do Not Know What It Is I Am Like (1986)

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Structured in five parts, Il Corpo Scuro (The Dark Body), The Language of the Birds, The Night of Sense, Stunned by the Drum, and The Living Flame, the tape envisions a metaphysical journey of rational and intuitive thought, from the natural world to spiritual rituals. Viola’s poetic investigation of subject and object, observing and being observed, and his search for knowledge of the self is encapsulated in an indelible visual metaphor: an image of the artist reflected in the pupil of an owl’s eye. Read More »

Mark Leckey – Concrete Vache (2010)

Made for Milton Keynes Gallery’s 10th anniversary using images from its archive and language from its press releases and catalogues.

“This is an attempt to capture the atmosphere of a classic British institution with rudimentary pictures. Its formal qualities coincidentally reference the gridded Master plan of the host city Milton Keynes” Read More »

Elizabeth Price – The Woolworths Choir of 1979 (2012)

Elizabeth Price (b.1966) won the 2012 Turner Prize for this multi-layered video work.

The Woolworths Choir of 1979 2012 is a three-part video that weaves together distinct bodies of material: photographs of church architecture, internet clips of pop performances and news footage of a deadly fire in a Woolworths furniture store in 1979. Read More »

Marcel Broodthaers – A Voyage on the North Sea (1974)

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Between 1957 and his death in 1976, Marcel Broodthaers made approximately fifty films. The exact number is difficult to determine: Several no longer exist; some are multipart “programs” assembled from groups of short films (many appropriated from industrial or otherwise “authorless” sources); and others are subtle variations on previous works. A recent exhibition at pioneering curator and collector Thomas Solomon’s new gallery, Solo Projects, paired a 16-mm silent film, Un Voyage en Mer du Nord (A Voyage on the North Sea), 1973-74, with a thirty-eight-page, French-bound book that shares its title and ostensible subject matter: the pairing of a late-nineteenth-century amateur painting of an archetypal European ship and a twentieth-century photograph of a pleasure boat against a modern urban backdrop. The roughly four-minute film is projected on a retractable home-movie screen–a Broodthaers motif–and the book displayed on a simple wooden shelf, lit by a single spotlight. Read More »